The Phenomenology of Everyday Life presents results from a rigorous qualitative approach to the psychological study of everyday human activities and experiences. This book does not replace scientific observation with humanistic analysis, but provides an additional perspective on significant human questions. The qualitative approach this book employs is grounded in the philosophical traditions of existentialism and phenomenology, which use dialogue as their major method of inquiry. These traditions are especially well adapted to encompass and describe human events and activities. In (...) addition, such events can be properly investigated only on the basis of a method sensitive enough to articulate the nuances of human experience and reflection. In this latter regard, it is important to note that insights deriving from literature and the humanities are equally as revealing of the human world as those from experimental psychology, biology or medicine. (shrink)

This paper begins with a brief description and analysis of Harcum's "Behavioral Paradigm for a Psychological Resolution of the Free Will Issue" focusing on issues concerning first-person and third-person perspectives in psychological research and theory. This consideration is expanded to cover a variety of related issues including "unconscious processes" and philosophical discussions of free will. Two studies, similar to Harcum's original study, but analyzed from a first-person perspective, are reported and contrasted with Harcum's work. Results of these studies reveal that (...) different individuals provide different meanings for the same actions, e.g., sitting in one or another seat in a college classroom. The significance of these findings for psychological research concerning the experience and concept of free will are discussed in light of an alternative, existential-phenomenological approach to psychology. (shrink)

Various historical sources from the Renaissance--including transcripts of trials for witchcraft, writings on demonology and textbooks of pharmaceutical botany--describe vegetal ointments prepared by women accused of witchcraft and endowed with marked psychoactive properties. Here, we examine the botanical composition and the possible pharmacological actions of these ointments. The results of our study suggest that recipes for narcotic and mind-altering salves were known to Renaissance folk healers, and were in part distinct from homologous preparations of educated medicine. In addition, our study (...) reveals an unexpected connection of these vegetal psychotropes with archaic chtonic beliefs, confirming the tight association between rituals and cults entered on the Underworld and the image of the Medieval witch. (shrink)

Previous chapter Eurhythmy as Due Proportions – Vitruvius' De architectura Marcus Vitruvius Pollio was an architect, as well as a civil and military engineer. He served under Caesar as senior officer of artillery, probably as head of the experts and in charge of the soldiers operating the machines. He wrote a world-famous work entitled De architectura which is dedicated to - Sur le concept de rythme – Nouvel article.

What should our buildings look like? Or is their usability more important than their appearance? Paul Guyer argues that the fundamental goals of architecture first identified by the Roman architect Marcus Pollio Vitruvius - good construction, functionality, and aesthetic appeal - have remained valid despite constant changes in human activities, building materials and technologies, as well as in artistic styles and cultures. Guyer discusses philosophers and architects throughout history, including Alberti, Kant, Ruskin, Wright, and Loos, and surveys the (...) ways in which their ideas are brought to life in buildings across the world. He also considers the works and words of contemporary architects including Annabelle Selldorf, Herzog and de Meuron, and Steven Holl, and shows that - despite changing times and fashions - good architecture continues to be something worth striving for. This new series offers short and personal perspectives by expert thinkers on topics that we all encounter in our everyday lives. (shrink)

A calm has succeeded the clamour of the Virgilian Bimillenary, to be shattered all too soon by the commemoration of Augustus. In this brief interval there may be leisure to examine a question touching the career of Asinius Pollio and the history of the years 42·39 B.C. The Virgilian celebrations evoked two outstanding studies of the Fourth Eclogue, a poem dedicated to Pollio and written during—or perhaps just after—the consulate of Pollio . Carcopino restated and sought to (...) reinforce an opinion widely held in late antiquity among commentators of Virgil—the miraculous child of the poem was Saloninus, a son of Asinius Pollio: the child was born, he suggests, soon after the conclusion of the Pact of Brundisium, and shortly before the end of the year 40, while Pollio was still consul. At the time Pollio was at Salonae, on the coast of Dalmatia, which city his son's name commemorates. Tarn, however, adopting and reinforcing the theory put forward by Slater in 1912, argued that the Fourth Eclogue shows traces of being an epithalamium in form, designed to celebrate the wedding of Antony and Octavia, the seal and bond of the Pact of Brundisium which was concluded in the autumn of the year 40 between the dynasts Antony and Octavian; Pollio, a friend and a partisan of Antony, acted as his plenipotentiary in the negotiations; the new epoch was thus introduced under the auspices of Pollio, ‘te duce’; the child was the child to be expected from the marriage of Antony and Octavia; it turned out in fact to be a girl. (shrink)

Marcantonio Raimondis so-called Caryatid Façade has received scant attention, yet it occupies an important place in the printmakers oeuvre and was widely admired and imitated in the sixteenth century. The image, which features an architectural façade adorned with Caryatid and Persian porticoes and an oversized female capital, does not fit easily with the usual narrative about Raimondis career in Rome, summed up in Vasaris account that he collaborated with Raphael to publicise the masters storie. Rather than being an illustration of (...) a religious or mythological subject, it brings together architectural fantasia, archaeology and Vitruvian studies, reflecting on the origins of the orders and the nature of architectural ornament. Arguably, it is also an indirect trace of Raphaels unfinished projects to reconstruct Rome and to collaborate with humanist Fabio Calvo and others on a new, illustrated edition of Vitruvius. (shrink)

In a recent note, D. Braund has challenged my identification of the Pollio at whose home in Rome Herod's sons Alexander and Aristobulus stayed in 22 b.c. as Gaius Asinius Pollio, the famous consul of 40 b.c., who was a close friend of Julius Caesar and to whom Virgil dedicated his Fourth Eclogue. Braund's argument rests upon five grounds. If this Pollio were a man of the stature of Asinius Pollio, we would expect Josephus to make (...) his identity clear and not to describe him solely as one of Herod's most devoted friends . Josephus' reference to Pollio here is different from the definite references to Asinius Pollio elsewhere in Josephus, where he is referred to as Asinius or Gaius Asinius Pollio . In the latter passage his name is spelled Πωλίωνος, whereas the name of the host of Herod's sons is spelled Πολλίωνος. When Herod sent two other sons to Rome, they stayed ‘with a certain Jew’ , and hence it seems likely that the two other sons likewise stayed with a Jew. Asinius' role in the elevation by the Roman Senate of Herod to the kingship of Judaea was no greater than that of any other magistrate. (shrink)

In a recent note, D. Braund has challenged my identification of the Pollio at whose home in Rome Herod's sons Alexander and Aristobulus stayed in 22 b.c. as Gaius Asinius Pollio, the famous consul of 40 b.c., who was a close friend of Julius Caesar and to whom Virgil dedicated his Fourth Eclogue. Braund's argument rests upon five grounds. If this Pollio were a man of the stature of Asinius Pollio, we would expect Josephus to make (...) his identity clear and not to describe him solely as one of Herod's most devoted friends. Josephus' reference to Pollio here is different from the definite references to Asinius Pollio elsewhere in Josephus, where he is referred to as Asinius or Gaius Asinius Pollio. In the latter passage his name is spelled Πωλίωνος, whereas the name of the host of Herod's sons is spelled Πολλίωνος. When Herod sent two other sons to Rome, they stayed ‘with a certain Jew’, and hence it seems likely that the two other sons likewise stayed with a Jew. Asinius' role in the elevation by the Roman Senate of Herod to the kingship of Judaea was no greater than that of any other magistrate. (shrink)

The present paper proposes a new reading of one of the most obscure passages of De Architectura; in I, 1,3 Vitruvius claims that in architecture there is always a signifier and a signified, but his approach differs from Quintilian’s as presented in the latter’s Institutio Oratoria. Vitruvius’ is closer to Chrysippus approach, but he fails to mention the third constituent, the tynchanon. This omission is probably due to the fact that Vitruvius speaks of designs rather, than of (...) existing buildings. What can successfully signify a proposed building is, according to my reading, the design and erection of a building that is easily recognized by the public as realizing the intentions of the community to erect the proposed building. Such successful signification constitutes the ultimate criterion for good architecture. (shrink)

The domestic spaces of the built environment are traditionally associated with residential architecture. But the domestic spaces can also extend out, metaphorically, into familiar public spaces in which one may feel at home, and also extend inwards into self-perception, insofar as you may say that you dwell within yourself. This article begins by recalling Vitruvius’ fundamental notion of architectural utilitas concerns accommodating not a building’s owners but foreigners and strange outsiders. Vitruvius’ view on utility heavily favoured architecture’s socio-political (...) function, and the guests he believed that architecture ought to accommodate were not merely a home’s owners or their visiting friends, but those people who are more distant from a home’s owners: those who are stranger and less well understood, known as xenos and who ought to be respected under the Ancient Greek religious and ethical principle of xenia. It is on these grounds that Vitruvius makes an ethical critique of residential architecture in favour of the virtue of public architecture. Next the reach of xenia is proposed to extend towards those who are different not merely because of ethnic differences but cognitive and sensory differences. Such accommodations are today accounted for as part of accessibility design and salutogenic design. Similar conceptions are noted in Nietzsche’s notion of an “architecture for the perceptive” and the surrealist’s interpretation of the minotaur as a hybrid not only of animal and human but a hybrid of civilised citizen and barbarian outsider. Together these sketch out an expanded sense of the domestic that includes public spaces designed to accommodate strange outsiders and the hybrid forms used to signify them. (shrink)

This extended, provocative, and extensively documented meditation addresses Vitruvius’ intention in producing the first treatise on architecture, the only one surviving from antiquity, which was dedicated to Caesar Augustus. McEwen argues that in assembling various preexisting fragments into a coherent whole and putting that whole into words to produce “the whole body of architecture,” Vitruvius is producing the counterpart to Augustus’ program, that of making a coherent unity from the spatial fragments of the world under Roman rule and (...) from their scattered peoples. Vitruvius explains how this architecture would serve, embody, and make visible the imperial program in the new and renewed cities and the fora, temples, and theaters prominent in them. (shrink)

Vitruvius has something interesting to say at De architectura 2.8.8: Non enim quae sunt e molli caemento subtili facie venustatis, non eae possunt esse in vetustate non ruinosae. itaque cum arbitrio communium parietum sumuntur, non aestimant eos quanti facti fuerint, sed cum ex tabulis inveniunt eorum locationes, pretia praeteritorum annorum singulorum deducunt octogesimas et ita – ex reliqua summa parte reddi pro his parietibus – sententiam pronuntiant eos non posse plus quam annos LXXX durare.Those structures made of soft rubble, (...) for all their subtle attractiveness, are not the ones that will resist ruin as time passes. And thus when assessors are appointed to evaluate party walls, they never assess soft rubble walls according to their initial cost, but rather, when they look at the price recorded in the original contracts, they deduct 1/80th of that sum for each subsequent year, and the remaining amount is fixed as the current value of the walls. They have rendered judgement, in effect, that such walls cannot last more than 80 years.By contrast, mud-brick walls were not depreciated at all if they were standing when assessed. The calculation performed for concrete walls demonstrates clear understanding of what we call ‘depreciation’ or ‘amortization’ in ancient Roman thought. It appears to have been overlooked to date. (shrink)

The article analyses innovative ethno-geographical systems of the first century BC. During Hellenistic times, the science of geography made use of increasingly advanced mathematical and astronomical skills to ensure a scientific basis for the cartographical project; however, this geographical research apparently disregarded the natural and human environments. There is a paradigm change in the referred century. The Stoic Posidonius focuses on the concept of zones found in the early philosophers and finds a compromise between the ‘scientific’ and the ‘descriptive’ geographies. (...) Likewise, Vitruvius conveys a geographical system which associates climatic, somatic, and psychic features. (shrink)

This article seeks to show the effect that Vitruvius’ probable social status had on the contents of the De Architectura. The education proposed for the architect, the receipt of a wage, and pleasure all shape the treatise in significant ways. The article supplements these discussions with a close reading of a section of the De Architectura hitherto neglected in the secondary literature: the cameo appearance of Aristippus in the preface to Book 6. Vitruvius arguably uses the figure of (...) Aristippus, the pleasure-loving philosopher whom Vitruvius offers to the reader as a stand-in for the architect, to focus and negotiate further the issues of status, pay, and pleasure. (shrink)

This article argues that Vitruvius’ description of Julius Caesar's ‘discovery’ of the larch (larix, De arch. 2.9.15–16), previously read as a journalistic account of the author's first-hand experience in Caesar's military entourage, should instead be interpreted as a highly crafted morality tale illustrating human progress thwarted. In the passage, the use of larch wood to construct a defensive tower renders the Alpine fortress at Larignum impregnable to assault by fire; only the fear aroused by siege provokes the inhabitants to (...) surrender to Caesar and his troops (2.9.15–16). Nevertheless, the outcome of this discovery is not a complete victory, because the logistics of importing this remarkable timber to Rome are as yet insurmountable (2.9.16). Once the siege of Larignum is recognized as a diptych to Vitruvius’ narrative of the origins of civilization, in which fire and wood likewise play essential roles (2.1.1–7), and compared with similar aitia and source histories across the De architectura, it becomes clear that Larignum and its resources emblematize obstacles to a Vitruvian conception of imperial success, in which the city of Rome catalogues and indexes architectural knowledge amassed throughout the empire. (shrink)

This work discusses the origin of the architect and the architecture presented in the treatise _De Architectura_ by Vitruvius and its association with imitation. It is discussed the Vitruvian notion of the progression of humanity and its connections with the architect and the establishment of Architecture as the science of the architect. The proposal of training for professionals from various areas is analyzed, which would guarantee, according to Vitruvius, a generalist training and at the same time specialized in (...) their field. It also discusses the attributes necessary, according to the author, for a good professional, which would allow him to achieve recognition for his authority. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Architectural Theory, Volume 1: An Anthology from Vitruvius to 1870Peg RawesArchitectural Theory, Volume 1: An Anthology from Vitruvius to 1870, edited by Harry Francis Mallgrave. Malden MA, Oxford, Victoria: Blackwell Publishing, 2006, 590 pp., $49.95.This anthology is a rich and comprehensive documentation of the key stages that construct Western architectural theory, from Vitruvius's classical writing to Gottfried Semper's theories in late-nineteenth-century Europe. Comprised of 229 (...) texts by these and other significant writers of architectural theory, it represents an extremely valuable resource for architectural design, history, and theory education and, more broadly, for aesthetic education, art history, aesthetics, and visual culture. Professor Mallgrave's career as an architectural historian and theorist at the Illinois Institute of Technology, and editor of Architecture and Aesthetics for the Texts and Documents Series at the Getty Research Institute, has enabled him to bring together a large number of canonical texts by architects and writers, including Alberti, Palladio, Vasari, Perrault, Wotton, Wren, Soufflot, Blondel, Boullée, Ledoux, Soane, Reynolds, Pugin, Viollet-le-Duc, Ruskin, and Greenough. In addition, Mallgrave has selected important contextualizing texts that inform the philosophical, cultural, and aesthetic development of the discipline by writers such as Rousseau, Voltaire, Montesquieu, Morris, Chambers, Winckelmann, Locke, Hume, Ramsey, Burke, Walpole, Price, von Schlegel, Wolff, Jefferson, Emerson, Hugo, Zola, and Leibnitz.Six stages of development are laid out, beginning with the Classical and Renaissance periods in part I. In part II the debates about Classicism in France and Britain develop, leading into part III, in which texts from the Neoclassical and Enlightenment debates in Europe take precedence. In part IV, Picturesque and Sublime theories are documented, from which part V turns to consider the importance of Historicism in the nineteenth century and, finally, in part VI the impact of Historicism is examined in relation to developments in industrialization.Introducing each part, Mallgrave succinctly highlights the historical, cultural, and political structures that underpin the development of architectural ideas and debates during the period. Within each part, internal sections further distinguish the particular ideas that preoccupied specific individuals and groups to comprise different theoretical positions. Part II, for example, is divided into the nationalist differences between "French Classicism: Ancients and Moderns" and "British Classicism and Palladianism," and part IV identifies key texts that contribute to the theorization of eighteenth-century aesthetics in three stages: "Sources of the Picturesque," "Toward a Relativist Aesthetics," and "Consolidation of Picturesque Theory." In addition, Mallgrave introduces each individual text, drawing attention to the author's intellectual ambitions and the contemporary debates in which their contribution is constructed. Architectural [End Page 111] theory is therefore characterized as a discipline that is made up of dynamic discussions, which are frequently unresolved and irregular in their formation. Diverse and opposing agendas are pursued, both within and between different institutions, academies, and communities, including the late-sixteenth-century "stylistic battles" of Alberti and Serlio's treatises, which were developed out of Vitruvius's ten "books" of architecture; the pluralism of styles in the United States in the mid-nineteenth century that was comprised of puritanical influential theories, Gothic and French Classicism, and the new generation of American architectural theorists; and the emergence of a German architectural theory within the political disputes that led to the unification of Germany in 1871. Architectural theory is therefore firmly constructed in relation to social, material, cultural, and political systems and frameworks.This colorful construction of architectural theory is evident, especially in those sections that are central to Mallgrave's ongoing research interests, in the tension between the rational, technical, and empirical discussions that inform seventeenth-, eighteenth-, and nineteenth-century aesthetics. Running through parts II and III, for example, is one of the most drawn-out and bitter disputes, which dominated architectural theory in the seventeenth- and eighteenth-century French Academy of Architecture. Focused on the value of Vitruvius's Roman origins of Classicism, versus revivalist ambitions to retrieve the ornamental Classicism of Greek and Gothic styles, this great quarrel occupies the texts, letters, essays, and articles by architects and writers, including Blondel, Perrault, Piranesi, Soufflot, Winckelmann, Le Roy, Boullée, and Ledoux. But this debate is also important in the context of... (shrink)