This paper aims at revealing the various meanings of schools as more than built physical environments from a geographical-phenomenological (or ‘geo-phenomenological’) perspective. This paper consists of five sections: the first explicates the meaning of ‘geo-phenomenology’; the second reveals the meaning of ‘environment’ and a dialectics of strangeness and intimacy through geo-phenomenological analysis; the third examines the meanings of environment as ‘space’ and ‘place’ and the act of naming as the process of constructing meaning between humans and environment; the fourth section (...) attempts to explore the meaning of conceiving school as a particular environment; and the final is the conclusion. (shrink)

Conventional wisdom suggests that aesthetic experiences - those moments when the senses come to life - are important only after more basic needs have been met. In this inspiring wealth of provocative ideas, Yi-Fu Tuan demonstrates that feeling and beauty are essential parts of life and society. The aesthetic is shown to be not merely one aspect of culture but its central core - both its driving force and its ultimate goal. Beginning with the individual and the physical world, the (...) author's exploration progresses from the simple to the complex. Tuan starts by examining the building blocks of aesthetic experience - sight, hearing, smell, touch, taste - and gradually expands his analysis to include the most elaborate of human constructs, including art, architecture, literature, philosophy, music, and landscape. This leads him to the realm of politics, where he grapples with the fundamental question of the relationship between goodness and beauty, and of how the aesthetic can become a moral force within society. To guide the reader along this journey, the author describes how the aesthetic operates in four widely disparate cultures: Australian aboriginal, Chinese, medieval European, and modern American. Yi-Fu Tuan, one of our most influential and original thinkers, brilliantly conveys the profound fascination of multisensory reality, and in so doing enables us to make connections among even the most diffuse elements of our lives. While Tuan does not ignore human folly, Passing Strange and Wonderful is a celebration of the world around us, our experiences, and our creations. (shrink)

Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.

IN THE winter and spring of 1031,1 was invited to give a series of ten lectures at Harvard University. The subject chosen was the Philosophy of Art; the lectures are the origin of the present volume. The Lectureship was founded in memory of William James and I esteem it a great honor to have this book associated even indirectly with his distinguished name. It is a pleasure, also, te recall, in connection with the lectures, the unvarying kindness and hospitality of (...) my colleagues in the department of philosophy at Harvard. I am somewhat embarrassed in an effort to acknowledge indebtedness to other writers on the subject. Some aspects of it may be inferred from authors mentioned or quoted in the text. I have read on the subject for many years, however, more or less widely in English literature, somewhat less in French and still less in German, and I have absorbed much from sources which I cannot now directly recall. Moreover, my obligations to a number of writers are much greater than might be gathered from allusions to them in the volume itself. My indebtedness to those who have helped me directly can be more easily stated. Dr. Joseph Ratner gave me a number of valuable references. Dr. Meyer Schapiro was good enough to read the twelfth and thirteenth chapters and to make suggestions which I have freely adopted. Irwin Edman read a large part of the book in manuscript and I owe much to his suggestions and criticism. Sidney Hook read many of the chapters, and their present form is largely the result of discussions with him; this statement is especially true of the chapters on criticism and the last chapter. My greatest indebtedness is to Dr. A. C. Barnes. The chaptershave been gone over one by one with him, and yet what I owe to his comments and suggestions on this account is but a small measure of my debt. I have had the benefit of con versations with him through a period of years, many of which occurred in the presence of the unrivaled collection of pictures he has assembled. The influence of these conversations, together with that of his books, has been a chief factor in shapingmy own thinking about the philosophy of esthetics. Whatever is sound in this volume is due more than I can say to the great educational work carried on in the Barnes Foundation. That work is of a pioneer quality comparable to the best that has been done in any field during the present generation, that of science not ex cepted. I should be glad to think of this volume as one phase of the widespread influence the Foundation is exercising. I am indebted to the Barnes Foundation for permission to reproduce a number of illustrations and to Barbara and Willard Morgan for the photographs from which the reproductions were made. J. D. (shrink)

Yuriko Saito, the leading figure in the field, explores the nature and significance of the aesthetic dimensions of people's everyday lives. She argues that everyday aesthetics can be an effective instrument for directing humanity's collective and cumulative world-making project.

Aesthetic sensibility rests on perceptual experience and characterizes not only our experience of the arts but our experience of the world. _Sensibility and Sense_ offers a philosophically comprehensive account of humans' social and cultural embeddedness encountered, recognized, and fulfilled as an aesthetic mode of experience. Extending the range of aesthetic experience from the stone of the earth's surface to the celestial sphere, the book focuses on the aesthetic as a dimension of social experience. The guiding idea of pervasive interconnectedness, both (...) social and environmental, leads to an aesthetic critique of the urban environment, the environment of daily life, and of terrorism, and has profound implications for grounding social and political values. The aesthetic emerges as a powerful critical tool for appraising urban culture and political practice. (shrink)

Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the _body_ to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others. Perhaps above all, Merleau-Ponty's (...) insights about the embodied mind are a bold and refreshing challenge to the new era of virtual reality and artificial intelligence, as scientists and psychologists discover the centrality of the body to mind and intelligence. (shrink)

First published in 1945, Maurice Merleau-Ponty’s monumental _Phénoménologie de la perception _signalled the arrival of a major new philosophical and intellectual voice in post-war Europe. Breaking with the prevailing picture of existentialism and phenomenology at the time, it has become one of the landmark works of twentieth-century thought. This new translation, the first for over fifty years, makes this classic work of philosophy available to a new generation of readers. _Phenomenology of Perception _stands in the great phenomenological tradition of Husserl, (...) Heidegger, and Sartre. Yet Merleau-Ponty’s contribution is decisive, as he brings this tradition and other philosophical predecessors, particularly Descartes and Kant, to confront a neglected dimension of our experience: the lived body and the phenomenal world. Charting a bold course between the reductionism of science on the one hand and "intellectualism" on the other, Merleau-Ponty argues that we should regard the body not as a mere biological or physical unit, but as the body which structures one’s situation and experience within the world. Merleau-Ponty enriches his classic work with engaging studies of famous cases in the history of psychology and neurology as well as phenomena that continue to draw our attention, such as phantom limb syndrome, synaesthesia, and hallucination. This new translation includes many helpful features such as the reintroduction of Merleau-Ponty’s discursive Table of Contents as subtitles into the body of the text, a comprehensive Translator’s Introduction to its main themes, essential notes explaining key terms of translation, an extensive Index, and an important updating of Merleau-Ponty’s references to now available English translations. Also included is a new foreword by Taylor Carman and an introduction to Merleau-Ponty_ _by Claude Lefort. Translated by Donald A. Landes. (shrink)

Katya Mandoki advances in this book the thesis that it is not only possible but crucial to open up the field of aesthetics (traditionally confined to the study of art and beauty) toward the richness and complexity of everyday life. She argues that in every process of communication, whether face to face or through the media, fashion, and political propaganda, there is always an excess beyond the informative and functional value of a message. This excess is the aesthetic. Following Huizinga's (...) view of play as an ingredient of any social environment, Mandoki explores how various cultural practices are in fact forms of playing since, for the author, aesthetics and play are Siamese twins. (shrink)

First published in 1996, The Eyes of the Skin has become a classic of architectural theory. It asks the far-reaching question why, when there are five senses, has one single sense – sight – become so predominant in architectural culture and design? With the ascendancy of the digital and the all-pervasive use of the image electronically, it is a subject that has become all the more pressing and topical since the first edition’s publication in the mid-1990s. Juhani Pallasmaa argues that (...) the suppression of the other four sensory realms has led to the overall impoverishment of our built environment, often diminishing the emphasis on the spatial experience of a building and architecture’s ability to inspire, engage and be wholly life enhancing. For every student studying Pallasmaa’s classic text for the first time, The Eyes of the Skin is a revelation. It compellingly provides a totally fresh insight into architectural culture. This third edition meets readers’ desire for a further understanding of the context of Pallasmaa’s thinking by providing a new essay by architectural author and educator Peter MacKeith. This text combines both a biographical portrait of Pallasmaa and an outline of his architectural thinking, its origins and its relationship to the wider context of Nordic and European thought, past and present. The focus of the essay is on the fundamental humanity, insight and sensitivity of Pallasmaa’s approach to architecture, bringing him closer to the reader. This is illustrated by Pallasmaa’s sketches and photographs of his own work. The new edition also provides a foreword by the internationally renowned architect Steven Holl and a revised introduction by Pallasmaa himself. (shrink)

Learning in and through the visual arts can develop complex and subtle aspects of the mind. Reviews in: Journal of aesthetic education. 38(2004)4(Winter. 71-98), available M05-194.

This book explores the aesthetics of the objects and environments we encounter in daily life. Thomas Leddy stresses the close relationship between everyday aesthetics and the aesthetics of art, but places special emphasis on neglected aesthetic terms such as ‘neat,’ ‘messy,’ ‘pretty,’ ‘lovely,’ ‘cute,’ and ‘pleasant.’ The author advances a general theory of aesthetic experience that can account for our appreciation of art, nature, and the everyday.

For Descartes, knowledge exists as ideas in the mind that represent the world. In a radical critique, Hubert Dreyfus and Charles Taylor argue that knowledge consists of much more than the representations we formulate in our minds. They affirm our direct contact with reality—both the physical and the social world—and our shared understanding of it.

In this writing, David Hansen illuminates the aesthetic, moral, and epistemic meaning of bearing witness to teaching and teachers by drawing upon a recently completed field-based endeavor that included extensive school visits. Hansen shows how bearing witness can bring the inquirer close to the truth of teaching. However, the witness must undertake ethical work to ready her- or himself for the task. Even such readiness, which must be continuously re-won on each occasion, guarantees nothing. The witness in the classroom must (...) work with faith, hope, and a deep sense of the worthwhileness of teaching. Hansen suggests that the witness's practice as well as testimony regarding the work can have a valuable influence on the consciousness, and conscience, of all who concern themselves with teaching and teachers. (shrink)

This paper aims at revealing the various meanings of schools as more than built physical environments from a geographical‐phenomenological (or ‘geo‐phenomenological’) perspective. This paper consists of five sections: the first explicates the meaning of ‘geo‐phenomenology’; the second reveals the meaning of ‘environment’ and a dialectics of strangeness and intimacy through geo‐phenomenological analysis; the third examines the meanings of environment as ‘space’ and ‘place’ and the act of naming as the process of constructing meaning between humans and environment; the fourth section (...) attempts to explore the meaning of conceiving school as a particular environment; and the final is the conclusion. (shrink)