Externality as Symbol

2019 ◽  
pp. 151-176
Author(s):  
Lydia L. Moland
Keyword(s):  
Tower Of Babel ◽  
Classical World ◽  
The Senses ◽  
Cologne Cathedral

Architecture is the first of Hegel’s “individual arts”—which also include sculpture, painting, music, and poetry—discussed in Part III of his lectures on aesthetics. These arts are defined by the senses they engage. Architecture’s task is to give shape to tactile materials in order to house the spiritual. Hegel describes architecture’s origins in the Tower of Babel and figures representing natural forces, then considers the emergence of architecture proper in Egyptian pyramids. Architecture reached its highest point in the classical world, where its function—housing the spiritual—was made explicit by structures that balanced the organic and the mathematical. Romantic architecture, for instance the gothic splendor of the Cologne Cathedral, instead hides its functionality and becomes more sculptural. Hegel also discusses horticulture as an example of humans defining space in an architectural way.

Piéron on the Senses

1956 ◽  
Vol 1 (6) ◽  
pp. 177-177
Author(s):  
LEO M. HURVICH
Keyword(s):  
The Senses

Review of The Citadel of the Senses and Other Essays.

1986 ◽  
Vol 31 (10) ◽  
pp. 820-820
Author(s):  
No authorship indicated
Keyword(s):  
The Senses

The physiology of the senses.

1893 ◽  
Author(s):  
John Gray M'Kendrick ◽  
William Snodgrass
Keyword(s):  
The Senses

The elementary forms of digital culture. Knowledge, connections and sociality

2020 ◽  
pp. 316-328
Author(s):  
Vincenzo Susca
Keyword(s):  
Public Opinion ◽  
Daily Life ◽  
Digital Culture ◽  
Social Boundaries ◽  
Public Spheres ◽  
The Public ◽  
Nation States ◽  
The Senses ◽  
Point Of Intersection ◽  
Dark Web

Contemporary communicative platforms welcome and accelerate a socio-anthropological mutation in which public opinion (Habermas, 1995) based on rational individuals and alphabetic culture gives way to a public emotion whose emotion, empathy and sociality are the bases, where it is no longer the reason that directs the senses but the senses that begin to think. The public spheres that are elaborated in this way can only be disjunctive (Appadurai, 2001), since they are motivated by the desire to transgress the identity, political and social boundaries where they have been elevated and restricted. The more the daily life, in its local intension and its global extension, rests on itself and frees itself from projections or infatuations towards transcendent and distant orders, the more the modern territory is shaken by the forces that cross it and pierce it. non-stop. The widespread disobedience characterizing a significant part of the cultural events that take place in cyberspace - dark web, web porn, copyright infringement, trolls, even irreverent ... - reveals the anomic nature of the societal subjectivity that emerges from the point of intersection between technology and naked life. Behind each of these offenses is the affirmation of the obsolescence of the principles on which much of the modern nation-states and their rights have been based. Each situation in which a tribe, cloud, group or network blends in a state of ecstasy or communion around shared communications, symbols and imaginations, all that surrounds it, in material, social or ideological terms, fades away. in the air, being isolated by the power of a bubble that in itself generates culture, rooting, identification: transpolitic to inhabit

Touching Blind Bodies: A Critical Inquiry into Pedagogical and Cultural Constructions of Visual Disability in the Nineteenth Century

2018 ◽  
Author(s):  
Heather Tilley ◽  
Jan Eric Olsén
Keyword(s):  
Nineteenth Century ◽  
Visually Impaired ◽  
Blind People ◽  
Embodied Experience ◽  
Visual Disability ◽  
Visually Impaired People ◽  
Educational Challenges ◽  
Impaired People ◽  
The Senses ◽  
Cultural Constructions

Changing ideas on the nature of and relationship between the senses in nineteenth-century Europe constructed blindness as a disability in often complex ways. The loss or absence of sight was disabling in this period, given vision’s celebrated status, and visually impaired people faced particular social and educational challenges as well as cultural stereotyping as poor, pitiable and intellectually impaired. However, the experience of blind people also came to challenge received ideas that the visual was the privileged mode of accessing information about the world, and contributed to an increasingly complex understanding of the tactile sense. In this chapter, we consider how changing theories of the senses helped shape competing narratives of identity for visually impaired people in the nineteenth century, opening up new possibilities for the embodied experience of blind people by impressing their sensory ability, rather than lack thereof. We focus on a theme that held particular social and cultural interest in nineteenth-century accounts of blindness: travel and geography.

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