Evidence affirms that aesthetic engagement patterns our movements, often with us barely aware. This invites an examination of pre-reflective engagement within cities and also aesthetic experience as a form of the pre-reflective. The invitation is amplified because design has political implications. For instance, it can draw people in or exclude them by establishing implicitly recognized public-private boundaries. The Value Sensitive Design school, which holds that artifacts embody ethical and political values, stresses some of this. But while emphasizing that design embodies (...) implicit values, research in this field lacks sustained attention to largely unconscious background biases or values, rooted in cultural attitudes and personal interests, that lead theorists and planners—often too narrowly—to promote design organized around specific values such as defensibility. In examining these points, I draw on J. J. Gibson, a central figure for some writing on aesthetics and cities, and whom pragmatists and phenomenologists in turn influenced. Taking a cue from pragmatists in particular, I argue Gibson’s perceptual theory of affordances entails a theory of values, meaning our perception and therewith movements are inherently value-based. I advocate design that accounts for relatively constantly held values such as safety, while also handling the vast pluralism that exists and not crushing the aesthetic vibrancy of city life. (shrink)

The experienced quality of urban environments has not traditionally been at the forefront of understanding how cities evolve through time. Within the humanistic tradition, the temporal dimension of cities has been dealt with through tracing urban or architectural histories or interpreting science-fiction scenarios, for example. However, attempts at understanding the relation between currently existing components of cities and planning based on them, towards the future, has not captured the experience of the temporal layers of cities to a satisfying (...) degree. Contemporary urban environments comprise both lasting and fairly stable elements as well as those that change continuously: change is an inevitable part of urban life. Different aspects of city life evolve with a different tempo: urban nature has its cycles, inhabitants their rhythms, and building materials and styles different lifespans, for example. Recognizing them becomes an especially important issue when future imaginaries are projected onto existing urban structures and when decisions about the details of urban futures are made. This paper aims at bringing environmental and urban aesthetics into the discussion about the possible directions of urban futures. The focus is on introducing the notion of aesthetic sustainability as a tool to better understand how urban futures unfold experientially and how aesthetic values of urban environments develop with time. This concept has some background in the field of design theory, more specifically in sustainable usage and product design, but it has not so far been used in order to study large scale living environments. The concept can prove to be a valuable supporting tool in urban sustainability transformations based on how it captures the experiential side of the physical and temporal dimensions of cities. (shrink)

Aesthetics is a crucial ecosystem service provided by biodiversity, which is believed to help improve humans’ quality of life and is linked to environmental consciousness and pro-environmental behaviors. However, how aesthetic experience induced by plants/animals influences the belief in the occurrence and significance of biodiversity loss among urban residents remains understudied. Thus, the current study aimed to examine how the diversity of pets and in-house plants affect urban residents’ belief in biodiversity loss in different scenarios of aesthetic (...) experiences (positive and negative aesthetic experiences at home due to plants/animals). Using the Bayesian Mindsponge Framework (BMF) analytics on a dataset of 535 Vietnamese urban residents, we found that the people’s aesthetic feeling about their house induced by plants/animals positively affects their belief in the occurrence and significance of biodiversity loss. The diversity of plants and pets also positively influences the level of biodiversity loss belief, but the effect is conditional on the aesthetic experience of the urban residents. Specifically, the positive impact of species diversity on the belief only exists when urban residents feel that their houses’ aesthetics are negatively affected by plants/animals. Moreover, the effect of pet diversity on biodiversity loss belief is less significant and reliable than that of plant diversity. These findings suggest that raising the houses’ aesthetics through in-house planting or pet ownership can potentially enhance biodiversity loss belief and subsequently build an eco-surplus culture among urban residents. (shrink)

In this paper, I will examine the aesthetic implications of the theories which regard the city as an image. Essentially, I will focus on the positions of the two practitioners, Kevin Lynch and Juhani Pallasmaa, who are an urban planner and an architect respectively, in order to confront two very different approaches to the ‘image’; namely, an empirical approach and a phenomenological one. I am interested in what the city becomes when it is looked upon as an image and (...) I will reflect on the experiences of the city‑image in its various aspects. The aim of this discussion is an attempt to outline certain research areas for exploring the aesthetics of the city centred on the image, with the practitioners’ theories enabling us to widen the scope of this exploration. (shrink)

The constant changes in the landscape caused mainly by the urban expansion process, have led to the destruction, fragmentation and isolation of natural habitats, with consequent damage to biodiversity. Recognized as potential "refuges" for biodiversity, urban areas have received great attention to the conservation of animals in addition to exercising functions of aesthetic and recreational. In this context, urban vegetation receives different nomenclatures are used interchangeably as synonyms, when in reality, in many cases, are not. In order (...) to highlight the importance of these areas, this paper then seeks to present definitions of "Urban Fragment", "Green Areas" and "Remaining Fragment" in addition to performing a detailed comparative analysis of studies from an urban green area of the city Juiz de Fora, Minas Gerais, Brazil with work in protected areas. (shrink)

There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised (...) by Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian and an afterword by Professor David Leatherbarrow,, the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus. (shrink)

The notion of aesthetic experience attempts to account for an important part of human experience and, although it embraces an immense and multifaceted variety, the complexity and vagueness of which have been an authentic challenge to its definition (to the point that some suggest its conceptual uselessness), it is still crucial and decisive for an entire philosophical discipline: aesthetics-which is not to be confused with the philosophy of art, although it often intersects with it. This chapter considers the case (...) of the city-which is not so much an object as a multifaceted and fragmented environment where aesthetic experiences can occur-in order to attempt to elucidate (or at least to make a contribution to the elucidation of) the meaning and scope of this philosophical topic. (shrink)

Along with environmental pollutions, urban planning has been connected to public health. The research indicates that the quality of built environments plays an important role in reducing mental disorders and overall health. The structure and shape of the city are considered as one of the factors influencing happiness and health in urban communities and the type of the daily activities of citizens. The aim of this study was to promote physical activity in the main structure of the city (...) via urban design in a way that the main form and morphology of the city can encourage citizens to move around and have physical activity within the city. Functional, physical, cultural- social, and perceptual-visual features are regarded as the most important and effective criteria in increasing physical activities in urban spaces based on literature review. The environmental quality of urban spaces and their role in the physical activities of citizens in urban spaces were assessed by using the questionnaire tool and analytical network process (ANP) of structural equation modeling. Further, the space syntax method was utilized to evaluate the role of the spatial integration of urban spaces on improving physical activities. Based on the results, the consideration of functional diversity, spatial flexibility and integration, security, and the aesthetic and visual quality of urban spaces plays an important role in improving the physical health of citizens in urban spaces. Further, more physical activities, including motivation for walking and consequently, the sense of public health and happiness, were observed in the streets having higher linkage and space syntax indexes with their surrounding texture. (shrink)

Walter Benjamin’s texts on Baudelaire put forward a threefold analogy, surprising at first glance, between the experience of the crowd, typical of modern metropolises, mechanized work and games of chance. While exploring gambling and the gambler in Benjamin’s analysis, this article explores the inner ambiguity of the concept of repetition: firstly conceived as belonging to the «time of hell» of the ever-new, it can also be understood as a gateway for understanding the processes of experimentation, which are crucial to modern (...) and contemporary aesthetic experiences. In this sense, urban space can also be conceived as a room for play, vulnerable to and enriched by chance and playful mechanisms encompassing aesthetic and political dimensions. (shrink)

The paper discusses the aesthetic aspects of place‑making practices in the urban environment of Western metropoles that are struggling with the progressive undifferentiation of their space and the weakening of communal and personal bonds. The paper starts by describing the general characteristics of an urban environment as distinct from the traditional vision of a city as a well‑structured entity, and in relation to formal and informal aesthetics and participatory design ideas. The author then focuses on two contrary (...) but complementary tactics for translating a space into a positively evaluated p l a ce: by dome ticating it through introducing nature into an urbanscape; and by accentuating its alienness with the example of the urban exploration movement. The growing popularity of the latter is presented in relation to the discourses related to the decline of cities and the romantic endeavours for reaching into the realm of the unknown or the uncanny in order to rediscover and enrich the unique identity of a place. The paper ends with conclusions that present the necessity for the cultivation of a multidimensional aesthetic awareness and an aesthetic engagement as a crucial issue in the complex task of endowing places with a density of meaning. (shrink)

Developed through a series of conceptual analyses (Edmund Husserl, Vilém Flusser, Ludwig Wittgenstein and Walter Benjamin) and case studies (Fernando Lopes’s Belarmino and Jeff Wall’s Mimic), this article delves into the relationship between gesture, attunement and atmosphere and how it unfolds in photographic works dealing with urban space. The first section focuses on the role played by photography in the film Belarmino, which raises questions about both the representation of urban phenomena and issues related to expression and gesture (...) in boxing. The second section discusses Husserl’s thinking on image consciousness and his surprising reference to a “photograph” of a boxer, which reveals the relevance of his phenomenological approach when it comes to defining the aesthetic properties of gesture-images. The third section examines the principles of Flusser’s philosophy of gestures, focusing on the semantic field of attunement and its connection with various elements related to photography, gesture, moods and affects. The question of gesture in photography—both the gestures of the photographed and those of the photographer—can be articulated with the notions of attunement and atmosphere, which go beyond semiological, psychological and communicational approaches and are important for our understanding of aesthetic and artistic experiences. Finally, if photography is a privileged way of studying atmospheres and gestures (as suggested by the Benjaminian notion of optical unconscious) and their connection with the inner life of the subject, in relation to urban space this study often acquires an intersubjective, social and political dimension, as in Jeff Wall’s Mimic. (shrink)

How can humanist principles of respect, dignity, and care inform and improve design for non-human lifeforms? This paper uses ageing and dying urban trees to understand how architectural, urban, and landscape design respond to nonhuman concerns. It draws on research in plant sciences, environmental history, ethics, environmental management, and urban design to ask: how can more-than-human ethics improve multispecies cohabitation in urban forests? The paper hypothesises that concepts of dignity and respect can underline the capabilities of (...) nonhuman lifeforms and lead to improved designs for multispecies cohabitation. To investigate the implications of this ethical framework, we 1) indicate injustices of current management in relation to natural and cultural histories of trees; 2) outline a conceptual framework that includes large old trees as stakeholders in urban communities; and 3) use this framework in a thought experiment with urban trees in Melbourne, outlining comparative design outcomes. Our findings show that the expansion of dignity to include nonhuman life is possible and plausible. Such an extension can justify and encourage design innovation for multiple species and sites. The resulting design practices will lead to improvements by supporting communities of trees at all stages of their life-cycles, including old age, death, and rebirth. This approach requires substantial shifts in accepted thinking and practices including history, ethics, aesthetics, regulation, and education. Design can play a significant role in the necessary transitions by demonstrating tangible and positive outcomes. In this context, history emerges as an essential tool that can extend societal imagination by situating possible future places in the context of ancient and ongoing geological, evolutionary, ecological, and cultural processes. (shrink)

This article explores the relationship between the bodily presence of other humans in the lived urban world and the experience of everyday architecture. We suggest, from the perspectives of phenomenology and architecture, that being in the company of others changes the way the built environment appears to subjects, and that this enables us to perform simple daily tasks while still attending to the built environment. Our analysis shows that in mundane urban settings attending to the environment involves a (...) unique attentional mode, which does not rely on concentrating on, or appreciating the architectural objects, but rather on social attention and on the subject’s kinesthesis in relation to the built environment. (shrink)

This paper proposes a new classification algorithm for the partitioning of a conceptual space. All the algorithms which have been used until now have mostly been based on the theory of Voronoi diagrams. This paper proposes an approach based on potential theory, with the criteria for measuring similarities between objects in the conceptual space being based on the Newtonian potential function. The notion of a fuzzy prototype, which generalizes the previous definition of a prototype, is introduced. Furthermore, the necessary conditions (...) that a natural concept must meet are discussed. Instead of convexity, as proposed by Gärdenfors, the notion of geodesically convex sets is used. Thus, if a concept corresponds to a set which is geodesically convex, it is a natural concept. This definition applies, for example, if the conceptual space is an Euclidean space. As a by-product of the construction of the algorithm, an extension of the conceptual space to d-dimensional Riemannian manifolds is obtained. (shrink)

Context: Philosophical and - more recently - empirical approaches to the study of mind have recognized the research of lived experience as crucial for the understanding of their subject matter. Such research is faced with self-referentiality: every attempt at examining the experience seems to change the experience in question. This so-called “excavation fallacy” has been taken by many to undermine the possibility of first-person inquiry as a form of scientific practice. Problem: What is the epistemic character and value of reflectively (...) acquired phenomenological data? Can the study of experience, despite the excavation fallacy, rely on the act of reflection on lived experience and make sense and use of its results? Method: Through a philosophical discourse, informed by empirical first-person inquiry, we explore the experiential structure of the act of reflection and the formation of the corresponding belief about past experience. Results: We present a provisional first-person model of the experiential dynamics of retrospective reflection, in which the reflective act is characterized as enaction of belief about past experience that co-determines - rather than distorts - its results. From a constructivist perspective on the inevitable interdependence between the act of observing and the observed, the excavation “fallacy” is recognized as an intrinsic characteristic of reflection. Reflection is described as an iterative, self-referential process, guided by a context- and subject-specific horizon of expectations. Implications: Knowing the characteristics of the formation of beliefs about experience is essential for understanding first-person data and for the possibility of their acquisition and use in scientific practice, particularly in the context of second-person approaches to the study of experience. Constructivist content: We relate the proposed understanding of reflection to constructivist epistemology and argue that constructivism provides an epistemological foundation for the empirical study of experience more suitable than the traditional epistemological objectivism of cognitive science. We suggest that the constructive nature of the process of reflection calls for a collaboration between the fields of constructivism, phenomenology, and first-person research, and points towards the potential for their mutual enrichment. (shrink)

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)

A cidade nas práticas artísticas [The city in artistic practices] is the result of the work developed, of the presentations and the debates held within the cycle of seminars “The experience of the city between art and philosophy”, held between 3 March 2020 and 16 June 2021 (calendar dramatically compromised by the challenges of the COVID 19 pandemic), one of the main activities of the OBRA project — Fragmentation and Reconfiguration: experiencing the city between art and philosophy, based at IFILNOVA (...) — Philosophy Institute of NOVA, in Lisbon. The book is divided into five parts, relating to each of the artistic disciplines to which the seminars were dedicated – cinema, photography, sound arts, literature and architecture —, which are edited by the organizers responsible for each of them — respectively, Susana Viegas, Humberto Brito, Nuno Fonseca João Oliveira Duarte and Susana Ventura — and composed of the respective narrated accounts of each seminar and of short essays, some merely textual, others graphical or even photographic, which are either in-depth versions of the reflections and positions that were presented and debated by the participants and guests, or works that motivated and inspired the work of the seminars. The seminar cycle and the book now presented here intend to reflect on the role of artistic practices in the representation and reconfiguration of urban experience, trying to understand their different attempts to apprehend and express the fragmentation of aesthetic experience in modern and contemporary cities, as well as to evaluate their contribution to an eventual symbolic and imaginative reconfiguration of that experience. Each section tries, in its own way, to answer questions such as: How do these arts think and reinvent the city? What do they make us feel? And what is their social and political role? For reasons that are easy to understand, Lisbon was the starting point, but other cities were also part of the journey. (shrink)

This paper deals with Gärdenfors’ theory of conceptual spaces. Let \({\mathcal {S}}\) be a conceptual space consisting of 2-type fuzzy sets equipped with several kinds of metrics. Let a finite set of prototypes \(\tilde{P}_1,\ldots,\tilde{P}_n\in \mathcal {S}\) be given. Our main result is the construction of a classification algorithm. That is, given an element \({\tilde{A}}\in \mathcal {S},\) our algorithm classifies it into the conceptual field determined by one of the given prototypes \(\tilde{P}_i.\) The construction of our algorithm uses some physical analogies (...) and the Newton potential plays a significant role here. Importantly, the resulting conceptual fields are not convex in the Euclidean sense, which we believe is a reasonable departure from the assumptions of Gardenfors’ original definition of the conceptual space. A partitioning algorithm of the space \(\mathcal {S}\) is also considered in the paper. In the application section, we test our classification algorithm on real data and obtain very satisfactory results. Moreover, the example we consider is another argument against requiring convexity of conceptual fields. (shrink)

Do Muslims and Christians worship the same God? We answer: it depends. To begin, we clear away some specious arguments surrounding this issue, to make room for the central question: What determines the reference of a name, and under what conditions do names shift reference? We’ll introduce Gareth Evans’s theory of reference, on which a name refers to the dominant source of information in that name’s “dossier,” and we then develop the theory’s notion of dominance. We conclude that whether Muslims’ (...) use of “Allah” co-refers with Christians’ use of “God” depends on how much weight is given to what type of information in the dossiers of these two names, and we offer a two-part test by which the reader can determine whether Muslim and Christian uses of the divine names co-refer: If Christianity were true and Islam false, might “Allah” still refer to God? And: If Islam were true and Christianity false, might “God” still refer to Allah? We explain the implications of your answers to those questions, and we close with a few reflections about what, in addition to reference, might be required for worship, and whether, from a Christian perspective, salvation turns on this issue. (shrink)

The volume Conceptual Figures of Fragmentation and Reconfiguration is a collection of revised versions of the papers presented at a research seminar which took place at the School of Social Sciences and Humanities, Universidade NOVA de Lisboa, between January and June 2019. The seminar is one of the core activities of the project “Fragmentation and Reconfiguration: Experiencing the City between Art and Philosophy”, based at IFILNOVA – Nova Institute of Philosophy in Lisbon. This volume strives to reassess the relationship between (...) fragmentation and reconfiguration, the contemporary relevance of which can be appreciated by focusing on the experience of the city, in particular the aesthetic experience of the city. Following the structure of the original seminar presentations, and drawing on key philosophical authors such as Goethe, Benjamin, Wittgenstein, Foucault, Deleuze, Joyce, Proust, and Perec, each of the nine contributors focuses on a specific conceptual figure: Catastrophe (Gianfranco Ferraro); Ruins (Maria Filomena Molder); Chaosmopolitanism (Bartholomew Ryan); Morphogenesis (Maurizio Gribaudi); Atlas (Nélio Conceição); Archive (João Duarte); Collection (Maria João Gamito); Panoramic Presentation (Alexandra Dias Fortes); and Aesthetic Experience (Nuno Fonseca). (shrink)

Despite its aesthetic appeal, the Iranian resort Majara is poised to be a sore point among local residents. Looking at the 200 vibrant oddly-shaped domes might make you feel you’re on a Wes Anderson movie set.The Majara Residence overlooking the Persian Gulf offers homes and resort-like accommodation, complete with cafes, restaurants, souvenir shops, tourist information, a prayer room, laundry, storage and more. Located at Hormuz (or Ormuz) Island, a historic port off the southern coast of Iran, the project is designed (...) to attract tourists to the small island and serve as an alternative to high-rise developments traditionally used to house visitors. Presence in Hormuz 2 is a series of urban development projects designed by the Tehran-based ZAV Architects. Majara (which means adventure) is the second phase of this multipurpose cultural residence, aimed at binding together the lives of local people and visitors culturally and economically. On the verge of opening, this project has been heavily criticised by environmental activists and urban experts citing ecological, economic, cultural and social concerns. Such projects have made locals mere servants in service of investors, which impedes the enhancement of their quality of life. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, (...) the central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

Our task is the preservation of historic towns. In America as in Europe historic town centers are surrounded by recent additions and suburban sprawl. It is tempting to imagine the task of preservation as protecting our historical heritage from a featureless wave of mediocrity, as the worldwide commercial civilization overwhelms local cultures. This story is familiar from the writings of Kenneth Frampton and others: sprawl, homogenization, loss of distinctive local and regional form. I want to disagree with this story. From (...) what force are we trying to save the historic towns? Might not that force have its own new kinds of order? Might that new order be already at work inside the historic towns? Are its effects only negative? I want to question a presupposition common in many discussion of historic preservation. This is the presupposition that a spatially distinct historic center belongs to a single community that possesses a unified self-consciousness and a unified aesthetic self-image. Local communities less and less correspond to bounded spatial areas, and spatial areas contain less and less homogeneous communities. There is growing a new kind of discontinuous unity, which is the theme of this essay. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

Bringing together a genealogy of authors, concepts, and aesthetic case studies, this article aims to contribute to the discussion on ordinary aesthetics by focusing on the tensions that are intrinsic to walking as a fundamental embodied action in everyday urban life. These tensions concern the movement of walking itself and its relation to one’s surroundings, but it also concerns a certain complementarity between home (familiarity) and wandering. Experiencing space and thresholds that disrupt one’s relationship with home and the (...) everyday can be understood as part of a modern “anti-home” tendency that lies at the core of several artistic and aesthetic practices. On the other hand, the study of walking and its relationship with the ordinary has also been enhanced and complexified by the mediation of images and technologies of reproduction. Approaching the paradoxes and ambiguities of everydayness from the perspective of walking allows us to better understand the ordinary as an in-between concept composed of evidence and mystery, familiarity and strangeness. Walking itself, as an ordinary element of life, is an unstable stabilisation, an unconsciousness that may become awareness, an immersive action that knows interruptions, a way of repeating paths that can also lead to detours and discoveries. (shrink)

What is the normative significance of school gardening for environmental activism and activists today? Philosophical treatments generally highlight gardening's importance for human well-being, aesthetic theory, and urban landscape design. Several accounts of John Dewey's educational philosophy draw attention to the school gardens tended by students at the University of Chicago's Experimental School. However, these typically neglect the social and political significance of Dewey's writings on school gardening. One way to bring the normative dimension of school gardening to the fore (...) is to compare Dewey's work on the topic with more recent scholarship on the politics of gardening movements. In this paper, the object of comparison is an essay by the Community Studies scholar Mary Beth Pudup. While Pudup's and Dewey's approaches are not identical, the comparison proves fruitful in so far as it exposes the political reasons for gardening education, relates school gardening to contemporary gardening movements and gives the call for creating more school garden projects greater normative force—or so I argue. (shrink)

Beginning with the work of Olafur Eliasson, with particular reference to the recent exhibition “Trembling Horizons” but not limited to it, a number of works representative of an artistic vision that might be called eco-logical are analyzed. Not only by explicitly thematizing the issue of the environmental crisis, Eliasson's works seem to materially express the demands of theorists who question how art can actively respond to the need for a shift in outlook that characterizes current events. Starting from the idea (...) of art as praxis, which allows the viewer to regard himself or herself and to place himself or herself in relation to what surrounds us – human and non-human – Eliasson's works act on the intrinsic objecthood of the work itself by creating a relationship with otherness and datity. They generate, therefore, a feeling of proximity, which concretizes a meaning of creativity in a transformative and site-specific sense; they promote an eco-logic that has its basis in a nomadic and depotentiated vision of subjectivity, engendering a feeling of interconnectedness and care. It will be argued in this paper the need to rethink art in these terms by hypothesizing a particular efficacy of some works that actively work in public space: places where the split between nature and culture has taken place, urban and public space are privileged contexts to actively promote the overcoming of this fracture and generate ethically responsible, already intrinsically ecological subjects. (shrink)

Despite the minimal attention paid by philosophers to gardening, the activity has a myriad of philosophical implications—aesthetic, ethical, political, and even edible. The same could be said of community food security and struggles for food justice. Two of gardening’s most significant practical benefits are that it generates communal solidarity and provides sustenance for the needy and undernourished during periods of crisis. In the twentieth century, large-scale community gardening in the U.S. and Canada coincided with relief projects during war-time and economic (...) downturn. More recently, small-scale gardening projects have emerged in schools, blighted urban areas, and communities of activists committed to increasing food security and resisting neo-liberal city planning policies. It is therefore surprising that pragmatist philosophers, who typically work at the nexus of theory and practice, have remained relatively silent about the relationship between gardening and food security. If more were to take up the challenge, they would find considerable guidance from several contemporary scholars working in diverse disciplines, from cultural geography to community studies, who explore the topic in a number of non-philosophical, though equally effective and imaginative, ways. In this paper, I propose a tentative pragmatist model for understanding how gardens make our food system more secure—a model inspired by John Dewey’s writings on school gardening, which I call the pragmatic pyramid. (shrink)

The article examines the reorientations of the appreciation of ugliness within different national contexts in a comparative and relational frame, juxtaposing the Australian, American, British and Italian milieus. It also explores the ways in which the transformation of the urban fabric and the effect of suburbanization were perceived in the aforementioned national contexts. Special attention is paid to the production and dissemination of how the city’s uglification was conceptualized between the 1950s and 1970s. Pivotal for the issues that this (...) article addresses are Ian Nairn’s Outrage: On the Disfigurement of Town and Countryside, Robin Boyd’s The Australian Ugliness, Donald Gazzard’s Australian Outrage: The Decay of a Visual Environment, and the way the phenomenon of urban expansion is treated in these books in comparison with other books from the four national contexts under study, such as Ludovico Quaroni’s La torre di Babele and Reyner Banham’s The New Brutalism: Ethic or Aesthetic?. Particular emphasis is placed on Boyd’s articles in The Architectural Review between 1951 and 1970. At the core of the article is the analysis of the debates around ugliness between the 1950s and 1970s within the British, Italian, American and Australian contexts. (shrink)

Over the last three years I have been fortunate to teach an unusual class, one that provides an academic background in ethical and social and political theory using the medium of comedy. I have taught the class at two schools, a private liberal arts college in western Pennsylvania and a public regional state university in southern Georgia. While the schools vary widely in a number of ways, there are characteristics that the students share: the school in Pennsylvania had a large (...) population of students raised in a middle class industrial context, and the school in Georgia had a majority of students from middle-to-lower class agricultural backgrounds. Because of recent collapses in the economy of the tool and dye industry in the Great Lakes region, and the ongoing concerns for development in rural and urban areas of the southeastern United States, both groups of students were in similarly dire economic and working conditions. All faced the distinct possibility that they would not do as well in life as their parents. Most of the students grew up with television and film and had a love of comedy when they arrived at college. -/- Entertainment and mass media contributed to the students' mindset and the lens through which they viewed and interpreted their lived experience. Comedic mass media in the form of television sitcoms and films were common choices for inexpensive entertainment, in their childhood, in their past, in their homes, and now in their college dorms and apartments. In asking students to connect their own history with cultural trends depicted in comedy in film and television, even through the history of television, gave the students a familiar venue to critically consider their own intellectual growth and development and that of American society as a whole. -/- Many of them were familiar with the internet, and enjoyed the internet as a source of information about celebrities as well as the history and episodes of their favorite television shows and films. Students are rediscovering and discovering television programs that their professors may have watched as children, with the availability of a wide range of comedy television programs available on cable, especially TVLand, Comedy Central and Nick-at-Night. -/- In this article I will elaborate on the value of comedy as a teaching tool for philosophers and professors. I will provide a number of examples, showing how comedy can provide fertile examples of ethical theory at work, and I will show how comedy can be used to clarify cultural norms and values. Finally, I will discuss the political activism and student empowerment involved in teaching Philosophy, Comedy and Film in southern Georgia. (shrink)

The audience occupies a very vita! and significant position within the ambience of the arts in general and theatre in particular. It remains one of the outstanding prerequisites for a complete efficacious and potent theatre experience. Its absence renders the entire activity a no event. Thus its standing within artistic and theatrical parameters is that of uniqueness and indispensability. Effiong Johnson posits that "Not considering the audience in the scheme of the performance is unpardonably a blind stupor which can lead (...) to one predictable outcome: regret!" (215). There can never be a theatre experience or event without the audience. It is considered to be the better half of the event. Their presence, cheers and signs of appreciation encourage performers to break a leg and put up a superlative performance. Nwamuo notes further that audiences beat the drums which spur performers to a frenzy (Inaugural Lecture, 15). William Byrnes adds that no matter how lofty the aesthetic aims of an organization, especially arts outfits, without the regular support of an audience, patrons or members, enough money will not come in to keep the enterprise alive (255). Audiences have existed in the theatre over centuries and have continued to exert influence in different spheres, especially the performance. Dennis Sporregivesusan insight into this by pointing out that: The audience of the 19th century played a significant part in determining what took the stage. Royal patronage was gone and box office receipts were needed to pay the bills,... The Industrial Revolution had created larger urban populations and expanded public education to a degree.... To appeal to this diverse audience, theatre managers had to program for the popular as well as the sophisticated taste if they wanted to make money (409). (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)

Cities and towns are expanding and thriving as a result of urbanization, which also significantly changes the local climate. One of the most significant phenomena associated with urbanization is the Urban Heat Island (UHI) effect. This phenomenon is increasingly being studied worldwide. The paper aims to investigate the UHI phenomenon in the metropolitan area of Tirana, Albania. It analyses the impact of the UHI on four specific locations in Tirana, its causes and mitigation measures, as well as variations in (...) surface temperature, CO2 emissions, and relative humidity. The regions are measured and observed using a specific instrument such as the Testo 435. Considering the mean surface temperature variations between urban and rural regions ranging from 28.4°C to 33.7 °C, CO2 emissions from 302.9 ppm to 416.2 ppm, and relative humidity from 34.1% to 41.2%, it is found that the UHI impact in Tirana is significant. The lack of green spaces, high building density, urban patterns, building materials used, transport, and energy use are the main contributors to the UHI in central Tirana. Increasing green spaces, using reflective materials, and promoting sustainable urban design are some of the mitigation techniques suggested to reduce the UHI effect in Tirana. (shrink)

Analytic aesthetics has been obsessed with mature, art historically well-informed aesthetic judgment. But the vast majority of our engagement with art fails to take the form of this kind of judgment. Crucially, there seems to be a disconnect between taking pleasure in art and forming mature, well-informed judgments about it. My aim is to shift the emphasis away from aesthetic judgments to ways of engaging with works of art that are more enjoyable, more rewarding and happen to us more (...) often. (shrink)

Within the framework of 'Temporalities and the Urban Fabric: Co-Producing Liminal Spaces in Transitional Epochs,' this rigorous examination unravels the multilayered nuances of temporality and its intimate relationship with urban spaces in times of transition. The research delineates the intricate interplay between public exhibitions, urban realms, and socio-political paradigms, particularly within the dynamic settings of the metropolitan entities of Houston and Amsterdam. These cities, as epitomes of temporal urban flux, become fertile grounds for exploring the ephemeral (...) essence of liminal spaces and their transformative manifestations. By weaving together diverse academic domains – from Design Computation and Fabrication to Urban Communities and Spatial Justice – this study underscores the symbiotic fusion of Augmented Reality (AR) and Gamification within the broader canvas of urban temporalities. Crucially, the research accentuates the transformative potential of Extended Reality (XR) in augmenting the theoretical and methodological contours of urban studies within these transitional epochs. (shrink)

Section 1 of this article presents a mathematical analysis of the longterm global urbanization dynamics and demonstrates that it could be described as a series of phase transitions between attraction basins. This makes it possible to suggest new approaches to the analysis of global social macroevolution. Section 2 presents a threestage model of the macroevolution of the World System statehood (early – developed – mature state) that, we believe, describes the main features of political macroevolution better than the twostage model (...) proposed by Claessen and Skalník (early – mature state). This model has been used as a basis for the analysis of changes in the development of political structures from the prestate polities and the most primitive early states (and their analogues) till the modern supercomplex states. In this section we also analyze the relationship between the growth of the territory controlled by the World System states and the growth of the statehood complexity. Finally, Section 3 attempts at the detection of the correlation between the global evolution of political structures and global urbanization processes. This study confirms the presence of a system of attraction basins and phase transitions within the World System macroevolutionary development field, as well as the presence of mathematically interpretable correlations and interrelations between the analyzed global processes – political, urbanizing, demographic, technological, and sociostructural. (shrink)

The article examines the impact of the virtual public sphere on how urban spaces are experienced and conceived in our data-driven society. It places particular emphasis on urban scale digital twins, which are virtual replicas of cities that are used to simulate environments and develop scenarios in response to policy problems. The article also investigates the shift from the technical to the socio-technical perspective within the field of smart cities. Despite the aspirations of urban scale digital twins (...) to enhance the participation of citizens in the decision-making processes relayed to urban planning strategies, the fact that they are based on a limited set of variables and processes makes them problematic. The article aims to shed light on the tension between the real and the ideal at stake during this process of abstracting sets of variables and processes in the case of urban scale digital twins. (shrink)

Russian abstract: В данном сборнике статей раскрывается формирование структурно-онтологического представления о таком явлении, как городское пространство. Наряду с соответствующей концептуализацией, также представлено и объяснено определение городского сообщества. Обоснована логика классификации городских сообществ. А также проанализированы факторы, обуславливающие их устойчивость. -/- English abstract: This collection of articles reveals the formation of a structural-ontological concept of such a phenomenon as urban space. Along with relevant conceptualization, the definition of an urban community is also presented and explained. The logic of classification (...) of urban communities is substantiated. And also analyzed the factors that determine their stability. (shrink)

The article presents the results of an interdisciplinary (psychological, behavioral, sociological, urban) survey of residents of elite residential complexes of Odessa regarding theirs urban infrastructure preferences, as well as the degree of satisfaction with their place of residence. It was found that respondents are characterized by a high level of satisfaction with their place of residence. It was also revealed that the security criterion of the district is the main one for choosing a place of residence, which indicates (...) the unmet townspeople need for the general safety of the urban environment. Based on the obtained empirical data, an analysis of significant factors affecting the urban infrastructure preferences of residents from the point of view of the systemic concept of the social ecology of the city is conducted. Obtained data viewed that living in high-rise (multi-storey) buildings correlates with a low level of satisfaction, while low-rise buildings positively correlate with such significant aspects as the view from the window, a small number of neighbors, proximity to the sea, and effective house management. Multivariate regression revealed a positive relationship with such infrastructure objects as shopping and entertainment centers, postal services, places of family leisure, etc., which indicates the dominance of the consumer strategy in the behavior of the city resident. The collected empirical material served as the base for identifying the behavioral trends of the townspeople and allowed to simulate a qualitative profile of the activity of everyday support and personal development. (shrink)

Among semanticists and philosophers of language, there has been a recent outburst of interest in predicates such as delicious, called predicates of personal taste (PPTs, e.g. Lasersohn 2005). Somewhat surprisingly, the question of whether or how we can distinguish aesthetic predicates from PPTs has hardly been addressed at all in this recent work. It is precisely this question that we address. We investigate linguistic criteria that we argue can be used to delineate the class of specifically aesthetic adjectives. We show (...) that there are, in fact, good motivations for keeping PPTs and aesthetic predicates apart: the semantic structure of the former, but not the latter, entails an experiencer. There are many adjectives whose semantic structure arguably also entails an experiencer, yet which are readily used in expressing aesthetic judgments. Adjectives such as provocative or moving are a case in point, since as adjectives they arguably maintain the experiencer argument from the verb they are derived from. Nevertheless, when we describe, say, a sculpture as provocative, or a theater performance as moving, we clearly make aesthetic judgments. The difficult question, then, is to articulate the relationship between an aesthetic predicate (of which beautiful and ugly are paradigms) and other predicates that just happen to be used in making an aesthetic judgment. Tightly related to this point is the more general question of the relationship between an evaluative predicate and a predicate that occurs in an evaluative judgment. One of our aims is to make some progress in addressing these questions. (shrink)

Infusing contemporary critical terrorism studies (CTS) with concepts and methodologies from philosophy and critical theory via a Baradian posthumanist agential realist perspective and (counter)terrorist cases and vignettes, this chapter argues for a retheorisation of (counter)terrorism. It does so, firstly, by reconceptualising terrorism and counterterrorism as complex assemblages consisting not only of discursive-material components – an entanglement now largely accepted within CTS and critical security studies (CSS) – but also of affective layers and more-than-human phenomena. Secondly, by analysing European urban (...) (counter)terrorist cases from the UK, Germany, France, and Spain, together with these cases’ surprising spacetime-jumping interlinkages underwriting what we here conceptualise as queer(ing) spacetimematterings, this chapter zooms in on the intra-actions taking place between human and more-than-human agential phenomena and their risk-managed urban environments. Lastly, extra analytical attention is paid to how, in this neoliberal day and age – here rephrased as control society-driven ‘situationscaping times’ – very specific macro- and micropolitical violence-preventing measures and efforts are employed in the fight against various manifestations of urban terror and terrorism. (shrink)

Urban centers are being transformed into consumer tourist playgrounds made possible by dense networks of surveillance. The safety and entertainment however, come at an unseen price. One of the historical roots of surveillance can be connected to the modern information base of tracking individuals for economic and political reasons. Though its antecedents can be traced via Foucault's account of panoptic discipline which walled in society's outcasts for rehabilitation, the following essay explores the shift to the urban panopticism of (...) today where society's outcasts are subtly filtered out of "public" view. Juxtaposing a sociological account of the concentration camp with urban Disneyization fosters a greater understanding of how surveillance creates certain categories of citizenship. In particular, how urban surveillance intensifies Walter Benjamin's description of the flâneur who often experiences the brunt of the new urban panopticon's filtering power. (shrink)

Experimental Philosophy (X-Phi) is now a fully-fledged methodological project with applications in almost all areas of analytic philosophy, including, as of recently, aesthetics. Another methodological project which has been attracting attention in the last few years is conceptual engineering (CE). Its areas of implementation are now diverse, but as was the case initially with experimental philosophy, aesthetics has unfortunately been left out (or perhaps aestheticians have failed to pay attention to CE) until now. In this paper, I argue (...) that if conceptual engineers are interested in expanding their project to the field of aesthetics, which would greatly benefit the field, then they should rely on the existing experimental work of aestheticians. Experimental philosophers have only recently started to join forces with conceptual engineers in various fields, as well as to explore the methodological implications of such an alliance. This paper goes a step further by not only arguing that CE has potential in aesthetics, but that the way to realize this potential is to piggyback, so to speak, on the work of experimental aestheticians. In other words, instead of building a CE project in aesthetics from the ground up, this paper describes the support that CE can and should derive from current experimental aesthetics, thereby making the former’s development more efficiently realizable. Furthermore, I argue that doing so would also be beneficial to experimental aesthetics. Currently, the integration of X-Phi to the wider field of aesthetics is losing ground because certain objections—notably, the objection that X-Phi cannot be of relevance to normative questions—have not been properly refuted. By pairing up with a normative programme like CE, though, experimental aestheticians should finally be able to put these objections to rest. (shrink)

This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice (...) to refute hedonism decisively, I argue that its privileged status, as the sole contender in aesthetic value theory, is detrimental to downstream research on aesthetic phenomena. The essay concludes with an overview of current work and promising avenues of inquiry into non-hedonic alternatives. (shrink)

We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is due to the fact that (...) aesthetic judgment is a sensory-affective disclosure of, and responsiveness to, merit: it is a feeling that presents an object, and is responsive to it, as worthy of being liked. Aesthetic judgment is thus shown to be, on the hand, first personal and non-transferable; and, on the other hand, a presentation of reality. We thereby capture what is right in both subjectivist and objectivist conceptions of aesthetic judgment. (shrink)

While we are currently experiencing a renaissance in philosophical work on agriculture and food ( Barnhill, Budolfson, & Doggett 2016 ; Thompson 2015 ; Kaplan 2012 ), these topics were common sources of discussion throughout the three-thousand-year history of Western thought. For example, the Ancient Greek philosopher Aristotle (2014 ) explored connections between fulfi lling human promise and systems of agriculture ( Thompson & Noll 2015 ) and Hippocrates (1923 ) stressed the importance of cultivating agricultural products provided by nature (...) ( Zwart 2000 ). In order to live a truly human life, Hippocrates argued, one must not passively consume crude food products, as such brutish living leads to terrible suffering. Later, both the Hebrew Bible and Christian Gospels provided clear ethical mandates concerning agricultural practices and the consumption of food. These mandates or ethics needed to be observed regardless of context ( Zwart 2000 ). More recently, Thomas Jefferson added to this literature, as he engaged in agricultural production at his Monticello plantation and wrote extensively on how farming is intimately connected to the political system of democracy ( Thompson & Noll 2015 ). This refl ection on food and agriculture continued into the 20th century, albeit not in the discipline of philosophy. Scientists and agricultural leaders, such as Henry Wallace and Liberty Hyde Bailey, provided important critiques of agricultural practices contemporary to their time. (shrink)

A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is its benefit to the individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, or making music together. This article argues that (...) we should understand aesthetic value in a way that centers these social forms of aesthetic engagement. To this end, the article argues that there is a social practice of aesthetic valuing, characterized as a participatory practice governed by the value of aesthetic community, which engages us in the social development of our capacities for discretionary valuing and volitional openness. Current theories of aesthetic value have trouble capturing the character of the practice of aesthetic valuing, and this motivates a novel communitarian theory of aesthetic value: aesthetic value is what is worthy of engagement in the social practice of aesthetic valuing. (shrink)

In recent years, the international commons movement has increasingly joined forces with the global movement of municipalities, putting common ideas on the political agenda in many western countries. Commons have been widely discussed in literature. Broadly understood, commons refers to the practices for collective development, ownership, management, and fair access to resources and artifacts (social, cultural, economic, political, environmental, and technological). However, the concept remains vague, complex, and unclear, especially when it comes to different contexts in which new definitions are (...) needed to better understand the societal and cultural dimensions of urban commons. Decolonizing the notion of urban commons brings into visibility the unseen cultures, infrastructural systems, and communities showing where de-growth and separation can take place. Therefore, this analysis can provide new insights, opportunities, and the need for new theoretical, methodological, and shared approaches. There is a gap in transnational research and cultural understanding within the field of urban commons. This research opens new lines of inquiry relating to the definitions of commons in non-European countries. This may include longitudinal research on the decolonization and potential fragmenting of the commons and in particular 'commoning' mindset, more detailed empirical evidence of the cultural and communal concepts, and how these cultural diversities and new interpretations can be implemented in collaborative governance in a wider variety of non-western contexts. By challenging existing frameworks, this study facilitates the emergence of differentiated, dynamic, and non-linear forms of social and political subjectivity within various sociospatial domains. (shrink)