Space And Place (Art)

How are we to understand digital objects? How are we to relate ‘cyberspace’ to physical space? This chapter attempts to provide a set of theoretical tools to understand ‘spaces’ of online interaction and what happens within them without resorting to filamentous constructions of ‘disembodied’ online interaction or to the underlying idealistic Cartesian dualism that pervades many of the theoretical positions that ostensibly refute it. To do so, I make connections between cognitive processes of human subjectivity, the embodied, gestural enactments of physical social spaces, and the social interactions that take place in online environments. The crux of the argument is that like identity, meaning and subjectivity are social phenomena: individual cognition requires social interaction. Similarly, social interaction, mediated or immediate, defines our spaces of subjectivity. This connecting of online ‘spaces’ to embodied cognition may provide a way to understand digital objects and the online interactions they enable through a reconsideration of the concept of space.

In this chapter, I draw on Merleau-Ponty’s philosophy to explore environmental embodiment—the various lived ways, sensorily and motility-wise, that the body in its pre-reflective perceptual presence engages and synchronizes with the world at hand, especially its architectural and environmental aspects. First, I consider Merleau-Ponty’s interpretation of perception, giving particular attention to his claim that perception involves a lived dynamic between perceptual body and world such that aspects of the world—for example, the heavy hardness of a granite block or the cool smoothness of a chrome railing—are known because they immediately evoke in the lived body their experienced qualities.

Second, I consider the architectural and environmental significance of what Merleau-Ponty calls body-subject—pre-reflective corporeal awareness expressed through action and typically in sync with and enmeshed in the physical world in which the action unfolds. I focus on the taken-for-granted sensibility of body-subject to manifest in extended ways over time and space. I ask how routine actions and behaviors of individuals coming together regularly in an environment can transform that environment into a place with a unique dynamic and character—a lived situation I term place ballet. For both perception and body-subject, I consider how qualities of the physical and designable world—for example, materiality, form, and spatiality—contribute to the lived body’s engagement with and actions in the world.

Note: This chapter was written in 2014 for a proposed edited collection on Merleau-Ponty and architecture. Unfortunately, the editors did not find a publisher(though I was never officially informed of this fact). The chapter has been rewritten, revised, and updated; see the above entry: "Merleau-Ponty, Environmental Embodiment, and Place" (2022)
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Статья посвящена настенным росписям Давида Альфаро Сикейроса, исполненным в лестничных пространствах общественных зданий. Анализируется новаторский опыт художника и его попытки усиления воздействия стенописи на зрителя посредством включения в структуру произведения самого движения по лестнице. Впервые затрагиваются вопросы роли лестницы в творчестве Сикейроса, его интерес к сложной архитектонике лестничной клетки, социально-культурологические аспекты этого выбора, связанные с изменением восприятия пространства и времени в первой половине XX века.

Alexander C.T. Geppert: Città brevi: storia, storiografia e teoria delle pratiche espositive europee, 1851-2000

Andrea Giuntini: La mobilità in mostra: i trasporti e le comunicazioni nelle esposizioni della seconda rivoluzione industriale

Paolo Brenni: Dal Crystal Palace al Palais de l’Optique: la scienza alle esposizioni universali, 1851-1900

Angela Schwarz: Transfers transatlantici tra le esposizioni universali,1851-1940

Luigi Tomassini: Immagini delle esposizioni universali nelle grandi riviste illustrate europee del XIX secolo

Ursula Lehmkuhl: Una mietitrice come catalizzatore: la Great Exhibition del 1851 e la costruzione sociale della relazione speciale anglo-americana

Anna Pellegrino: “Il gran dimenticato”: lavoro, tecnologia e progresso nelle relazioni degli “operai” fiorentini all’Esposizione di Milano del 1906

Vanessa Ogle: La colonizzazione del tempo: rappresentazioni delle colonie francesi alle esposizioni universali di Parigi del 1889 e del 1900

Maddalena Carli: Ri/produrre l’Africa romana: i padiglioni italiani all’Exposition coloniale internationale, Paris 1931

Andreas R. Hofmann: Utopie nazionali: grandi esposizioni nell’Europa centro-orientale, 1891-1929

Tammy Lau: Le promesse e i rischi di Internet nel regno delle esposizioni universali"

Edited by Cara Courage, Anita McKeown Routledge, 2019 https://www.routledge.com/Creative-Placemaking-Research-Theory-and-Practice/Courage-McKeown/p/book/9780367586935 This book makes a significant contribution to the history of placemaking, presenting grassroots to top-down practices and socially engaged, situated artistic practices and artsled spatial inquiry that go beyond instrumentalising the arts for development. The book brings together a range of scholars to critique and deconstruct the notion of creative placemaking, presenting diverse case studies from researcher, practitioner, funder and policymaker perspectives from across the globe. It opens with the creators of the 2010 White Paper that named and defined creative placemaking, Ann Markusen and Anne Gadwa Nicodemus, who offer a cortically reflexive narrative on the founding of the sector and its development. This book looks at vernacular creativity in place, a topic continued through the book with its focus on the practitioner and community-placed projects. It closes with a consideration of aesthetics, metrics and, from the editors, a consideration of the next ten years for the sector. If creative placemaking is to contribute to places-in-the-making and encourage citizenled agency, new conceptual frameworks and practical methodologies are required. This book joins theorists and practitioners in dialogue, advocating for transdisciplinary, resilient processes.

The most important feature of this book is that it serves a vast range of audiences like anthropologists, ethnographers, architects, psychologists, linguists and philosophers. As a student of architecture, this book is extremely helpful as it opens various perspective of looking at architecture and associated subjects. It helps in sensitizing the understanding about humans and its significance in architectural domain that is currently neglected. It helps in clearing the preconceived notion of architecture that many students would be fancily fascinated with.
There is no single theme that the book tends to reflect. However if we try to analyze it, we can conclude that it revolves around Proxemics and overlapping subjects and issues. It also helps in giving a broader sense of the significance of art, culture, linguistics, senses, perception, notion of space and how these rotate around Proxemics.. It broadly explains what can be classified into human sciences.
Starting from culture, the author delves into what he means by the hidden dimension of the aspects like art, language, senses, space, perception and broadly explaining the distances in man by comparing people of different cultures and how these distance originate, and govern human behavior at any time. By the hidden dimension, he tries to say that what is often not spoken is taken for granted. He extracts out all this taken for granted notions about art, culture, language, perception, senses and breaks them by explaining them extensively. It successfully opens up new and varied perspective of looking at previously ignored or unnoticed things.
Finally, he ends up criticizing the technology and widespread acceptance of the technocratic world. Technology is a lends us short lived pleasures but it horrifyingly and un/sub consciously changes the way we live, exist and the hence is ending up losing the very essence of being human.

Art in the twentieth century has been innovated and evolved more than previous centuries. So as in contemporary art, the artist's individual influence has surpassed the influence artist's work and the artist is the focus of attention, whereas in the old art, the artist's work was influential and also the artist's works were formed based on peoples tastes. But today, by focusing on the artist, people's tastes have been pushed aside and the artist's feeling has been emerged. Absence of art work in interior building creates contradiction with human who favors art. The created space should have artistic features or could place art works inside to the best of manifestation in order to be able to interact with cognitive ability of human. This point can also be insisted on that nature inventory of interior space is designed for human and without interior space; the building appears like a great statue. Art movements formed in recent decades have caused that new needs will be felt whether for displaying works in a particular environment or integrating the space and art work; in a wider environment, the created interior space can be looked at as an art work in the prevailing art movements.

In Moving Environments: Affect, Emotion, Ecology, and Film, international scholars investigate how films portray human emotional relationships with the more-than-human world and how such films act upon their viewers’ emotions. Emotion and affect are the basic mechanisms that connect us to our environment, shape our knowledge, and motivate our actions. Contributors explore how film represents and shapes human emotion in relation to different environments and what role time, place, and genre play in these affective processes. Individual essays resituate well-researched environmental films such as An Inconvenient Truth and March of the Penguins by paying close attention to their emotionalizing strategies, and bring to our attention the affective qualities of films that have so far received little attention from ecocritics, such as Stan Brakhage’s Dog Star Man.

The collection opens a new discursive space at the disciplinary intersection of film studies, affect studies, cognitive approaches to film emotion, and a growing body of ecocritical scholarship. It will be of interest not only to scholars and students working in the field of ecocriticism and the environmental humanities, but for everyone with an interest in our emotional responses to film.

Each year less and less survivors arrive in Auschwitz to commemorate the International Holocaust Remembrance Day. In 2005, almost 1500 survivors attended the anniversary; in 2015, only 300 survivors came to Auschwitz. Therefore, as the memory of the Holocaust increasingly depends on commemoration and re-telling of the story for the sake of the new generations, various Holocaust-related educational institutions come up with innovative ways of bridging the past with the present. This fact motivates the main question of this paper: what happens when all the survivors are gone?

By focusing on a case study of the USC Shoah Foundation’s holographic testimony-based project developed with the USC Institute for Creative Technologies: New Dimensions in Testimony, this paper centers on the relationship between new technologies, visual studies, and Holocaust memory.  By technology, I mean the study of interactivity in contemporary Holocaust memory, representation, and education, as well as developments in digital media, digital humanities, and computer science. On a more abstract level, this research discusses how technology informs the way we relate to our past. The second question, therefore, that motivates this paper is: what is the future of Holocaust memory?

Textile-based arts have long occupied vexed territory, characterised as being between binaries such as high and low art, amateur or professional practice, and craft or hobby. As a genre, it is often seen to sit on the fault lines of fine art, fashion and dress. In this ‘and/or’ space, textile art affects a kind of rupture to its attendant binaries where it can eschew rigidly defined classifications through its tendency toward cross-pollination. And, although it holds a well-documented position at the sidelines of the art historical canon, textile art has the distinct advantage of crossing class divisions even while being implicated within its own histories of gendered and racialised labour. Its broad range of mediums, techniques and processes make textile art a genuinely democratic form of material language. The far-reaching historical and cultural entanglements of textile art stretch back thousands of years. The story of textile arts is, quite simply, the story of human civilisation. Therefore, it has been subject to assimilation and adaptation, economics and politics, power, and the heavy legacy of empire.

« Les mots ne sont pas innocents ; selon le contexte, ils peuvent jouer des rôles bien différents. Espace et Lieu, par exemple, peuvent parfois se comprendre comme des synonymes, même si l'un n'est que l'alter ego de l'autre, et vice versa. » Leur rapport avec les concepts d'œuvre et d'exposition s'est modifié au fur et à mesure des changements statutaires respectifs. Cet ouvrage vise ainsi à interroger le statut de l'espace d'exposition face aux propositions artistiques contemporaines. Il se développe autour des notions principales d'architecture muséale, d'œuvre et d'exposition, à partir des années 1960 et jusqu'à nos jours. Les études de cas (MAXXI, MAMCO, Fondation Trussardi, Nuit Blanche) illustrent, par la suite, la polyvalence de l'espace contemporain. L'espace, ainsi, décomposé, fragmenté, réorganisé, ouvert, façonnable, bidimensionnel, critique, virtuel, fluide, plié, emboité, nomade, a été étudié et restructuré à partir de ses paramètres fondamentaux ; cela permet d'insister sur la présence d'un processus évolutif en chaine (sorte de syllogisme) où, d'abord, l'œœuvre se fait exposition, ensuite, l'espace se fait œuvre et, enfin, l'espace se fait exposition. C'est pourquoi, derrière un espace façonnable qui évolue par rapport à l'art qu'il accueille, apparaît aussi un espace multifonctionnel, un « hyperespace », qui réclame un art spécifique et de nouvelles exigences expographiques.

https://www.youtube.com/watch?v=pJfpa9vv9pg

This presentation considers how the phenomenological work of Maurice Merleau-Ponty (1908–1961) contributes to an understanding of architecture and place experience via his emphasis on the lived body. The focus is on architect Thomas Thiis-Evensen's " architectural archetypes " and architectural theorist Bill Hillier's " space syntax. " The presentation highlights three claims: First, that Thiis-Evensen provides a language for locating unself-conscious, visceral aspects of buildings & architectural meaning (Merleau-Ponty's perception and phenomenal field); second, that Hilllier illustrates how the spatiality of place—i.e., pathway configuration— supports or inhibits particular actions & routines of lived bodies as they come together or remain apart spatially (Merleau-Ponty's body-subject and intercorporeality); and, third, that both Thiis-Evensen & Hillier illustrate ways via architecture and place whereby pre-reflective bodily awareness and actions play an important role in the lifeworld (Merleau-Ponty's emphasis on the lived body as intentional but pre-reflective agent).

Other Labyrinths
On the basis of case studies, the book draws up a typology of five literary labyrinth models (city labyrinths, library labyrinths, mirror labyrinths, cave labyrinths, desert labyrinths) on a broad textual basis and examines them using authors such as Borges, Butor, Dürrenmatt, Eco, Lem, Lovecraft, Robbe-Grillet, Saramago and others.
In the sense of a spatial-theoretical re-conceptualization of the labyrinth concept, Hennig attributes the continued disorientation to topographical and geometric conditions of construction. The book suggests a typology of labyrinths that is at the same time a topology. It links Spatial history and History of Self: One can not not undertake or book group journeys into the labyrinth; it is, in modern times, instead a symbol of experiences of absolutely loneliness. One is always alone in the labyrinth, confronted with the Minotaur, the Death or the own Self.

Des labyrinthes autres
Sur la base d'études de cas, le livre établit une typologie de cinq modèles de labyrinthes littéraires (labyrinthes de ville, labyrinthes de bibliothèque, labyrinthes de miroir, labyrinthes de grotte, labyrinthes de désert) sur une large base textuelle et les examine en utilisant des auteurs tels que Borges, Butor, Dürrenmatt, Eco, Lem, Lovecraft, Robbe-Grillet, Saramago et autres. Dans le sens d'une reconceptualisation spatio-théorique du concept de labyrinthe, Hennig attribue la désorientation continue aux conditions topographiques et géométriques de la construction. La conception d'une typologie des formes du labyrinthe littéraire se voit en même temps comme une topologie et reflète l'histoire spatiale et l'histoire du sujet l'une dans l'autre : on n'entreprend pas de voyages de groupe dans le labyrinthe ; c'est plutôt un lieu de potentialisation et de poussée critique vers les expériences extrêmes de solitude.

Das andere Labyrinth
Matthias Hennig entwirft auf breiter Textbasis anhand von Fallstudien eine Typologie von fünf literarischen Labyrinth-Modellen (Stadtlabyrinthe, Bibliothekslabyrinthe, Spiegellabyrinthe, Höhlenlabyrinthe, Wüstenlabyrinthe) und untersucht diese anhand von Autoren wie Borges, Butor, Dürrenmatt, Eco, Lem, Lovecraft, Robbe-Grillet, Saramago u.a. Im Sinne einer raumtheoretischen Neukonzeptualisierung des Labyrinth-Begriffs führt Hennig die fortgesetzte Desorientierung auf topographische und geometrische Konstruktionsbedingungen zurück. Der Entwurf einer Typologie literarischer Labyrinth-Formen versteht sich zugleich als Topologie und spiegelt Raumgeschichte und Subjektgeschichte ineinander: Ins Labyrinth unternimmt man keine Gruppenreisen; vielmehr ist es ein Ort potenzierter und kritisch auf die Spitze getriebener Einsamkeitserfahrungen.

This paper will offer a deeper understanding of coalitions and micropublics in creative placemaking by offering an alternative arts-based placemaking practice (as defined by the National Endowment for the Arts, Markusen and Gadwa 2010) of social practice placemaking (SPPM). This paper is concerned with the co-option of arts into placemaking as a practice of limited public engagement and agency and offers SPPM as a practice that challenges the binary and linear notion of authorship and audience (Kwon 2004, Whybrow 2011) found in creative placemaking.

SPPM creates a situated micropublic constituency of an ‘urban creative’ (Klanten and Hübner 2010) assemblage of artists, community members and urban professionals working in equanimity that engenders deeper feelings of place attachment in the collaborative group, which in turn affects notions of civic participation and individual and community identification.
It will present research findings of global SPPM fieldwork case studies with specific focus on Big Car, Indianapolis. Findings from this case study address issues who may form a placemaking coalition; how these coalitions may operate; ethical concerns of creative and social practice placemaking; these practices as a means of cultural expression; and their relative impact on minority socio-cultural groups.

"Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's 'cognitive' sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art."
Published in Recht und Frieden in der Philosophie Kants: Akten des X. Internationalen Kant-Kongresses [Right and Peace in Kant's Philosophy: Proceedings of the 10th International Kant Congress] 5 vols., ed. Valerio Rohden, Ricardo R. Terra, and Guido A. de Almeida (Berlin / New York: Walter de Gruyter, 2008), Vol. 3, pp. 565-576."

The work of the Cuban American artist, Ana Mendieta, has often been criticised because she embraced the traditional alignment of woman and nature, an alignment which is generally perceived as reliant upon essentialist ideas about female identity. Recent commentators have defended Mendieta’s work against the charge of essentialism by interpreting her work through the lens of Judith Butler’s idea of gender as performance. Mendieta’s work, it is argued, destabilises identity by emphasising the repeated performances of this alignment. In other words, the emphasis falls on the “deed” rather than the “doer,” to use Butler’s terms. While the capacity of Mendieta’s work to sustain these different readings points to its richness, it is curious that essentialism still remains a scare term, despite the feminist literature from the 1980s and 90s which point to the inescapability of essentialism. This article considers Mendieta’s Silueta Series in the light of this reconsideration of essentialism.

FROM THE BACK COVER: What is the essential nature of meaning? . . . . . This book answers by examining interpretive theories from the past and present. It finds that an historical struggle with meaning has been underway since the Reformation, a struggle that reaches crisis proportions in the 20th century. On the one hand, this crisis is mollified by Heidegger's hermeneutical phenomenology, which argues that we are always already in a meaningful relationship to the objects of the world. On the other hand, this crisis is exacerbated when phenomenology, structuralism, and aesthetic theory directly make meaning into an object of study. . . . . . . . . These historical developments culminate with the psychoanalyst Jacques Lacan, whose non-hermeneutical phenomenology delimits a cause of meaning said to be closely linked to the core of subjectivity. Intriguingly, Lacan's work reveals meaning to be sexual in nature. By integrating his notion of sexual difference with his work in discourse theory and topology, this book demonstrates how the subject's struggle with meaning can be suspended.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GENERAL DESCRIPTION: Broadly speaking, the majority of books on Jacques Lacan focus on the earlier periods of his career. They also tend to target the psychoanalytic clinical community, or else discuss his work in various political, social, and cultural contexts. But in almost all cases these books refrain from a detailed exegesis of his actual texts. They instead prefer to comment on his theoretical apparatus as a whole before turning to its practical implications. . . . . . This book positions itself against this grain. Firstly, it closely analyzes some half-dozen key Lacanian texts. This analysis is organized under a single thematic – the question of meaning – in order to advance the reader's understanding of the trajectory of Lacan's thought across his entire career, as well as to promote the book's thesis that the field of meaning can be suspended. Accordingly, an initial chapter takes up the hermeneutical tradition from Flacius onward. This is then supplemented by a chapter which surveys phenomenological, structuralist and aesthetic theories of meaning and their differing methods of textual analysis. Together these two chapters provide a unique context for the sustained analysis of Lacan's texts which begins in the third chapter, an analysis that forms the bulk of the book's content. This contextualization potentially widens the book's appeal to any scholar wishing to explore his relationship to those textual objects he interacts with on a daily basis. And because this book assumes the reader has little to no familiarity with Lacan, the reader will find patient explanations of the basics of his theories before slowly being led up to the more difficult theories of his late years. Again the argument is that Lacan has something to offer all scholars. His work is not just reserved for psychoanalysts. . . . . . It is with his late theories that the serious student of Lacan will find the book's most original contribution. For in the fourth chapter a detailed account is provided of how Lacan derived his infamous formulae of sexuation from Aristotelian logic. These formulae are then extensively discussed against the backdrop of interpretive theory and textual analysis, showing how these formulae capture much more than just the difference between the sexes. Strikingly, this difference is also found to run through meaning itself, something the final chapter aims to demonstrate. It does this by amalgamating three key components of late-Lacan: sexuation, discourse theory and his use of topological spaces. This amalgamation is a first in the literature. But this amalgamation is not just useful in demonstrating the book's thesis. It further suggests how seemingly divergent aspects of late-Lacanian theory can be made to work together.

Una de las principales finalidades de la arquitectura radica en la búsqueda de un LUGAR donde el ser humano
pueda habitar.
Lugar como centro y trasfondo donde discurre la vida, donde ser. Así, surge el cuestionamiento acerca de la
significación y la importancia de la noción de lugar y su relación con la arquitectura, que se presenta a través
de un diálogo entre diversos autores de diferentes disciplinas como la filosofía, la antropología, la literatura y la
arquitectura.
Lugares que se podrían definir como envolvencias donde confluye lo que envuelve y lo envuelto, donde el ser
humano es el centro, abiertos a recibir, cuyos límites permanecen en equilibrio en una relación profunda con
su genius loci, caracterizados por una singular identidad que los hacen únicos e inexplicablemente maravillosos.
Lugar y arquitectura que se anudan en distintos conceptos, siendo capaces de cobijar la coexistencia del
tiempo asentado en espacio, adquiriendo una permanencia que consigue otorgar reposo a lo pasajero, donde el
ser humano tiene la posibilidad de habitar el presente dotándolo de una identidad que lo convierten en único y
especial, rozando la totalidad, cuya resonancia traspasa los límites físicos impregnado el cuerpo y el alma, la
percepción y la memoria.

Özet: İlk çağlardan beri sanatın dönem dönem sorgulandığı ve bu sorgulamaların neticesinde gelişen zihin yapısının sanatta yeni pencereler açtığı günümüzde, seramik sanatı; geleneksel, endüstriyel ve sanat seramiği olarak üç temel alana ayrılmaktadır. Malzemesinin karakteristik özelliklerinden ötürü boşlukla şekillenen, iç boşluğa sahip olan ve plastik sanatların tüm ögelerini bünyesinde içeren bir sanat dalı olarak seramik sanatı, işlevsel ya da sanat seramiği olarak çok çeşitli biçim ve kavramsal içeriklerle  karşımıza çıkmaktadır. Sanatçılar eserlerini, çamurun boşlukla iletişime geçtiği  şekillenebilme özelliğinin geniş ifade alanlarından yararlanarak oluşturmaktadırlar.
Bu çalışmada; çeşitli sanatçılardan seramiğin iç boşluğundaki iş görme yetisinin dışlanarak biçimin yeni görsel plastik bir anlam edindiği yani çanak, çömlek, testi, kupa ve vazo gibi kap biçimlerinin heykelsi bir görünüme dönüşerek, sanat seramiği olarak sınıflandırılan eserler incelenmiştir. Bununla birlikte, boşluğun  sadece nesnenin dış yüzeyini çevreleyen bir eleman olarak değil, kütlelerin parçalanmasıyla plastik bir öge olarak da kullanıldığı heykel çalışmaları ele  alınmıştır. Tezde çalışmaları analiz edilen sanatçılar arasında, Peter Voulkos (Amerika), Alev Ebuzziya Siesbye (Paris), Piet Stockmans (Belçika), Bodil Manz (Danimarka), Wayne Higby (Amerika), Linnea Rut Bryk (İsveç), Hsu Yunghsu (Tayvan), Canan Dağdelen (Viyana), Eva Hild (İsveç) ve Merete Rasmussen (Londra) yer almaktadır. Araştırmada, sanat seramiğinin biçimden biçime farklılıklar gösterişini örnekler üzerinden irdeleyerek, boşluğun nasıl bir şekle dönüştüğü ve kurgulandığı konusunda çözümlemeler yapılmaya çalışılmıştır.

Abstract: The art of ceramic is divided into three basic fields as traditional, industrial and art ceramic today, where the mental structure of art has opened new windows in art as a result of periodic inquiries and search for new expressions since ancient times. Ceramic art, classified as functional and art ceramic, mainly comes up with a  wide variety of forms and conceptual contents as a branch of art that is shaped with a void due to characteristic feature of its material encapsulating an interior space as well as embracing all the elements of plastic arts. The artists emerge by taking advantage of the wide range of expressions of the feature where clay enables communication through void.
This study aims to examine several works created by various artists in which the form acquires a new visual plastic meaning - excluding the ability to work in the inner space of ceramic - that is, vessel forms such as pottery, jugs, mugs and vases transformed into a sculptural appearance as well as the works classified as art  ceramic are analyzed. Beside examining space as a outer surface encircling the object of element, it is also studied as a plastic element that is used by breakdown of masses in sculptural works. Among the artists’ works discussed and analyzed in the thesis are Peter Voulkos (America), Alev Ebuzziya Siesbye (Paris), Piet Stockmans  (Belgium), Bodil Manz (Denmark), Wayne Higby (America), Linnea Rut Bryk (Sweden), Hsu Yunghsu (Taiwan), Canan Dağdelen (Vienna), Eva Hild (Sweden) and Merete Rasmussen (London). This research essentially endeavors to analyze how space is transformed into a form by examining the process through diverse examples that unveil differences from form to form in art ceramic.

NOTE: The ideas and examples in this article are now much more fully developed in David Seamon, LIFE TAKES PLACE: PHENOMENOLOGY, LIFEWORLDS, AND PLACEMAKING (London: Routledge, 2018). The most important shift is the author's realizing that genius loci is part of a broader phenomenon that he identifies as "common presence"--"the material and lived 'togetherness' of a place impelled by both its physical and experiential qualities" (Seamon 2018, p. 87). I would ask readers of thIs article to complement their understanding by studying LIFE TAKES PLACE.

ABSTRACT OF ORIGINAL ARTICLE: As recent phenomenological studies have demonstrated (Casey 1997, 2009; Malpas 1999, 2006; Mugerauer 2008; Stefanovic 2000), the phenomenon of place is a multivalent structure sophisticated and complex in its existential constitution. In this chapter, I offer one phenomenological vantage point from which to examine this lived complexity. I contend that, as an integral structure of human life, place can be understood in terms of three dimensions: first, the geographical ensemble—i.e., the material environment, including both its natural and human-made dimensions; second, people-in-place, including individual and group actions, intentions, and meanings; and, third, spirit of place, or genius loci.

Drawing on the conceptual approach of “systematics” developed by the British philosopher J. G. Bennett, I argue that these three dimensions can engage in six different ways, each of which relates to one particular lived mode whereby place contributes to human life. These six modes are: (1) place interaction; (2) place identity; (3) place creation; (4) place intensification; (5) place realization; and (6) place release.

I argue that place identity is important for understanding the nature of place but is complemented by other modes of relationship that together help clarify the complexity and richness of place and place experience.

One of the most innovative and coherent approaches recently proposed in the study of the work of McLuhan has to do with the concept of space. This concept appears in McLuhan’s thinking from the very beginning of his work and evolves as his research widens its scope in topics and complexity, surpassing the natural limits of literature, on one hand, and communication theory, on the other. The concept establishes a bridge between the theory of the visual space, which characterizes the first stage of his research, and the theory of the aural space (audio-tactile) of the last stage. It represents one of the least analyzed contributions, yet it stands among the most enlightening within the work of the Canadian scholar.
Edited by Matteo Ciastellardi, Cristina Miranda de Almeida, Carlos A. Scolari.

REFERENCE:: David Seamon, Merleau-Ponty, Lived Body and Place: Toward a Phenomenology of Human Situatedness, a chapter in T. Hünefeldt and A. Schlitte (eds.), Situatedness and Place (pp. 41-66). Cham, Switzerland: Springer, 2018.

ABSTRACT: In this chapter, I draw on French phenomenologist Maurice Merleau-Ponty's understanding of perception and corporeal sensibility to consider the significance of human situatedness as expressed via place and place experience. To illustrate how Merleau-Ponty's conceptual understanding might be applied to real-world place experiences, I draw on two sources of experiential evidence, the first of which is a passage from Colombian writer Gabriel García Márquez's magical-realist novel, One Hundred Years of Solitude (1967/1970). The second source is a set of first-person observations describing events and situations that I happened to take note of during weekday walks between my home and university office over the course of several months. My aim is to use these two narrative accounts as a means to illustrate, via vignettes of everyday human experience, Merleau-Ponty's central concepts of perception, body-subject, and lived embodiment. I contend that these accounts substantiate Merleau-Ponty's phenomenological claims and point to additional significant elements of human situatedness and place experience.

A Portuguese translation of this chapter by Andre Pinto is available here at academia.edu at:

https://www.academia.edu/42134992/Merleau-Ponty_Lived_Body_and_Place_Toward_a_Phenomenology_of_Human_Situatedness_-_Tradu%C3%A7%C3%A3o_em_Portugu%C3%AAs_do_Artigo_de_David_Seamon_2018_

This thesis is about creative strategies for staging places as performances. To remain viable in the rapidly changing technological and social context, architecture needs to extend its engagement with research, reappraise its fundamental goals and develop creative strategies adequate to new challenges.

However, utilisation of research in design disciplines is still immature and the methodologies of this utilisation remain a matter of controversy and active debate. In particular, the potential of cross-pollination between designing and research requires further clarification. This thesis addresses this need by developing a methodological approach that combines participant observation and investigative designing. Utilising these methodologies, this thesis considers several case-studies, including interactive installations and virtual environments.

Engagement with case-studies through participant observation and investigative designing in this thesis motivates a discussion that reinstates place as the focus of architectural practice. Existing discourse and practice in architecture often assume retrograde, romantic, essentialist and exclusionary understandings of places, for example as singular, bounded and static. By contrast, this thesis highlights an open and flexible vision of places as performances. Considering the possible roles of architectural designing in place-making, it suggests that architects cannot produce ready places but can engender placemaking performances and influence their growth with provocative, open and collaborative creative-design strategies.

Having established the case for distributed, polyphonic, campaigning creativity in place-making, this thesis considers whether design computing can support its performative needs. Commonly, researchers and practitioners in architecture express concerns that design computing can hinder human creativity. By contrast, this thesis demonstrates that design computing can support distributed creativity by staging multiplicious, open, flexible, idea- and insight-generating participatory exchanges. In the process, this thesis considers interactive cinematography and procedural designing as place-making actions. This re-conceptualization demonstrates that design computing can usefully support creative place-making and sometimes be indispensable for its success.

This thesis contributes to knowing by 1) utilising and presenting an unorthodox methodological approach to architectural research; 2) presenting an approach to understanding and making of places novel to the field of architecture; and 3) re-conceptualizing innovative design-computing as an important creative resource for placemaking.

"ABSTRACT:
    This study assumes the subject's pursuit of meaning is generally incapacitating and should be suspended. It aims to demonstrate how such a suspension is theoretically accomplished by utilizing Lacan's formulae of sexuation integrated with his work in discourse theory and topology.
    Part I places this study into context by examining scholarship from the established fields of hermeneutics, phenomenology, (post)structuralism, aesthetic theory and psychoanalysis in order to extract out their respective theory of meaning. These theories reveal that an historical struggle with meaning has been underway since the Reformation and reaches near crisis proportions in the 20th century. On the one hand this crisis is mollified by the rise of Heideggerian-Gadamerian hermeneutical phenomenology which questions traditional epistemological approaches to the text using a new ontological conceptualization of meaning and a conscious rejection of methodology. On the other hand this crisis is exacerbated when the ubiquitous nature of meaning is itself challenged by (post)structuralism's discovery of the signifier which inscribes a limit to meaning, and by the domains of sense and nonsense newly opened up by aesthetic theory. These historical developments culminate in the field of psychoanalysis which most consequentially delimits a cause of meaning said to be closely linked to the core of subjectivity.
    Part II extends these findings by rigorously constructing out of the Lacanian sexuated formulae a decidedly non-hermeneutical phenomenological approach useful in demonstrating the sexual nature of meaning. Explicated in their static state by way of an account of their original derivation from the Aristotelian logical square, it is argued that these four formulae are relevant to basic concerns of textual theory inclusive of the hermeneutical circle of meaning. These formulae are then set into motion by integrating them with Lacan's four discourses to demonstrate the breakdown of meaning. Finally, the cuts and sutures of two-dimensional space that is topology as set down in L'étourdit are performed to confirm how the very field of meaning is ultimately suspended from a nonsensical singular point known in Lacanian psychoanalysis as objet a. The contention is that by occupying this point the subject frees himself from the debilitating grip of meaning."

In this chapter, I encapsulate the complex, shifting relationship between phenomenology and architecture by speaking of an architectural phenomenology, which I tentatively define as the descriptive and interpretive explication of architectural experiences, situations, and meanings as constituted by qualities and features of both the built environment and human life (Otero-Pailos 2012; Seamon 2017). In demonstrating that architectural phenomenology has significant research and design value today, I first describe the phenomenological approach more fully, highlighting two key phenomenological concepts relevant for architectural understanding—lifeworld and natural attitude. Second, I overview the complicated thread of events whereby architects and architectural theorists became interested in phenomenology. Third, I discuss two phenomenological topics that have come to have value for architecture and briefly discuss their significance for architectural thinking: (1) environmental embodiment; and (2) architectural atmospheres. Last, I identify some key criticisms of architectural phenomenology and suggest what value it might have for the future of architecture, particularly in regard to the imminent arrival of virtual reality, virtual places, and virtual buildings.

The elaborate Major sakkos of Metropolitan Photios of Russia (1408-31) is one of the finest surviving examples of medieval liturgical vestments.  In this paper, the shape, architectonics, and decoration of this canopy-like object is compared to the church and to the holy tent known from Mosaic traditions, thereby raising questions of materiality and conceptual framing of the sacred.  By analyzing ritual performance within a Byzantine-rite church and practices of defining sacred space with specific materials, this paper suggests the transferability of the architectonics of textile and masonry canopies into sakkos.  When Metropolitan Photios wore this conspicuously superb “garment of glory and beauty,” he reenacted the “living icon of Christ,” Jesus as the High Priest, and His mystical re-birth in the sanctuary.  Within this “spatial living icon,” the sakkos framed the ritual and spiritual transformation of the human body as well as the dynamics within the performative spaces of God’s manifestations.

The paper discusses Derrida's concept of hospitality which perfectly describes the experience of loosing the sense of feeling at home and reveals the disintegrating entrance of the Otherness into a coherent home space. Jacques Derrida's theory makes it possible to deconstruct the familiar home space, which, however, does not constitute in any case its destruction. Revealing a complex and ambiguous nature of the challenge of hospitality, he perceives the sense of feeling at home as one of the necessary conditions of a stable subject. This is the subject that most fears the Otherness which could disrupt, unsettle their permanent structure and a sense of certainty. Therefore, the Author follows closely the fear of strangeness and the nostalgic longing for the sense of feeling at home as depicted by David Lynch and Michael Haneke in their films. Then he passes on to the field of contemporary art which not only reveals the fact that something has happened to the house we have known so far, but it also allows for creative deconstruction of the feeling at home. The artistic works selected by the Author break the binary oppositions: one’s own/someone else’s, familiar/strange (Jessica Sue Layton), close/distant (Shizuka Yokomizo) and finally the most important one: interior/exterior (Marja Pirilä, Eve Dent).

This paper critically reviews the current status of the concept of distance in human geography in order to argue that recent experimentally-driven work in construal-level theory offers ample opportunities for recasting distance as a key geographical trope. After analysing the four entangled dimensions of distance revealed by construal-level theory (spatial distance; temporal distance; social distance; and hypothetical distance), the paper articulates this research program from experimental psychology with geographical work on non-representational theory, geographical imaginations/imaginative geographies, learning as a geographical process, TimeSpace theorizing, and ontogenetic understandings of space. It is argued that the subjective understanding of distance afforded by construal-level theory can rescue distance from its entrenched association with positivistic geography and spatial analysis. https://doi.org/10.1016/j.geoforum.2016.07.018

In this chapter, I consider the significance of hermeneutics for architecture. I begin by locating some key concerns that a hermeneutics of buildings and other architectural works entails. As a heuristic context for discussing these concerns, I draw on comparative-religion scholar Lindsay Jones’ The Hermeneutics of Sacred Architecture, a two-volume work that is perhaps the most exhaustive recent effort to identify the diverse, multi-dimensioned ways in which an “architectural hermeneutics” might proceed (Jones 2000).
        I identify two major research dilemmas toward which Jones’ work points: first, the contentious question of whether buildings-in-themselves, as opposed to the personal, social, and cultural experiences and meanings of those buildings, can be examined hermeneutically; and, second, the difficult matter of interpretive trustworthiness. If, in other words, one assumes that buildings evoke divergent meanings for different experiencers and interpreters, how is he or she to evaluate the relative accuracy and validity of competing interpretations?
        As evidence of a hermeneutic approach that might circumvent these two interpretive concerns, I discuss two significant efforts to generate what might be called a hermeneutics of the language of architecture: first, philosopher Karsten Harries’ language of natural symbols; and, second, architect Thomas Thiis-Evensen’s language of architectural archetypes. I consider the relative interpretive power of these two hermeneutic languages to describe accurately and non-arbitrarily the lived experience of “buildings-in-themselves.”

This undergraduate thesis inquires into the temporal-existential-experiential-ephemeral nature of 'place' as a phenomena and its experience. Various representations made in the dissertation implicitly try to reflect the nature of place-experience as a phenomena.

Approaching the wealth of contemporary experimental practices in which geography and art spar and fuse with one another, it would be easy to play them off against a straw-man vision of modern geography, fervently scientistic and defined strictly against imaginative practice. But geography was never such a fossil, prime for artistic deconstruction or demystification. Reflections on

An investigation into the socio-spatial relationship between subject and place;
with specific reference to the artistic practice of Layla Curtis, Doung Jahangeer,
Richard Long and Jeremy Wood.
The paper is motivated by an interest in walking and mapping as art forms. it investigates the relationship between art and psychogeography.

Sound makes places, and as organised sound music contributes to the sonic organisation of place. Some sounds, some music genres, make places more than others. Think of folk or ethnic music. As they emanate from shops, cars, or radios, the sounds of folk and traditional music genres typ- ically demarcate neighbourhoods, cities, even whole countries, by signalling that these places ‘belong’ to a specific cultural space (Stokes 1995). Also life-style subcultures often work in this way, that is, by demarcating places in different urban settings. Venues for youth are often char- acterised by the loud music associated with their subcultures, which in this way reclaim certain urban places as their ’natural’ habitat (Bennet 2000; Connell and Gibson 2002). In sum, we can say that music works as a cultural tool in the construction of locality, in the domestication of space, transforming it into a place that could be associated with, and claimed to belong to, par- ticular groups – be they age groups, ethnic groups, or social classes. Anthropologists, ethnomu- sicologists, geographers and sociologists have documented how music can help define the cultural ownership of space by ethnic, regional, generational, national and even economically based groups (e.g. Mitchell 1996; Leyshon, Matless, Revill 1998; Connell and Gibson 2002; Krims 2007). We suggest that with respect to place, music works like architecture or public art: while build- ings, posters or graffiti create particular semiotic spaces, loading them with special meanings, music can function as a marker of specific meaningful places inside geographical spaces...
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Place, Memory and Healing: An Archaeology of Anatolian Rock Monuments investigates the complex and deep histories of places, how they served as sites of memory and belonging for local communities over the centuries, and how they were appropriated and monumentalized in the hands of the political elites. Focusing on Anatolian rock monuments carved into the living rock at watery landscapes during the Late Bronze and Early Iron Ages, this book develops an archaeology of place as a theory of cultural landscapes and as an engaged methodology of fieldwork in order to excavate the genealogies of places.

Advocating that archaeology can contribute substantively to the study of places in many fields of research and engagement within the humanities and the social sciences, this book seeks to move beyond the oft-conceived notion of places as fixed and unchanging, and argues that places are always unfinished, emergent, and hybrid. Rock cut monuments of Anatolian antiquity are discussed in the historical and micro-regional context of their making at the time of the Hittite Empire and its aftermath, while the book also investigates how such rock-cut places, springs, and caves are associated with new forms of storytelling, holy figures, miracles, and healing in their post-antique life. Anybody wishing to understand places of cultural significance both archaeologically as well as through current theoretical lenses such as heritage studies, ethnography of landscapes, social memory, embodied and sensory experience of the world, post-colonialism, political ecology, cultural geography, sustainability, and globalization will find the case studies and research within this book a doorway to exploring places in new and rewarding ways.

In the last decades of the twentieth century, the term 'counter-monument' seemed to fittingly describe a new democratic ethos of engaging individuals subjectively rather than authoritatively into commemoration, connected to the postmodern breakdown of historical master narratives. From today’s point of view, however, the memorial landscape looks more complex: Issues of economics (monument tourism), of the environment (the role of nature as memorial, and its precarious status in urban and rural civilization), activism, and of representation (not only national or ethnic, but just as often transnational and cross-generational), must be understood in order to evaluate current debates and designs, and to reconsider claims of democratic access, and supposed shifts in the genre of the monument.