This paper sets out to interpret the phrase ‘the city landscape’. Beginning with landscape aesthetics based on two categories — the picturesque and the sublime — the author attempts todemonstrate that a city can be interpreted in terms of a cultural landscape. This necessitates a re‑interpretation of the category of the sublime, whereby, through references to Edmund Burke, Theodor W. Adorno and Arnold Berleant, the sublime assumes the nature of a category which determines the existential situation of a person (...) in the world. Here, the sublime provides people with an impulse to undertake efforts to fashion their surroundings and forge the essence of the living world. As such, the sublime also becomes a category that promotes social activities aimed at improving the quality of life in a city, such as the activities of ‘urban gardeners’. (shrink)

An extract from Williams' The Ground of Induction (1947): "The sober amateur who takes the time to follow recent philosophical discussion will hardly resist the impression that much of it, in its dread of superstition and dogmatic reaction, has been oriented purposely toward skepticism: that a conclusion is admired in proportion as it is skeptical; that a jejune argument for skepticism will be admitted where a scrupulous defense of knowledge is derided or ignored; that an affirmative theory is a mere (...) annoyance to be stamped down as quickly as possible to a normal level of denial and defeat. It is an age which most admires the man who, as somebody has said, 'has a difficulty for every solution'. Whether or not this judgment is fair, however, it is safe to say, with Whitehead, that 'the theory of induction is the despair of philosophy - and yet all our activities are based upon it'. [A.N. Whitehead, Science and the Modern World (New York, 1925, p. 35] So prodigious a theoretical contretemps cannot remain a tempest in the professors' teapot. The news that no foundation is discoverable for the procedures of empirical intelligence, and still more the proclaimed discovery that there is no foundation, and still more the complacency which recommends that we reconcile ourselves to the lack, condemn the problem as a 'pseudoproblem', and proceed by irrational faith or pragmatic postulate, will slowly shatter civilized life and thought, to a degree which will make the modernist's loss of confidence in Christian supernaturalism, so often cited as the ultimate in spiritual cataclysms, seem a minor vicissitude. The demand that rational man adjust himself to a somewhat bleaker universe than he once hoped for is only one large and picturesque instance of the sort of re-orientation which inductive intelligence, in its very nature,continually imposes, and well within the proved capacities of human reason and good-will.. (shrink)

This paper introduces the reconciliation as well as an analysis of the divide between contemporary and classical aesthetics in architecture. The analysis outlines the segmentation as one of the standards rather than of aesthetic appeal, concluding with a proposal for the reconciliation by means of integrating modern and contemporary art into today’s architecture. This reconciliation would not only serve as an artistic take on architecture but also raise awareness of the subjectivity of beauty in architecture. In the conclusion of this (...) paper, there are highlighted illustrations demonstrating the picturesque outcome of using this proposed method of integration. (shrink)

We can see ruins as objects that have a foot in three different times: the past, the present, and the future. This is the nature of the ruin: they help us imagine the past, affords us interesting aesthetic opportunities in the present, and asks us to project ourselves (and it) into the future. We think about those who once lived, our own current experience, and what will be. There are two kinds of aesthetic experiences of ruins that are often conflated: (...) that of recording the ruin be it in poetry, prose, or picture and that of engaging with a ruin qua ruin (the experience of the ruin in situ). In this paper I discuss ruin appreciation and the major and minor appreciations discussed by Rose Macaulay. Minor forms of appreciation include graffiti while contemplating the sublime and engaging in multisensory ruinlust are considered major forms of appreciation. (shrink)