I contributi che hanno risposto alla call for papers di questo numero sulla “filosofia della città” restituiscono uno spettro estremamente diversificato. In sette articoli su dieci, tra quelli attinenti alla call, sono coinvolti autori che avevano partecipato alla conferenza “Philosophy of the City”, tenutasi a Torino nell’ottobre 2022: il presente fascicolo registra uno sviluppo parziale di quelle discussioni. L’antefatto è rilevante, perché consente di rendere esplicita la circostanza di qu...

For more than a century, the relationship between cinema and the city has constituted an aspect of profound fascination for film and visual studies. Constantly renewing itself, this connection represents the interaction of a complex network of technological forms, ergonomic configurations, evolutionary perspectives, human and material aggregations, all redefined within the canons of filmic language. The cities of the future, before moving from the design phase to the productive phase, have often been modulated and experienced within filmic spaces, sometimes glimpsing (...) subsequent mutations. Through the study of video installations such as Prisma (2022) by Vhils and Hypnosis Display (2014) by Clipson and Harris, films such as Code inconnu (2000) by Haneke, Code 46 (2003) by Winterbottom, Anon (2018) by Niccol, and recent works by Refik Anadol, I will try to outline a possible visual interpretation regarding the present and future urban image. (shrink)

We may think of the city as a kind of symbol of what most characterises our era: if it is true that our era is most characterised by complexity and uncertainty, it is also true that the city may be what can most clearly show what complexity and uncertainty actually mean. Our era’s harshest lesson is precisely that, when we move from the village to the city, specifically contemporary cities becoming not only exponentially big but also exponentially interconnected, complexity and (...) uncertainty increase as our era’s equally harsh global challenges, from climate change to pandemics to wars. Yet, contemporary cities’ global challenges may be not only harsh lessons but also unmissable opportunities. In what follows, as a philosopher, I shall work on at least two reasons why contemporary cities, specifically their future as what is likely to further increase complexity and uncertainty, may teach us something key from an epistemological perspective: first, to abstract more and, second, to be wiser, which are two epistemological capabilities that may be more crucial than ever in the future. (shrink)

Dominating the title and subtitle of this book are acts. Considering its subject, what becomes clear is why the specific verb (in-statuere or instituere) and gerund (building) were used: both designate acting. Yet, not any kind of acting in this case, but institutional acting. Books such as this are not only part of social reality, but illuminate its foundations, different dimensions, protocols, and possibilities, impacting that very reality. In that sense, as human creations, they are no mer...

There has been much discussion of the indispensability argument for the existence of mathematical objects. However, there has been little discussion of the relationship between Meinongianism and the indispensability argument. According to strong Meinongianism: i) some objects do not exist; ii) we can refer to and quantify over nonexistent objects to make true statements about them; and iii) nonexistent objects are the truthmakers of sentences which contain reference to or/and quantification over nonexistent objects. In this paper, against the mainstream Quinean (...) meta-ontology, I argue that there are nonexistent mathematical objects as truthmakers and that nonexistent mathematical objects make a difference for the way the concrete world is. (shrink)

Cities’ constructed environments position urban areas at the center of importance. The concept of “urban place” has mainly evolved into a marketable and branded good as a result of the advent of numerous design-led place-making policies and practices. In this effort of place-making, aesthetics play a significant role. Despite apparent conceptual ambiguities and conflicts, the interpretation of “commodified aesthetics of place” stresses specific phenomenological and qualitative place-attributes, such as authenticity. To provide clarity on this complex issue, a reexamination of core (...) place-concepts is necessary. This article offers an understanding of urban settings and the accompanying aesthetic elements from another perspective. Such a strategy highlights the clear distinction between an object-based and a contextual interpretation of place, as well as offering a framework for reexamining the aesthetics of place and its vital role in forming the lived world. Moreover, I correlate the relation between individuals’ existential phenomena in relation to the city’s place-making theory. (shrink)

Research in the emerging area of the philosophy of the city has blossomed significantly in the last decade. One research strand is urban lighting, which offers several insights into how cities appear, focusing on a range of issues. This paper aims to contribute to this conversation by interrogating what it means to have a city that functions 24 hours a day. In turn, the author fleshes out the view that we can almost say that two cities exist within the exact (...) location but opts to examine the differences between the daytime and the nighttime city instead. This process helps identify a few issues that arise when a municipality exists with such a duality at play. This paper concludes with some suggestions for dealing with these affairs. (shrink)

L’esercizio teoretico dell’ontologia si occupa di individuare che cosa esiste per presentare un inventario del mondo che dovrebbe abbracciare l’interezza dell’essere nella pluralità delle sue declinazioni fattuali, permettendo così la sistematizzazione delle categorie del pensiero e quindi la strutturazione delle facoltà di giudizio. Tanto nel dibattito classico, quanto in quello contemporaneo, riscontriamo la contrapposizione tra tesi che riconoscono dignità ontologica a vari ordini di strut...

There is a passage from Hegel’s Lectures on Aesthetics in which he speaks of the duplicity of the word “sense”. This duplicity is truly remarkable because it indicates, at the same time, the corporeal immediacy of something and the meaning, the abstract, the universal of the thing. In what follows, I will first examine the purely linguistic layer of doubling; then, moving from words to things, I will focus on the fact that the doubling between the sensible and the intelligible (...) is not just a matter of words. From here I will directly address the question of human nature as second nature, examining three doublings: the speculative one, of which Hegel speaks, when he sees in the death of what is merely natural the birth of the spirit; the physiological one, of which Freud speaks to us with a hypothesis reaffirmed by contemporary science, which sees a single origin in both the seat of sensibility, the skin, and in that of thought, the cerebral cortex; and the anthropological one, according to which the human mind, as part of an organism that is systematically connected with mechanisms, presents itself as, at the same time, embodied (it is part of a body) and equipped (it is endowed with supplements). I will conclude my examination by describing a circle, one that forms in the relationship of reciprocal conditioning between nature and second nature, as well as between organism and mechanism. (shrink)

I explore one distinctive aspect of our relation to spaces which is particularly significant in our everyday aesthetic evaluations of cities (urban spaces): the frequent use of linguistic expressions referring to the sense of touch. We say that a space is oppressive or expansive, or warm or cold, or (more indirectly) cozy or desolate. Touching, as involved in these expressions, seems to refer, rather than to the contact of a physical object with our skin, to a sort of touching with (...) our life. To understand this, I try to make explicit both (a) what is being touched, i.e., the view of space behind these expressions; and (b) how and in which sense our life touches it. I propose to think about space as a plenum made of qualities (e.g., colors, smells, sounds, textures), some of which are penetrable and some of which are not. And as to how we touch spaces, I defend that we do so as we immerse ourselves in them. Once immersed in them, we are constantly both evaluating how well we fit in them as well as looking for a better-quality fitting. This is how we evaluate spaces aesthetically. Our embodied life fits better in a space when (a) we can realize more significant (for us, according to our ideal of life) possibilities in it, and (b) the felt quality of realizing those possibilities is enhanced by that space (“it feels better to read in this café”). (shrink)

In this article, the authors explore the link between the city and its images. Their hypothesis is that images of the city do not merely have a cosmetic function but contribute to the experience of the city itself, as well as to its reality. The article focuses mainly on stock images of the city, those available on the websites of stock agencies such as Getty Images and Shutterstock. Their thesis is that these images have an anesthetizing effect on the imaginaries, (...) and hence expectations, about the city. The article is divided into three sections. In the first section, the authors propose a state of the art of the existing literature on stock images, insisting on the relationship between their material and symbolic dimensions. In the second section, they explore the link between the city and its images by resorting to the notion of urban landscape. In the third section, they consider the specific case of the city of Turin. Specifically, they conduct a socio-semiotic analysis on the first 100 images resulting from the search “Torino OR Turin” on the search engine of the microstock agency Shutterstock. In the conclusion, the authors refer to the concept of «distribution of the sensible» (Rancière 2000) to introduce their own notion of “anaesthetics”, that is, an anesthetizing aesthetic that characterize, according to them, these visual representations of the city. (shrink)

Although there is much confusion about it in everyday language, the distinction between public and common goods is clear enough within Economics. While the former involves the fact of being open to all and state management, the latter requires common but still limited management. The different kind of administration can also be explored through the reference to a different kind of agent meant as the one who makes use of the different goods: if in the case of public goods, we (...) have individuals, as an aggregate, in that of commons we necessarily need to assume the existence of a plural form of subject, who can in fact act in concert in the management of the good itself. Exploring this distinction in its details and consequences, the paper sets out to apply it to a typical public good – green areas in cities – and to show the theoretical advantages that such a consideration of the commons can have, including through a concrete case such as community gardens. (shrink)

This paper aims to frame a discussion on the philosophy of the city within the context of cognitive sciences. In the first part of the paper, we will outline the double shift from a linguistic and ocularcentric account towards a sensorimotor one; then we will defend the idea that the less you refer to language and ocularcentrism in handling the urban dimension, the better phenomena can be understood and described. More generally, we argue that the most intriguing conceptual contaminations between (...) cognitive sciences and urban philosophies, as well as the best approach in designing and planning cities, have become attainable because of the marginalisation of language-inspired models of cognition and ocular imperialism in favour of other aspects of our phenomenal consciousness, like emotions, habits, and sensorimotor attitudes. (shrink)

The study, conducted in March 2022, involved the analysis of the content in several social media chats and groups; the participants of those chats live in the same place and therefore have a common experience of the space. The study was based on the hypothesis of a direct connection between the mental map (a system of individual ideas about space), the cultural reputation of topoi, and urban trauma, embodied in the unease infrastructure. The problem of assessing the significance of a (...) place was solved by means of folklore toponymies – the mechanism of renaming, which indicates the degree of awareness about a specific place and defines its location on the mental map as well as ascribes a certain status to it. These statuses demonstrate the degree of significance of a place for a certain subject and form a kind of hierarchy, a system of topographical preferences. Thanks to online communication, people can not only transmit information much faster than the traditional forms of folklore dissemination allow, but also broadcast personal attitudes, conveying them as a bundle of meanings (for example, while inventing new toponyms). Therefore, one of the objectives of the study was to identify established folklore toponyms in online communication: they serve as markers of attitudes, reputation, and significance; we also try to catalogue attempts to “rename” different places. Another task was to find the symptoms of such anxiety in online communication. (shrink)

This paper analyzes the role of the architectural concept in the creation and life of the city. Aiming to identify the urban qualities in the concept, I introduce the distinction between the first and the second object of architecture, where the former represents the architectural concept, which then materializes its authenticity in the latter, that is, architecture’s real state. Within this temporal order of architectural creation, the paper focuses on the transition from the first object to the second, in which (...) the (urban) reality is assumed to be altered by producing the architectural concept. In explaining such alteration, I employ the dialectics between concept and context. My main hypothesis is that to define the architectural concept necessarily implies the definition of its context, that is, the representation of its real exteriority. At the urban level, the inevitable particularity of architecture becomes an aesthetic quality, thanks to which the impossible task of de-fining the city is overcome and made irrelevant for reaching the state of (urban) conjunction. With every architectural concept being realized, the urban reality becomes altered, or multiplied. The urban contextualization, in this sense, implies not simple summation, but rather conjunction of at least two different concepts, whose difference, however, originates from the act of fundamental disjunction. To explain this paradox, I employ Hegel’s notion of aufheben, aiming to reconcile the radical architectural opposition between the conceptual and the contextual, in favor of the idea of the multiplicity of realized concepts – that is, second objects of architecture. What in architecture appears as an opposition of concept and context, serves on the urban level to overcome the problem of (contextual) finitude of the city, and then produce a new, positive difference within it. (shrink)

In my paper, I establish an Ingardenian phenomenological ontology of "virtualized ficta", i.e., fictional entities introduced to virtual gaming. The first Section of my paper provides an ontology of virtualized ficta, focusing primarily on their ‘‘existential moments’’. But in order to have a firm grasp of the ontological aspects grounding the virtual work, it’s important to engage its strata. This is what I attempt to do in Section 1.2. Virtualized ficta’s intentional dependencies are strongly manifest in what I call the (...) ‘‘strata of the virtual work’’. That is, I repurpose Ingarden’s strata of the literary work, the picture, and the film to showcase that virtualized ficta, from the bottom up (i.e., from their pure ontology to aesthetics) are purely intentional entities. In short, I argue for a purely intentional account of virtualized ficta as ficta-made-virtualia, whose ontological status is determined by the creative acts of game developers and gamers. (shrink)