By the rise of human advancements in the era of the digital technology revolution, Illustration in all aspects of human life, especially in the creation of artwork and architecture, surpassed. In such a way, the focus of attention is on the eyes and sight of the human being. This has been expanded in the process of designing and creating space. The illustration is the basic principle of architectural design, and the neglecting of other senses reduces the level of human perception (...) and consciousness from the space. Accordingly, it can be questioned: What is the relation of the body with space? What the role of lived experience in the process of creating a place is? In this research, it has been attempted to answer these questions based on the philosophical basis of interpretation with the qualitative approach. The results of the discussion show that the components of the design process and the creation of place are found to be eternal, based on "eternal life dimensions of man" including his " lived experience", "fictitious forms in embodied memory," and "Collective and individual memories". In presentation of design process model, creating place, while responding to the practical aspect, immediately begins its journey into the world of imagination, interdisciplinary imagination, myths, and the metaphorical meaning of the presence of man, which is in the light of his consciousness, and is based on his experience of life, and all his scientific and professional skills to achieve the best respond. (shrink)

The aim of this essay is to contribute to the development of a paradigmatic shift in how design is understood, transformed and practiced in the Global South. It does this by establishing the case for building a strong contextual relation between design, colonialism, and the mobilised counter-agency of decoloniality. Thereafter, design for/by the Global South is presented within a critical epistemological reframing subordinate to a situated imperative of the ‘Sustainment’.

Buddhism has always produced epistemological systems, and those of the Mahāyāna, in particular, always showed knowledge and perception to be inherently delusive. “Higher” forms of Buddhism have a degenerative philosophy of history according to which a sort of Golden Age was disrupted by the rise and gradual development of knowledge and the delusion inherent in it, which have reached their apex in our time – the final phase of the “Era of Darkness.” From this standpoint, this paper intends to show (...) science, in which Marcuse saw an inherent instrumental/technological interest, to have been developed by delusion and to have simultaneously furthered the development of delusion, to the point at which they begot the deadly ecological crisis proper to this concluding phase of the Era of Darkness – which reveals as such the delusion at its root, achieving the latter’s empirical reductio ad absurdum and offering us the possibility of eradicating it and thus healing our minds and, hopefully, our world. (shrink)

After decades of acrimonious debate on the nature of scientific knowledge, researchers in the human or social sciences are reaching a state of relative equanimity, a condition that may be characterized as a reflective pragmatism. Yet, even while the context has favored the development of new forms of research, the longstanding ocular metaphor of inquiry remains pervasive. That is, researchers continue the practice of observing what is the case, with the intent to illuminate, understand, report on, or furnish insight into (...) given states of affairs. And, while selectively useful, such an orientation is not only limited in potential but subject to a receding span of application. As I will propose, when the logics of reflective pragmatism are fully extended, we enter a new territory of understanding, one in which the vision of research is radically altered. We replace the captivating gaze on the world as it is with value based explorations into what it could be. This conception of a future forming orientation to research opens the way to new aims, practices, and reflections. (shrink)

This paper examines the role of formal, aesthetic elements in motivating moral action. It proposes that Blumenberg’s analysis of the existential settings of myth and metaphor provide a useful framework to consider the conception and function of the aesthetic symbol in Kantian moral philosophy. In particular, it explores the hypothesis that Blumenberg’s analysis of ‘pregnance’ and ‘rhetoric’ are useful for identifying and evaluating the processes involved in self-persuasion to the moral perspective.

Decolonial, postcolonial, and postmodern criticism is indebted to Frantz Fanon for revealing the hegemony of vision and visual language in Western imperial discourse. Yet, the import of Fanon's critique of coloniality reaches beyond a focus on vision into the sonorous. Attending to the often overlooked auditory dimension of Fanon's work, I argue, brings attention to the role of listening as a condition of possibility of a revolutionary consciousness. Listening to Fanon's careful descriptions of the experience of many Algerians of listening (...) to the National Liberation Front's radio broadcast, The Voice of Free and Fighting Algeria in “This is the Voice of Algeria,” I propose that what makes possible the institution of a revolutionary consciousness is listening to murmurs. Listening to the materiality of voice and sound rather than the propositional content of speech is revolutionary because it challenges core values central to the project of colonial modernity: metaphysical logocentrism and the fungibility to which colonial modernity strives to reduce colonized subjects. (shrink)