A hypertext learner navigates with a instinctive feeling for a knowledge. The learner does not know her queries, although she has a feeling for them. A learner’s navigation appears as complete upon the emergence of an aesthetic pleasure, called rasa. The order of arrival or the associational logic and even the temporal order are not relevant to this emergence. The completeness of aesthetics is important. The learner does not look for the intention of the writer, neither does she look for (...) significance. Lexia has a suggestive power and she is suggested in the arrival of aesthetics. Hypertext learning does not depend on communication. The learner in her pleasure transgresses the bounds of space-time to be in communion with several writers/learners. Hypertext learning does not appear to be fundamentally different from the analog learning; however, in performance, as in navigation, the learner assumes a mental state that helps her in her emergence into aesthetic bliss, of an arrival to the completed lexial navigation. This completeness is owing to aesthetics and is not owing to either the semantics or the query-fulfilling qualities. (shrink)

In our culture, intelligence, emotions and embodied intuitions continue to be seen as separate categories. The body is regarded as a medium of identity as well as social and sexual appeal, but neglected as the ground of embodied existence and silent knowledge, or the full understanding of the human condition. Prevailing educational and pedagogic practices also still separate the mental and intellectual capacities from emotions and the senses, and the multifarious dimensions of human embodiment.

Care theory offers a way to overcome a weaknessof liberalism – its reluctance to intervene inthe private lives of adults. In caring for thehomeless, we must sometimes use a limited formof coercion, but our intervention is alwaysinteractive, and the process of finding asolution is one of negotiation between theneeds expressed by the homeless and the needswe infer for them.

A spoon is an ordinary and easily recognizable thing. As a utensil for eating and feeding, a tool for cooking and serving, or perhaps a collection of memories, this article reflects on a spoons’ place in our lives. The shape of a spoon and other significances are considered.

This paper marks the launch of a new accounting and business ethics Web project called Tender Nation. The objective of the site is to provide an emotionally supportive resource and community for the discussion of accounting and business ethics issues by accounting practitioners and accounting students. The paper explains the rationale behind the development of the site and is split into five sections. Section one develops a short critique of the development of the Web and discusses the extent to which (...) it provides an opportunity for critical engagement in the economic sphere. Section two reviews the Web based accounting and business ethics resources currently available and draws on some well established ethical theory to explain how the objectives of Tender Nation differ from other Web based attempts to critically and ethically engage with the economic sphere. Section three provides an outline of the structure and content of the site. Section four presents a survey of students'' initial responses to the Web site and the concluding section discusses plans to develop the project further. (shrink)

In this paper the author explores certain fulfilling personal experiences that he describes as the presencing of space, i.e. the way in which an individual’s spatial involvement may put him or her in contact with reality as a whole. These experiences are investigated from a phenomenological perspective, and the differences between them and other similar experiences, such as that of the sublime or topophilia, are highlighted. A neologism is introduced: topoaletheia to name a distinctive type of spatial experience. This concept (...) may enrich the discussion about our involvement with space in our built environments. (shrink)

This PhD thesis examines the concept of poiesis, that is ‘calling into existence that which was not there before’, in the context of obstruction in studio practice. It poses the question ‘Is there a methodology that engages with obstruction which in turn calls new work’? In this thesis, the concept of poiesis emerging from the late Dr. Murray Cox’s ‘Aeolian Mode’, is analyzed alongside a concept of praxis, (a philosophical companion to poiesis), familiar to artistic practice. This thesis describes the (...) orientation of the original idea, The Aeolian Mode, clinically developed by Dr. Murray Cox in Broadmoor Psychiatric Hospital. This PhD seeks to identify if there are similar ‘tenets of approach’ held within the methodology of ‘The Aeolian Mode’, that would be useful or are identifiable in artistic studio practice. This thesis draws on the work of the philosopher, Professor Richard Kearney, specifically Kearney’s ideas on the necessity of ‘the other’ for ‘radical possibility’ to occur. It maps a context of both Freudian and Jungian interpretations of art practice, identifying how these ideas have shaped the way art is seen today. Furthermore, it challenges the Freudian idea of ‘pathography’ and favours a Jungian approach of ‘individuation’ in the understanding of creative processes. It develops a ‘methodology of the conversation’, interviewing students, established artists, tutors about their approaches to obstruction/poiesis in art practice. Additionally, it examines my own obstruction to painting and identifies the methodology that released me from this obstruction. Conducting these interviews on art practice has enabled me to confirm my initial concerns about Freudian ‘pathography’ whilst validating the possibility of the Jungian concept of ‘individuation’ being of use to art practice. Finally, this PhD discusses the implications for further study and research, which have emerged during the ‘methodology of the conversation’ and the task of dissolving my obstruction to painting. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

I have used practice as method to investigate the creative potential of portable projectors, and theoretical approaches to reflect on: 1. the perception of the environment and its textures, 2. the sense of place-making and being while in motion, 3. the portability and collective mediation of the environment, and 4. the collaborative process of participation. These four themes emerged from the four video walks I developed during the research: The Surface Inside (2011), I-Walk (2012), Walk-itch (2013), and (wh)ere land (2014). (...) To delve into the philosophical nuances and practical outcomes, I have paired the four video walks with the four themes. This research approach resembles the design process, where practice develops in the action of reflection (Sch¨on,1983). The thesis and portfolio are the result of an iterative practice-reflection process which is based on the thread metaphor. The experience of being and walking in the environment is proprioceptive (J. J. Gibson, 1986) and can only be partially conveyed through audiovisual records. People experience the complex texture of the environment in motion (i.e. accretion of surfaces). While moving, they thread their own paths into the environment (Ingold, 2007) and establish links with the environment, technology and others. As they move, people experience the texturality of the surfaces they encounter. Video records captured with visual apparatuses (Flusser, 2000) are a fraction of the points of observation a person may have adopted while walking in and experiencing the environment. These records are likely to be created with PEDs, shared in digital environments and accessed on digital screens. When these records are experienced on digital screens, the texture of the environment is reduced to a flat surface. PEDs, with their digital screens, are carried around everyday and enable people to communicate with others, to collect and share audiovisual material, and to experience hybrid environments where tangible and digital realms converge (Coyne, 2010). Audiovisuals can be accessed anywhere and are no longer dependent on the architectures that hosted them in the past. Yet, PEDs may also isolate people from their immediate surroundings and favour introspective engagement with audiovisual content, digital others and digital environments (Turkle, 2011). The size of PEDs limits the number of people that can engage with the content at only one time. Pocketsize devices tend to be used individually, and their audiovisual content played through digital screens and headphones which foster cocoon-like engagement. Through the four video walks, I investigate how portable projectors may be used to challenge this inward looking mode of experiencing audiovisuals on flat digital screens, and to devise participatory events where people thread their paths in the environment, and project and engage with audiovisuals together. In the video walks, I invite people to move with projections and explore mediated public environments. Instead of sitting in front of fixed projections or looking at digital screens, people experience and share visuals while walking and projecting them in the environment. Portable projectors are starting to be embedded in mobile phones and other portable electronic devices (PEDs), and this presents new challenges and opportunities to creative practitioners. Thus, I study the affordances of portable projectors and develop artworks where participants walk, project visuals and explore textures in the environment collectively. (shrink)

Drawing on the phenomenology of Merleau-Ponty, this paper describes the role of habit in the cycle of preconfiguration andreconfigurion of place in architectural practice, especially in the design of homes—les habitations—in which habit and inhabitation intertwine. In this paper, Proust’s novel provides the primary examples of the intertwining of habit and inhabitation. Proust shows us that an artist (or architect) acquires a relation to a prefigured place into which she or he is already thrown and can only reshape that world (...) from the inside out, not the top down. The paper provides an overview of the influence of place in Proust’s novel, then relates these examples to Merleau-Ponty’s reflections on place, along the way considering Merleau-Ponty’s brief mentions of architecture and whether we can justifiably apply his painting-based aesthetics to architecture. Finally, the paper suggests what this might mean for architectural design practice, especially for new digital tools that use gesture to better reflect an embodied relation to place.The program of the paper is to trace the origin of “program”—in its architectural sense of the use-structure of a building and its mediation by habits and inhabitation in the design process. The design process—right down to whether or not architects use pens and pencils or digital tools—must come up for revision if phenomenological evidence (both literary and philosophical) is truly to transform the practice. (shrink)

Based on insights of phenomenology, this article aims to contribute to a comprehensive understanding of embodied space and place of and for leader- and followership in organisations. From an interrelational perspective, the “spacing” and implacement of leadership and followership will be interpreted as local-historical and as local-cultural processes. Linked to questions of distance of leadership, embodied face-to-face interaction will be critically compared with distant, non-localised, displaced relationships and tele-presence mediated by information and communication technology. In addition to outlining some links (...) to “potential space” and place-responsiveness by concluding some implications, problems and perspectives on research of embodied space and place forleadership in organisation are discussed. (shrink)

While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, (...) there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski. (shrink)

Translated from: W.V.O.Quine, W. H. O. (1986): Philosophy of Logic. Second Edition. Harvard University Press. Cambridge, Massachusetts and London, England, 47-61.

The current studies have revealed that there are some similarities between the philosophical foundations of Sohrab Sepehri’s poems and some phenomenological notions. The essence of Sepehri’s message as well as that of phenomenologists is that human being should discover himself or herself through his or her pure cognitive nature, and not from science or books. Following a descriptive and content analysis approach, in this study, we have dealt with the phenomenological thoughts on the creation of some innovative image in Sepehri’s (...) poems. It is assumed that some of Sepehri’s images cannot be revealed just by literary analysis, and a philosophical perspective is required too. To create images like ’a mere bird’ and ’the frank sunlight’, Sepehri has resorted to some notions in phenomenology. Edmund Husserl has opened a novel area of thought called ’epoche’. It refers to a stage of cognition in which the mere self or the thoughtful self and observer suspends all his or her judgements on the existence of the world. When Sepehri pens; ’the mere bird sings.’, his goal is not just creating a foregrounded and innovative image, but indeed he attempts to give weight to a concept like ’epoche’ by his own philosophical impressions. Keywords: image, poem, Sepehri, phenomenology, epoche. 1. Introduction Sohrab Sepehri is one of the most celebrated figures of the Iranian contemporary poets. His distinct language and thought has attracted the attention of a great number of readers of poems. In this study, we have analyzed a type of his images through Edmund Husserl’s phenomenology. The current studies indicate that there are some similarities as well as matches between the philosophical foundations of Sohrab Sepehri’s poems and some phenomenological notions. In effect, this study does not aim to give a thorough picture of phenomenological aspects of Sepehri’s poetry. However, in some cases a brief explanation on similarities is provided. An invitation to intuitive understanding and direct, immediate wisdom about the surrounding world and the unity of subject and object, and dealing with the essence of things constitute the main teachings of Sepehri’s poetry, teachings which go hand by hand with phenomenological notions. The gist of Sepehri’s poetry is that human being must acquire an understanding directly from nature, and not from science or books. Following a descriptive and content analysis approach, in this study, we have dealt with the phenomenological thoughts on the creation of some innovative image in Sepehri’s poems. It is assumed that there are some of Sepehri’s images and rhetorical techniques are not revealed just by literary analysis, and some domains such as philosophy are also required too. To create images like ’a mere bird’, ’the frank sunlight’, ’the mere forehead’, ’the mere instant’ and ’the white event’, Sepehry has resorted to some notions in Husserl’s phenomenology. In effect, in creating such images, Sepehri has paid attention to the idea of ’epoche’, a notion in Husserl’s phenomenology. ’Epoche’ is a stage of cognition where ’the mere I’ or ’the thoughtful and observing I’ suspends all judgements on the existence of the physical world. By saying ’The mere bird sings’, Sepehri is not merely providing an innovative and foregrounded image, but also relies on philosophical notions in order to refer to a concept like ’epoche’. 2. Findings ’Epoche’ suspends any philosophical judgment on the real world and pushes presuppositions related to a specific area to the periphery. In an expression like ’mere bird’, Sepehri comprehends bird without any sort of characteristic and feature. The idea of ’seeing in a different way’ maintains that the observer should leave all presuppositions and comprehends the world directly. Sepehri connects to the essence of bird, forgetting any distinctive idea about the bird. Relying on an idea similar to ’epoche’ he attempts to draw the attention of the reader to the very bird, without any judgment about the bird. In the poem ’There was no lake, there was a white event and nothing else’, the rest would be interpreted by the reader depending on his own life-world. Sepehri has such approach towards the world and he does not let presuppositions make us see vulture and clover flower as ugly and debased things. He recommends his readers to suspend their presuppositions on the real world. As such, sometimes philosophical perspectives provide novel images to deeply comprehend literary texts. 3. Argument It is not clear whether Sepehri had been familiar with ideas of phenomenologists such as Husserl. Maybe he was exposed to such ideas while studying in Faculty of Fine Arts of Tehran, or during his trips to Europe and U.S. It would also be possible that Sepehri had acquired such ideas through Krishnamurti’s thoughts. Likewise, a personal conduct is not impossible too. The distinct wording of Sepehri has made some of his poems ambiguous in such a way that critics had to evade some images by just general remarks. Here, it is argued that the attempts made by all critics to interpret linguistic and aesthetic aspects of such images are not fully successful as Sepehri’s images are the result of his philosophical insight. His motivation to create such images was philosophical rather than literary. Most of the excellence of these images lies in his philosophical framework and his novel look to the universe. Therefore, familiarity with phenomenological thoughts could help readers to understand Sepehri’s abstract images. Images like ’mere bird’, ’absolute forehead’, ’explicit sun’, ’explicit Vodka’, ’pure spot’, ’pure things’, ’mere lands’, ’clarity of pigeons’, ’no-discount decisive presence’, and ’persistent mournful color’ are waiting for philosophical reading rather literary interpretation. It is Sepehri’s philosophical thoughts and intuitive understanding of universe and life that have made him create such images, not just a tendency to bring innovation to his poems, a tendency popular among other poets. It seems that ’look’ and ’wonder’ in Sepehri’s poetry are poetic counterparts for phenomenological suspension, and even if they do not match together completely, these two conditions follow a phenomenological suspension. A ’look’ for this poet equals ’we should wash our eyes and see in some other way’ and this would be impossible unless a phenomenological suspension is occurred whereby all presuppositions are suspended. 4. Conclusion Sepehri has followed Husserl’s recommendation let alone he has been familiar with the philosopher’s theory or not, as firstly always his consciousness involved things in the real world; Secondly, Sepehri has always escaped the conceptual thinking. Shamisa’s and Shafiei Kadkani’s explanation of Sepehri’s poems involve conceptual thinking. Thirdly, in Sepehri’s poem, world acquires authenticity as it appears, and this world is distinct from the world made in Sepehri’s mind, and the independent world which is reflected in conceptual thinking. References - Aminpour, Qeysar. Anthology of Qeysar Aminpour Poems, 3rd Edition, Tehran, Morvarid Publishers. - Bachelard, Gaston. The Poetics Of Space., Canada: The Orion Press. - Baraheni, Reza. Gold in Copper, First Edition, Tehran: Author. - Bell, David. Husserl’s Thoughts,, First Edition, Tehran, Markaz Publishing Company. - Hoghooghi, Mohammad. Our Contemporary poetry Sohrab Sepehri, 13th Edition, Tehran: Negah Publishers. - Hosseini, Saleh. Silen Lilies: An Overview of Sohran Sepehri’s Poetry, 5th Edition, Tehran: Niloufar Publishers. - Husserl, Edmund. Cartesian Meditations, 2st Edition, Tehran: Ney Publishers. - Lyotard, Jean-Francois. Phenomenology, 1st Edition, Tehran: Ney Publishers. - Moran, D., money, T. The Phenomenology Reader, New York: Routlrdge. Norberg- Schulz, c. Architeture: Presence, Language, Place, Milan: Akira. - Rashidian, Abdolkarim. Husserls in context of his works, 2nd Edition, Tehran: Ney Publishers. - Sepehri, Sohrab. Eight Books. 36th Edition, Tehran: Tahoori Publishers. - Shafiei Kadkani, Mohammad Reza. Imagery in Persian Poetry, 9th Edition, Tehran: Negah Publishers. - Shamlou, Ahmad. Anthology of Works, First Book: Poems, 4th Edition, Tehran: Negah Publishers. (shrink)

This article looks at the politics of successive Conservative governments in Britain in the 1980s and ‘90s through the lens of the increasing politicisation of Paganisms in that period. A wave of moral panics in the late ‘80’s and early ‘90s concerning marginal communities – such as Ravers, New Age travellers and anti-road protesters – and their ‘riotous assemblies’, culminated in the Conservative Government of John Major enacting The Criminal Justice and Public Order Act of 1994. This was seen by (...) these communities as legislation against alternative lifestyles and, in some respects, an infringement of spiritual freedom. Using the case study of technoshamanism – a Pagan meeting of ‘rave’ culture and neo-shamanism – I wish to examine how the political and Pagan religious landscapes of ‘80s and ‘90s Britain intersected and led to politically engaged forms of Pagan practice often centred around grassroots lifestyle and environmental politics. This will be explored with especial reference to the politicisation of The Spiral Tribe, a technoshamanic collective of the early ‘90s, and their increasing involvement in resisting the 1994 Act and promotion of campaigns such as Reclaim the Streets. (shrink)

The pragmatic semiotic theory of Charles Sanders Peirce has a lot of practical benefits for enhancing visual communication in illustrations. His triadic theory of Semiosis focuses on the dynamic interrelationships between the concept to be communicated, how it is represented through a semiotic sign, and how this affects the success of how the concept is eventually interpreted. Peirce's pragmatic semiotic theory uses complex language, and although Peirce is embraced in some design disciplines, the language that defines Semiosis is problematic beyond (...) academia. This paper is an attempt to address this by providing illustrators with a basic introduction to how Semiosis can help to enhance the success of the visual communication in their illustrations. This is done by translating Peircean terminology into illustrator-centric language and providing an example of how the Semiosis is implemented in an illustration. Within the limits of a short paper, illustrators can begin to understand how the triadic nature of concept/representation/interpretation can benefit them during their ideation and sketching phase to author effective images. In doing this, this paper will mostly discuss iconic, indexical, and symbolic semiotic representation within pragmatic semiotic signs of the intended concept to be communicated in an illustration. This paper's aim is to enact a pragmatic turn in illustrators, in which Semiosis theory becomes more integrated within their practical work, by providing a more illustrator-centric dissemination of Peirce's semiotic theory. (shrink)

A critical phenomenology is paired with qualitative data in order to understand the character of subjective experiences of uncanniness through the encounter with art. We are confronted by art as the beings we have been, without recourse to the use of art as a way in which our beings might concretely improve themselves, either through rewriting themselves as part of the larger world or by giving ourselves a dedicated auto-history. It is this feeling of insubstantiality, borne on the currents which (...) move us away from all solid projects or monuments, that disconcerts us the most. The experience of this non-presence in art uncovers the absence of presence in being and world. We have been absented from ourselves in some ethically culpable manner, and to be fully present as beings who live on in the face of death, is to take into an interiority of being the Nothing which stands as our alterity. (shrink)

This article explores tacit knowledge of lived experience and how this form of knowledge relates to design research. It investigates how interior designers interpret user lived experiences when creating designed environments. The article argues that user experience is the basis of a form of knowledge that is useful for designers. The theoretical framework proposed in the article examines the nature of user experience and how it can be utilized in the design process. The study of lived experiences is contextualized within (...) aesthetic, subjective, and functional aspects of the interior design process, which requires users to express their meanings and needs. A case study is described to illustrate the various stages of this process. (shrink)

This dissertation responds to a recent zeitgeist and climate of controversy surrounding issues of "virtuality" and "simulation" Such terms are treated as problematic and essentially contested when framed in reference to notions of a fixed observable "reality" rather than considered in terms of socially constructed facts, relationships and identities. The concept of the "virtual stage" advanced in this thesis, refers to the current historical moment in communications technology development as well as to the dramaturgical perspective which informs the theoretical approach (...) and argument. (shrink)

This dissertation is based around conceptual conflicts introduced by the notion of rewilding and the challenges rewilding poses to place and cultural landscapes. Rewilding is a recent conservation strategy interested in the return of wilder, less human-managed environments. Often presented as an antidote to increasingly homogenized, organized, and managed environments, rewilding deliberately opens up space for the return of wild nature, typically by removing human elements that have obstructed or diminished its free reign or by reintroducing locally extinct species to (...) re-activate trophic cascades. There is, however, an increasing awareness that rewilding in many places will threaten cultural landscapes that are prized for their human meanings and histories. This dissertation does not attempt to resolve this conflict but instead takes a hermeneutic interest in it and tries to understand better what is at stake in such a conflict. This is attempted by means of a hermeneutic detour through the concepts of place and of wilderness, and ultimately the dissertation argues that instead of understanding rewilding simply as undermining notions of place, we should understand rewilding itself as placemaking. This conceptual work is informed by actual cases of rewilding and an examination of the conflicts arising out of the various modes of placemaking rewilding performs. Three modes of placemaking are demonstrated: wilderness placemaking, experimental placemaking, and place-regenerative placemaking. Taken in total, these reveal ways in which rewilding confronts us with relations with nonhuman others and with questions of belonging and not belonging that are increasingly at issue. (shrink)

‘Beyond their instrumental functions,’ writes Rivka Oxman in an article about design, creativity and innovation, ‘advanced digital and computational environments are also becoming tools for thinking design’. At the leading edge of creativity and innovation design does not only speculate the plausible, possible or potential, but pragmatically inserts such futures into the present must). Using concepts mainly from Deleuze, Guattari, Spinoza and Simondon, I will position such design speculation as pragmatic, divergent, complex and emergent. That is, as manifesting the technical (...) mentalities that provide the milieu in which we can show what we ‘might be capable of’. (shrink)

The major objective of this thesis is to provide an alternative to the predominant model of the Western urban home, arguing that it is more detrimental than beneficial to its inhabitants. In order to achieve this, it first explores the development of home through a genealogical analysis. It then considers the concepts with which it is traditionally connected, such as those of identity, safety, privacy and satisfaction, supporting that the idealised home hides numerous issues of concern. In order to form (...) a more comprehensive picture, the thesis draws on different philosophical approaches discussing the idea of home, while it explores a variety of contemporary habitation and home-making practices. The normative and overly-idealised domestic model, promoted in Western urban societies, is presented as detrimental both on a personal and on a social level. Therefore, alternatives are explored in Adorno’s ‘Hotel Room’, Jameson’s ‘Dirty Realism’ and Deleuze and Guattari’s ‘Nomadology’. The lack of viability characterising the abovementioned proposals leads to the examination of the Deleuzoguattarian concept of the Body without Organs; the home as a BwO provides the contemporary agents with the tools to reconstruct an autonomous space where they can recreate their personal discourse and influence the social ground accordingly. Through the analysis of home this thesis explores how and why it has been appropriated by systemic forces and highlights a very serious issue: the fact that our personal space is no longer personal. Simultaneously, a common concern of feminist and post-structuralist background is addressed regarding the process of self-redefinition and the ways to approach it. The response entails a reconstructed autonomous home with a respective influence on the public sphere. (shrink)

This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine the conditions of this critique. While (...) Kane argues that Schaeffer’s recourse to myth, coupled with his adoption of Husserlian phenomenology, leads to a closure of his inquiry and a failure to accommodate the contingency of his position, this paper argues that Schaeffer’s myth of the seashell brings into focus an open-ended, motivating phenomenological problem concerning subjectivity and objectivity that runs through his thought. Drawing on the philosophical work of Gaston Bachelard and Gilles Deleuze, this paper considers the epistemological significance of this moment in Schaeffer’s thought, suggesting a “problematic” account of the myth of the seashell that puts Schaeffer into conversation with contemporary work in epistemology. (shrink)

The dissertation presents a descriptive analysis of aspects of British fictional writing prefaced by a comparative analysis of cultural theory concerned with questions of place and socio-spatial relations-The general aim is to show how both the theory and the fiction negotiate elements of a relational poetics and politics of place in the context of negatively homogenizing tendencies in socioeconomic developments during the last thirty years of the twentieth century. In the first part, the writers of cultural theory are divided into (...) three preliminary areas, covering primarily Marxist, post-structuralist and environmentalist approaches to questions of place and its relations. The second and third parts then provide more detailed consideration of novels by Raymond Williams and lain Sinclair which have so far not been accorded substantial critical attention. The aim is to show how their approaches in the novels considered converge with aspects of the theory discussed in the opening part of the dissertation. In all cases, the writers are presented as producing 'partial mappings'. These are seen as offering perspectives of sufficient scope to provide effective criticism of, and possible alternatives to, negative and disorientating aspects of social relations affected by tendencies in capital accumulation which might be seen as endangering elements of social justice and equality, cultural heterogeneity, and ecological viability. The first part includes consideration of the poet Charles Olson and a related aim is to suggest how novels such as those by Williams and Sinclair might provide a significant complement to both theory and modem epic poetry in relation to questions of place. (shrink)

The book is an attempt to explore the affinities between contemporary critical theories and modernist and postmodernist American poetry. The analysis focuses on poststructuralist theories, notorious for their tendency to destabilize generic boundaries between literary, philosophical and critical discourses. The main argument and the structure of the book derive from Jacques Derrida’s essay “Che cos’è la poesia” [What is poetry?] in which the philosopher postulates the impossibility of defining poetry by comparing a poem to a hedgehog – prickly, solitary, untamed, (...) fragile and protective, rolling itself up into a ball at the first sign of danger or when in the hands of the reader-intruder. The metaphor captures thus the fragility of the relationship between poetry and the world. The book examines this relationship as exemplified by the erinaceous poetics of high modernists and their postmodernist followers In the study I employ also other oststructuralist theories, such as the notion of the text and the pleasure of the text formulated by Roland Barthes, the heories of metaphor as seen by Paul Ricoeur or Paul de Man, and gender-sensitive theories of Helene Cixous and Luce Irigaray. (shrink)

This research explores how human values and concerns are manifested and negotiated through the process of design. In undertaking this study, a variety of design interventions were explored to facilitate how values can be articulated and discussed amongst project stakeholders during the design process. These design interventions will be referred to as projects within the exegesis. In this exegesis, I will argue for the importance of a dialogic process among project stakeholders in the creation of a human-centred design practice in (...) communication design. This exegesis explains the central argument of the research and how the research questions were investigated. It presents a journey of the discoveries, learnings and knowledge gained through an inquiry of the research questions. The total submission for this research consists of the exegesis, exhibition and oral presentation. Through each mode of delivery I will share and illuminate how the research questions were investigated. (shrink)

With rapid changes in urban living today, peoples’ behavioural patterns and spatial practices undergo a constant process of adaptation and negotiation. Using “house” as a laboratory and everyday life and spatial relations of residents as a framework of analysis, the paper examines the spatial planning concepts in traditional and contemporary Iranian architecture and the associated socio-cultural practices. Discussions are drawn upon from a pilot study conducted in the city of Kerman, to investigate ways in which contemporary housing solutions can better (...) cater to the continually changing socio-cultural lifestyles of residents. Data collection for the study involved a series of participatory workshops and employed creative visual research methods, participant observation and semi structured interviews to examine the interlacing of everyday socio-spatial relations and changing perception of identity, belonging, socio-cultural and religious values and conflict. The inferences from the study showcases the emerging social and cultural needs and practices of people manifested through the complex relationship between residents, the places in which they live, and its spatial planning and organisation. For a better understanding of this complex relationship, the paper argues the need for resituating spatiality as a socio-cultural paradigm. (shrink)