Philosophy of the City

Obwohl  sich  die  „Philosophie  der  Stadt“  in  den  letzten  Jahr-zehnten dynamisch entwickelt hat, stellt sie noch keine klar konturierte philosophi-sche  Teildisziplin  dar.  Dieser  Zustand  birgt  Chancen  und  Probleme:  Die  aktuellen  Debatten sind vielschichtig und kreativ, die Potentiale verschiedener Theorien, Tra-ditionen und Methoden zur philosophischen Erschließung der Stadt werden erprobt und kombiniert. Zugleich zeigt sich nach wie vor eine gewisse Unsicherheit hinsicht-lich der genauen Ziele und Aufgaben einer Philosophie der Stadt sowie hinsichtlich ihres Verhältnisses zu anderen Disziplinen der Stadtforschung. Die Einleitung in den Schwerpunkt (i) gibt Einblicke in den Stand der Debatte, (ii) arbeitet auf dieser Basis drei  Ansätze  der  Beschreibung  der  Ziele  und  Aufgaben  einer  Philosophie  der  Stadt  heraus, und (iii) ordnet die Beiträge des Schwerpunktes in diese Systematik ein.

The distinction between natural and urban spaces permeates much of Western dominant political and environmental philosophy. This distinction in itself need not be problematic when used as an observational or descriptive category. However, like many other distinctions in the Western dominant tradition, the urban/natural distinction takes on the form of an oppositional dualism that implies unequal, hierarchical relationships between the relata (Warren 2000; Plumwood 1994). The natural/urban dualism is also not inert because these categories are infused with certain valued assumptions that affect how the humans who wield and construct these categories move through space, as well as how they act upon the world. In this chapter, I will trace the particular genesis of the urban/natural distinction as instrumental to a particular brand of mainstream environmentalism found in the United States. I will argue that this form of mainstream environmentalism is articulated predominantly from the social location of white, upper class, cisgender men while prescribed as universal. This particular form of environmentalism undertheorizes the city and urban areas as environmental spaces for a variety of reasons, which are directly linked to the simultaneous expansion and ignoring of environmental racism in these areas. In the first section, I give a brief historical overview of ways the urban/natural dualism has been used for various ends, with special attention to how this dualism creates and maintains ideas of what is properly an environment and who is properly environmental. In the second section, I examine the birth and growth of the US environmental justice movement as a direct response to the classist, sexist, and racist character of the mainstream environmental movement and the related exclusions of those people and places experiencing environmental racism. I will focus specifically on these exclusions as they pertain to urban communities of color. Finally, in the third section, I will examine how the emphasis on urban areas as degraded environmental spaces limits the space for imagining or experiencing positive environmental encounters in these spaces.

Resumen: Con relación a la construcción, el crecimiento y la refundación de las ciudades en Hispanoamérica y, en concreto, valiéndose como caso de estudio del proyecto de una nueva Riobamba propuesto por Darquea, se ensaya aquí la aplicación de una triple concepción de los valores -- los comunicativos, los económicos y los sociales-- cada una dividida en desiderativos (desiderata) e imperativos: normas, ligaduras o deberes. Se desarrollan tres conceptos de ciudad (taxonómico, mereológico y reticular) que interdefinen ciudad y territorio, y se adopta el formato definicional morfo-teleológico de Burt G. Wilder para entender la noción de ciudad ilustrada en su contexto. Hecho esto, se examina cómo la concurrencia --armonista o conflictiva entre los valores involucrados en los deseos y exigencias de los sujetos actores-- influye en el rechazo del proyecto radial de Darquea y la realización del más asentado modelo hipodámico. Palabras clave: Ciudad ilustrada, Hispanoamérica, Riobamba, territorio, valores.

Abstract: Concerning the construction, growth, and anew construction of cities in Spanish America, in particular taking as a case study Darquea's project of a new Riobamba, here is expounded an essay to apply a threefold conception of values --communicative, economic, and social-- each one of them divided into desirable (desiderata) and imperatives: norms, constraints or duties. The development of three concepts of city (taxonomic, mereological and reticular), which mutually implicate city and territory, is aided by the adoption of Burt G. Wilder's morpho-teleological definitional formula to understand the notion of an illustrated city within its context. Concurrence --harmonic of conflictive between values implicated in the desires and requirements of the acting subjects-- is studied regarding its influence on the dismissal of Darquea's radial project and the execution of the more traditional hypodamic model. Keywords: Illustrated city, Riobamba, Spanish America, territory, values.

City-based citizenship (city-zenship) and its ecological ramifications increasingly inform people’s social and political lives, rendering the link between ecological citizenship and political city-zenship a topical subject for analysis. The questions analyzed here are: How can and how do citizens of cities promote sustainable urban development? What are their goals and motivations? And how do these forms of engagement reflect the theory of ecological citizenship in cities? The research is based on semi-structured and in-depth interviews with environmental and political activists in German and Israeli cities. The analysis indicates that the city is a meaningful political arena for ecological citizenship, with distinct patterns of political participation in relation to a city’s particular identity. However, political participation in cities is not independent of the state, but dependent on the political and civic rights enshrined therein.

Osservare la città oggi è un modo di riflettere e comprendere più ampiamente il fenomeno giuridico nella sua complessità. Vedere il diritto attraverso la città consente infatti di mettere a fuoco molti problemi giuridici della contemporaneità, con domande e strumenti inusuali o nuovi. Pensare la dimensione urbana del futuro non può prescindere da un'analisi delle modalità di rappresentazione del giuridico e delle pratiche che in essa prendono corpo. La relazione tra diritti e città, la proiezione di spazi attraverso l'architettura giudiziaria, la lettura del diritto alla città come diritto ad avere diritti, costituiscono i temi principali di una città giuridicamente possibile.

The aim of this work is to describe the moral and political implications of urbanism. To do so I will argue that urbanism is an object for philosophical inquiry (Chapter 2). In Chapter 2 I will present my definition of something I call value-setting type of urbanism, which will be one of three main theoretical features I will present in this work. The city as a phenomenon is not understood adequately, and I will argue that we as human beings have to rethink the concept of a city to be able to see and understand the phenomenon in all consequences (Chapter 3). Cities are built environments. I do argue that, as architect Jan Gehl famously said, “first we shape cities and then they shape us”. The background of this work is based on the moral theory of Jesse Prinz, which was the subject of my two previous dissertations. In this respect, morality is not objective or universal; it is shaped and conditioned by culture, education etc.
The goal of this work is to examine the influence of urbanism as a trigger of human morality and thus political stands. I will go deeper into the social, moral and political effects of built environments and the political character of the cities (Chapter 4), which I will demonstrate on three different examples that show how built environments can shape their inhabitants.
Because I do argue that built environments (urban spaces) are inherently political and are backed with ideology, I will present Lefebvre’s theory of “Right to the city” (Chapter 5), which will be the main political theory used in this work.
Cities are backed with ideology and as spaces they are political. What does it mean in real life? I will answer this question (Chapter 6) via describing the tools used in urban spaces to shape human (inhabitants) behavior. Part of this chapter is dedicated to the definition of pro-social behavior. Part of this chapter will be another theoretical feature I propose, the theory of free market of morals. After proving that cities are shaping human behavior in the small context of used tools, I will go further to present different approaches to the city, which are telling us the story of how human behavior in the city is shaped in larger context, by whole theories of thinking (Chapter 7). Chapter 7 ends with the implications of the so-called approach of Biomimicry and the notion of eco-utopia, which will lead to the chapter (Chapter 8) dedicated to the Utopian Urban Spaces. As a part of this chapter I will define what is Utopian Urban Space – a dreamed good, common, social place to live in. The last chapter (Chapter 9) consists of three cases of different cities that used the value-setting type of urbanism in a different way. The last example: the city of Zlín, is then a culmination of my theoretical features presented in this work.
The goal of my work is to focus on the moral and political implications of urbanism from the perspective of the moral theory of Jesse Prinz. Once an object (in my case urbanism) is shaping people’s emotions, it is shaping their morality. In my work I use this perspective as an interpretative tool through which I analyze real-life case studies. As the language of this work is English, all quotes that are quoted from different languages will be translated by me to English and the original quotes will be available below the translated ones. It is mostly the case of French sources, which I had the luck to discover during my research stay at Université Jean Moulin Lyon 3 in France.

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.

Uncertainty is the core feature of complexity. In the present chapter, we will focus on those forms of uncertainty usually encountered in the assessment of, and intervention in, complex urban systems. After some pioneering contributions in the 1980s and 1990s, the issue of uncertainty has recently gained new traction in urban studies and the planning literature, but, in our opinion, not always in the substantial manner that it requires. There are still difficulties in fully acknowledging the disruptive implications of uncertainty and going beyond a mere and generic "adaptive" planning approach in response to it. Recognizing this challenge, this chapter focuses on how planning can cope with different forms of uncertainty by first of all taking seriously the differences between different decision situations.

What is street art? This paper offers a definition of street art as an art kind or art form based on its essential value: its subversiveness. It argues that street art is essentially subversive partly in virtue of using public space as a technical resource. By hijacking a portion of the urban landscape with its colorful forms and witty designs, street art challenges familiar ways of practicing the city, while creating ‘temporary autonomous zone’ of free expression. There, corporate control over the city’s visible surfaces is ridiculed and people reclaim their right to use the city. In this sense, street art functions as a carnivalesque tactic of social resistance, favoring the emergence of alternative ways to imagine our urban life and our uses of public space. By considering its subversiveness, one can also explain how street art, one the one hand, significantly differs from official public art while, on the other, including graffiti as its original and most radical style.

This article o ers a philosophical account of a range of urban phenomena that are integral to the visual fabric of the modern city and, at the same time, external to the visual order administered by the city’s rulers. Explaining why the common terms of “gra ti” and “street art” are too narrow for discussing the plurality of the illicit visual forms that populate the city’s space, I coin the alternative term “streetography” and aim at a new understanding of its visual e cacy. This is done by showing that the key for deciphering the streetograph’s unique visuality is its form of embeddedness in the street and, in a corollary manner, the form of visual experience—the kinds of viewing—that the street opens for the urban viewer.
Streetographs always operate within the city’s given visual order and as such the question of their e cacy is addressed here in terms of the streetograph’s relationship to that hegemonic visual rule whose basic traits are also clari ed. Developing an understanding of this relationship, the article thus addresses the following questions: What kind of resistance can streetographs provide to the kind of optics that governs the modern urban space? Can streetographs evoke an alternative kind of spectatorship that disrupts the sovereign’s imagination? And, more speci cally, in an epoch in which streetographs are regularly absorbed into capitalist aesthetics— advertising, cinema, social media—how can they allow us to rethink the possibility of resisting the measure of a global capitalist visual system?

La colaboración enfatiza el carácter corpocéntrico de los edificios desde el giro espacial en la filosofía y el giro forense en la antropología del último siglo. Analiza el cambio en la ejecución de la guerra y la metamorfosis en la forma de habitar humana frente al urbicidio o violencia bélica contra las edificaciones de una urbe. Resalta la relevancia material y socioespacial del inmueble en la íntima relación con el cuerpo humano, lo cual permite señalar que el edificio no es un accidente del habitar ni un daño colateral en el conflicto. /  This paper emphasizes the corpocentric nature of buildings from the spatial point of view in philosophy, and forensics in anthropology, of the last century. It analyzes the change in the execution of war and the metamorphosis of human habitation in the face of urbicide or military violence against buildings. It highlights the material and socio-spatial relevance of the property in the intima- te relationship with the human body, which makes it possible to point out that the building is not an accident of living or collateral damage in conflict.

The path undertaken by social movements and the Municipality of Naples regarding the commons in the last ten years (2011-2021) comprises several administrative acts. The aim of this report is to illustrate some key passages of this journey. Our first aim is to encourage the transplantation and adaptation of this path in different European contexts. We are convinced that the hybridisation of “good practices” is not a matter to be developed only between local administrations; quite the contrary, true hybridisation will only occur if citizens themselves, in their social and associated formations, design, claim and build shared practices of self-government and direct actions on mutualism and solidarity.Claiming rights from grassroots beyond national borders and share this kind of alternative governance between cities of different countries is an important path for removing the barriers of mistrust and racism that are fuelled by nationalism in Europe because constitutes a pattern of joint living values and principles. These practices may include (but are not primarily formed of) administrative acts that enable the construction of urban and rural commons. In this work, thus, we do not intend to illustrate an “exceptional” method that is better than others, but rather we try to show how a good practice was born and has been pursued not only by innovative administrative-legal acts, but also by errors, uncertainties, and interpretative turns arising from interactions, and not infrequently the clash, between citizens and public institutions. This is the true value that has characterised the Neapolitan experience of the commons, and this is what we would like to highlight here. The following text will be divided into six sections. The first section will be dedicated to an introduction to the theme of Urban commoning in a broad perspective. Sections 2 to 5 will be dedicated to the presentation of the “Institutional Path of the Urban Commons” in Naples. In this part, a first attempt to generalize the steps of the path will be presented. Section 5 will be devoted to the presentation of further Administrative Acts and to a brief presentation of other examples of Civic Use in Italy and abroad. Finally, the conclusions will attempt to answer a few but central questions about the Neapolitan model of commons articulation, and thus provide some urban policy.

Cities are mysteriously attractive. The more we get used to being citizens of the world, the more we feel the need to identify ourselves with a city. Moreover, this need seems in no way distressed by the fact that the urban landscape around us changes continuously: new buildings rise, new restaurants open, new stores, new parks, new infrastructures… Cities seem to vindicate Heraclitus’s dictum: you cannot step twice into the same river; you cannot walk twice through the same city. But, as with the river, we want and need to say that it is the same city we are walking through every day. It is always different, but numerically self-identical. How is that possible? What sort of mysterious thing is a city?

In De civitate Dei, Augustine defines the city (civitas) twice. In book I, chapter 15, he defines the city as ‘a concordant multitude of human beings’ (concors hominum multitudo), while in book XV, chapter 8, he defines it as ‘a multitude of human beings bound together by some social bond’ (hominum multitudo aliquo societatis vinculo conligata).
In my lecture, I will firstly compare these two definitions with each other and with those given by Augustine in his other works (Quaestiones evangeliorum, II, 46, 3; Epistulae, 138, 2, 10; 155, 3, 9). I will show that all the definitions converge in indicating only two essential elements of a city, namely the multitude of human beings and the concord between them.
Secondly, I will compare this way of defining the city with that of Latin authors prior to Augustine, both pagan (Cicero, Sallust, Apuleius) and Christian (Marius Victorinus, Hilary of Poitiers, Origen in Rufinus’ translation). I will show that in pagan authors, especially in Cicero, there is a natural law element that disappears in Christian authors, including Augustine. Compared to his Christian predecessors, however, Augustine recovers the element of concord, making it central to his conception of the city as a human multitude unified by an affective convergence towards the same objects of love. This conception allows him, on the one hand, to fully acknowledge the political character of the pagan communities and, on the other hand, to transport the notion of the city more easily to the mystical plane of the city of God and of the earthly city opposed to this.
Thirdly and finally, I will show some examples of the medieval reception of Augustine’s definition, from Isidore of Seville to John Wyclif, passing through authors such as Thomas Aquinas. A first survey of these examples may lay the groundwork for a future study of the ways in which the Augustinian idea of the city was adopted and adapted during the Middle Ages.

William Fitzstephen wrote his Life of Thomas Becket in the years 1173-1174. The archbishop had been murdered in Canterbury cathedral a scant three years earlier on December 29,1170, and was canonized in early 1173. And yet William begins his memorialization not with Becket's life but with a description of the city of London. Both its placement, its length, and its learned, flamboyantly classicizing style, show the value that the hagiographer, fellow Londoner and sometime member of Becket's staff, placed on this passage. It takes up a full twelve pages in the edition by James Craigie Robertson in the Rolls Series.1 It is written in a lively, vivid style, elevated by the diction of classical Latin poetry, and by thirty eight quotations from ancient authors, esp. Virgil and Horace. The author does not quote from the Bible or other Christian sources. Geoffrey of Monmouth is quoted three times. In his study of Fitzstephen's classical sources, allusions and borrowings, James Butrica gives a far more positive assessment of Fitzstephen's style and command of classical authors than earlier appraisals. Butrica writes, 'The most distinctive qualities of William's display style …are the use of a choice Latin vocabulary; the systematic imitation of [classical] Latin poetry, even of poetic rhythms, and the

This paper addresses the relations between art and everyday life in the city from the vantage points of urban aesthetics and sociology, where the “city” refers as well to a normative world. The aim is to show how art/artistic life contributed to the normative change and new urban lifestyles. First, I focus on Baudelaire’s theory of beauty and life in modern metropolis or the city as “poetic object” and dandyism as an art of the self, seen as a crucial normative change: the emergence of new norms of excellence and art of living, such as creativity and self-fashioning. Second, I discuss a recent yet related normative change, described by Boltanski and Chiapello as a passage to the “project-oriented city”, seen as a new way of working and living that fuses cultures of creativity and uncertainty. Third, I tackle the “creative city” hailed by Florida, where the creative lifestyle of “creative people” is the new mainstream setting the norms for society: individuality, diversity and openness, but also impermanent relationships and loose ties. I will argue that extending the hyper-mobile and flexible creative lifestyle from the extraordinary figure of the artist to ordinary people, as everyday urban life, triggers both benefits and risks.

Şehir, somut ve sınırlı bir üretim alanı değil; yaşayan, canlı, değişken, karmaşık olanaklardan oluşan bir ouevre gibidir. Onu, tüm bu oluşumsallığı içerisinde görebilmek için bakışlarımızı içerisinde var olduğumuz yere yani gündelik yaşama çevirmemiz gerekir. Şehrin kalbi gündelik yaşamda atar. Bu nedenle, çağımız modern kent insanı için, tek bir ülküden söz edilebilir: Gündelik yaşam sanatı. Çünkü modern kent insanı, artık ne alet yapmasıyla, ne iş gücü ya da emeğiyle ne de ussallığıyla tanımlanamaz. Tüm bunlardan geriye tek bir şey kalmıştır: Şehrin devasa akışında tutunan gündelik insan varoluşu. O, tarihteki tüm anlamlarını kapitalizmin hızlı gelişimiyle birlikte yitirmiştir. Bu yitim, beraberinde, gündelik yaşamın anlamını sorgulama çabasını getirmiştir. Gündelik yaşamı düşünsel izleğinin temel sorunu ve hatta kaynağı olarak konumlandıran ve bu yolla, şehrin ve kentliliğin anlamını sorgulayan gerçek bir şehir filozofu olarak Henri Lefebvre, bu konudaki en köktenci çaba olarak karşımıza çıkmakta ve bize çarpıcı bir çözümleme yapmaktadır. Onun gündelik yaşam çözümlemesi, bir eleştiridir ve modern gündelik yaşama eleştirel yaklaşmanın devrimsel niteliğine yoğunlaşmıştır. Çünkü ona göre, insan varoluşu, yaşam ve kentlilik olgusunu birbirine zincirleyen kapitalizm, artık ekonomiye değil; tümüyle gündelik yaşama dinamiklerine özgü bir şeye dönüşmüştür. Lefebvre'ın bir gündelik yaşam manifestosu sunan bu düşünceleri bütünüyle tek bir şeye işaret eder: Bugün, kapitalizmin yıkıcı etkilerini ortadan tamamen kaldırmaksa arzulanan, başka bir deyişle, bir devrim söylemi ise tüm ülküleri, düşleri ya da kent ütopyalarını süsleyen, o halde, en köktenci dönüşüm için, ne ekonomi ne de politikaya bakılmalıdır. Bakışların kilitlenmesi gereken tek bir yer vardır: Gündelik yaşam ve modern kent insanı. Bu bağlamda, Lefebvre'ın eleştirel köktenciliği, gündelik yaşamı, kapitalizmin ürettiği mekân ve zaman algısında çözümlemesindedir. Çünkü ona göre, insan varoluşu, şehir ve yaşamın akışının bir arada oluşması, zaman ve mekân duygusuyla ilintilidir. Bu çalışma, Lefebvre'ın dondurulmuş zaman ve onun en belirgin açılımı olan kapitalist mekân arasına sıkışmış şehrin eleştirel felsefesini yapma ülküsünü, gündelik yaşama sanatı ışığında tartışmayı hedeflemektedir.

Το κείμενο πραγματεύεται την συσχέτιση των δύο γειτονικών πόλεων της Θεσσαλίας Βόλο και Λάρισα με αφορμή την θέση τους γεωγραφικά αλλά και την διαφορετικότητα στην αστική τους εγκατάσταση με βασικό κριτήριο το έδαφος. Ξεκινάει από την ιστορική αναδρομή των δύο πόλεων, συνεχίζει στην ανάλυση τους, θέτοντας 5 παραμέτρους (1. Έδαφος-τόπος 2. Ιστορικά ίχνη της παλιάς πόλης στη σημερινή 3.Επίδραση του λιμανιού - ποταμού -γεωργίας 4. Μοντέρνα-νεωτεριστική πόλη 5. Φυσιογνωμία της πόλης και τέλος αναλύονται τα συμπεράσματα κάθε πόλης σε συνδυασμό με ορισμένες μελλοντικές σκέψεις συνολικά. Εν κατακλείδι επιδιώκεται να συσχετιστούν οι δύο ελληνικές πόλεις με αντίστοιχες παγκόσμιες δομές, οι οποίες κινούνται παράλληλα όσον αφορά το γεωγραφικό επίπεδο. Η φυσιογνωμία του τόπου είναι το βασικότερο χαρακτηριστικό στον κόσμο μας, κατά τον οποίο οι άνθρωποι επικοινωνούν και αντιλαμβάνονται μεταξύ τους. Ο τόπος μέσω του εδάφους του παράγει στοιχεία μοναδικά, τα οποία κωδικοποιούνται με επιπλέον πληροφορίες καθώς εισέρχεται κανείς εντός της πόλης. Η πόλη ως δημιούργημα του ανθρώπου με αφορμή τον ίδιο τον τόπο, έναν τόπο εύφορο, που σφύζει από ζωή και συνεχώς μεταβάλλεται και επαναπροσδιορίζεται ο χαρακτήρας του.

This article explores the concept of violence in Peter Ackroyd's novel titled Dan Leno and the Limehouse Golem. The relationship between the protagonist and the city is considered to be the source of violence in the novel. As this work points out, it is the physical and psychological forces prevailing in the socioeconomic conditions of nineteenth century Victorian London which gave birth to, fed, and continually encouraged the ruthless serial killer for the next massacre. Yet the reader can decipher the true identity of this human monster only at the end of the novel. It is actually Elizabeth Cree, who has overcome all the difculties in her life, realised her childhood dreams and become a successful music hall actress, and is now performing her art of murder to be appreciated by Londoners in the city, which is depicted as a macrocosmic theatre stage. Since the murderess disregards her victims' ethnic, class, gender and age diversities, the reader hardly understands what motivates her to kill, and cannot establish a logical cause-effect relationship behind the murders. The use of postmodern narrative techniques in the novel's plot structure enables the author not only to challenge the norms of traditional detective fiction and reconstruct the genre but also to make the reader reconsider the concept of crime and criminal psychology which are based on prejudices and presumptions. Consequently, this article deals with such questions as: Did London in the Victorian Era offer its inhabitants equal socioeconomic , artistic opportunities? Or did the city act like a monster gnashing and spitting out its poor, weak, needy inhabitants, especially women? Is it possible to associate London's peculiar history and identity with those of the serial killer? And, what happens when the city, whose name is derived from a word meaning "fierce," becomes the mindscape of a lower-class character who has been brought up with pure hatred? Bu makale Peter Ackroyd'un Dan Leno and the Limehouse Golem başlıklı romanındaki şiddet olgusunu incelemektedir. Makale romandaki şiddetin kaynağı olan şehir imgesi ile baş karakter arasındaki ilişkiyi ele alır. Makaleye göre okuyucunun gerçek kimliğini ancak romanın sonunda anlayabildiği acımasız seri katili yaratan, besleyen ve bir sonraki katliam için sürekli cesaretlendirerek adeta bir canavara dönüştüren on dokuzuncu yüzyıl Viktorya Dönemi Londra'sının sosyo-ekonomik koşullarında hüküm süren fiziksel ve psikolojik güçlerdir.Yaşadığı tüm zorlukları aşarak çocukluk hayallerini gerçekleştiren ve genç yaşta başarılı bir müzikhol oyuncusu olan Elizabeth Cree kanlı sanatını makrokozmik bir tiyatro sahnesi olarak betimlenen Londra'da izleyicilerin beğenisine sunmaktadır.Katilin kurbanları arasında etnik köken, sınıf, cinsiyet ve yaş ayrımı yapmaması, okuyucunun katilin motivasyonunu anlamlandırarak mantıklı bir sebep-sonuç ilişkisi kurmasına engel olur. Postmodern anlatım teknikleri kullanılarak oluşturulan olay örgüsü yazarın hem dedektif romanı geleneğine meydan okuyarak türü yeniden kurgulamasını hem de okuyucunun önyargı ve varsayıma dayanan suç kavramı ve suçlu psikolojisi ile ilgili yerleşik algılarını yeniden sorgulamasını sağlar. Sonuç olarak makale bir Viktorya Dönemi metropolü olan Londra sakinlerine eşit sosyo-ekonomik, sanatsal fırsatlar sağlayabiliyor mu? Yoksa şehir yoksul, zayıf, yoksun sakinlerini, özellikle kadınları, bir canavar gibi çiğnemeden yutup posalarını tükürüyor mu?Londra'nın özgün tarihçesi ve kimliğini seri katilin yaşam öyküsü ve kimliği ile örtüştürmek olası mıdır? Etimoljik açıdan isminin kökeni "şiddet" kelimesine dayanan bir şehir olan Londra, alt sınıftan, nefret duyguları ile büyütülmüş bir karakterin zihinsel haritasına dönüştüğünde ne olur? gibi sorulara cevap aramaktadır.

Intorno al giardino, alla città e all’utopia ruota e si sviluppa l’intera vicenda dell’uomo, il quale ha sempre tentato di realizzare uno spazio che rendesse possibile la massima felicità e che escludesse, il più possibile, la sofferenza ed i pericoli: la storia dell’umanità è la storia di quel tentativo. Lungi dall’esaurirsi in uno specifico filone letterario o di pensiero, l’utopia rappresenta perciò l’inesauribile e da-sempre-presente anelito umano alla bellezza e alla felicità; anelito non solo estetico-spirituale, ma esistenziale e politico: ogni religione, ogni narrazione utopica, ogni progetto di città ideale e ogni ideologia, a ben vedere, non mirano che all’accesso, all’instaurazione o alla restaurazione del proprio rispettivo giardino paradisiaco.

What makes an urban settlement a city (I deliberately avoid the suggestion of a hierarchy of towns and cities here) is done and felt very di!erently by di!erent agents and is often inaccessible to external as well as internal observers of these agents. Of high impact and more easily observable are actions that perform urbanity and give it specific flavours, for instance by building walls or holding processions. Looking at late Republican and Augustan reflections about the beginnings of Rome hardly tells us anything about the actual process of urbanisation on the river Tiber, but is indicative of what the authors thought about the essential elements of a (and their) city. The analysis of Livy's account in book 1 of his Ab urbe condita and Varro's systematics of spatial terms in De lingua Latina 5.143 o!er very di!erent, but also overlapping perspectives. Rather unsurprisingly, walls and clear dividing lines like the pomerium figure prominently.

This entry focuses on Sadegh Hedayat’s travelogue Isfahan, Half of the World which is an early and celebrated example of travelogue in Persian literature. I will discuss Hedayat’s admiring and critical view of Isfahan as the most important city of Iran in terms of historical and cultural richness. Descriptions of the most central monuments and historical places of Isfahan will also be provided for the reader.

From a historico-philosophical reading of graveyards and their development into the modern cemetery form, the thesis investigates the political scope of funerary spaces by articulating concepts of territoriality, politics, and monumentality. The role of architecture as the formalising element of death will be illustrated through paradigmatic examples in history, with fictional or unrealised project for cemeteries offering a glimpse into the potential for cemeteries to operate either as enforcers of societal norms or as transgressors to them. The central portion of this work puts forth a succinct architectural theory for the contemporary large-scale cemetery. Arguments are drawn from a range of urban theories, in particular those of Aldo Rossi in L'architettura della città and of O.M. Ungers in Die Stadt in der Stadt. The contradictions that arise from such an operation are not wholly denied nor embellished. Instead, a series of exits towards expanded readings of death in the contemporary city are proposed. These ramifications are characterised by the problematisation of death and its spaces outside of traditional architectural theory and towards issues of identity, nationhood, and signification in the age of global migration flows and the dissolution of unitarian identities. With a critical understanding of death and monumentality established, the thesis shifts its attention to one specific cemetery case, Cimitero Maggiore in Milan, and develops a global analysis of it on both urban architectural levels. Accompanying the text are a series of schemes and illustrations by the author which suggest an alternative mode of thinking of the cemetery's future by proposing analogies to the city and its diverse architectural types. This graphic conclusion posits the possibility of conceiving an architecture for death which fosters open-ended narratives for a society increasingly marked by diversity in faith, norms and identity.

In recent years biomimicry has emerged as a powerful response to the problem of sustainability and today exerts an important influence on both architecture and urbanism. The implications of this trend for the humanities have, however, been largely overlooked. Taking a historical approach, the first key argument of this article is that throughout Western history the dominant model for the polis, qua both city and State, has been the human being and that it was also this basic model that underlay traditional understandings of the place of humans in cities and States. With the transition to biomimetic cities and States, the key model of which is the forest ecosystem, the question of the place of humans arises once again. In response to this question, the article proposes a speculative philosophical anthropology based on a combination of Heidegger’s thinking of the clearing and recent insights from the study of human evolution and pre-history with a view to grounding a new model of the polis not simply on the forest, but rather on the forest and the clearing.

Architectural Alterity:
Through mediation alterity unveils the excluded “others” that are the genesis of architecture. Conceptually, architectural identity originates in separation: of interior from exterior, culture from nature, the same from the other. Yet the “other,” broadly defined (the ancient past, “the orient,” nation, gender) can never be totally excluded. It lingers and infiltrates architectural thought and making as the presence and the effect of that which is outside the discourse of architecture.

Venice and the Other:
Venice is a city in between. The pointed archways, private courtyards, screened balconies, rooftop crenelations, intricate ceilings and distinctive stone and tile work of Venetian architecture derived from Muslim models, and the Venetian urbanscape displaying the typology of a Muslim city, highlight the historical, geographical, and cultural interactions and continuums in the medieval Mediterranean world. A broker of east-west commerce, Venice when lost its power to the Portuguese, its alterity mirrored and it become a broker of west-east culture.

Contents:
1. Course Outline
2. Reading List
3. Student’s Reading Queries

P.A. Persona e Amministrazione è una pubblicazione on line dell'Università degli studi di Urbino Carlo Bo. Lo sviluppo e la manutenzione di questa PA PERSONA E AMMINISTRAZIONE Ricerche Giuridiche sull'Amministrazione e l'Economia correggere scelte regolatorie che non indirizzano lo sviluppo tecnologico all'interno delle smart cities verso obiettivi socialmente desiderabili, e al contrario accentuano il tasso di divaricazione sociale ed alimentano fenomeni di emarginazione di quanti non possono e non sanno sfruttare pienamente le potenzialità che da questo strumentario innovativo promanano. I servizi di social housing sono particolarmente rappresentativi-e sono perciò in questo senso assunti a paradigma nel lavoro-delle vischiosità che accompagnano i tentativi di rendere disponibili servizi ad alto tasso di socialità in spazi urbani "intelligenti".

My thesis is that current cities and the way that cities are being developed is unsustainable and poses global problems for the long-term flourishing of the world’s inter-related and interdependent economies, for matters of justice and happiness in socio-cultural relations between peoples, and for the health of our natural environments. I argue that “urban desertification” happens in the complex relationship between cities (both urban and suburban) and rural environments that support them as both a natural and ethical phenomenon that I study using a form of analysis called phenomenological ethics. First, I briefly present sketches of phenomenology and sustainability in order to introduce the method of phenomenological ethics to develop a more adequate understanding of urban sustainability. Then, I make a connection between desertification and urbanization. Finally, I focus on the city of El Paso, Texas in order to provide an empirical and relevant case study of the existing problems of desertification and sustainability.

قدّمت الورقة محاولة للتنبّؤ بسير عملية إعادة إعمار بيروت في أعقاب انفجار المرفأ في 4 آب/ أغسطس 2020، وكان هذا أولاً بناءً على دراسة وقراءة المؤشرات الحالية للعملية والفاعلين المختلفين بها وخصوصًا في ظل التغيير الذي شهده لبنان على مستوى الفاعلين السياسيين وعلى مستوى الحراك الاقتصادي والاجتماعي أيضًا. وممّا يمكننا استنتاجه أنّ الفاعلين الرسميين، تحديدًا الدولة اللبنانية، تتّسم بالضعف وبعدم القدرة على إدارة عملية إعادة إعمار عادلة نتيجة للأزمة الاقتصادية الطاحنة التي تمرّ بها البلاد ولتفكّك النظام السياسي وربما يمكننا أخذ مثال عدم تشكيل حكومة حتى يومنا هذا كمؤشر على ذلك. بينما كانت على الناحية الأخرى، ردودُ أفعال الفاعلين الدوليين سريعة ومحددة، وإن كان هناك اختلافات بين الفاعلين الدوليين الحاليين وبين الفاعلين الدوليين في التسعينيات من القرن الماضي. وتبقى مساهمات هؤلاء تتّسم بالمشروطية، على سبيل المثال شرط توزيع المنح عبر الأمم المتحدة وربط الدعم بإصلاحات محددة ما يثير الشكوك أيضًا حول فاعلية هذه المساعدات والإصلاحات المشروطة أيضًا. أما بخصوص الفاعلين غير الرسميين من المواطنين ومؤسسات المجتمع المدني فقد لعبوا دورًا كبيرًا في المراحل الأولى لما بعد الانفجار، ولكن يبقى استمرار لعبهم دورًا مؤثّرًا مرهونًا بعوامل موضوعية كقدرتهم على التأثير في السياسات ومساحة إدماجهم في عملية إعادة الإعمار، وبعوامل ذاتية كقدرتهم على التنظيم، ولا نتحدث هنا فقط عن المهنيين والأكاديميين بل بشكل رئيسي الحركات الاجتماعية التي تشكلت أو قيد التشكل منذ احتجاجات 2015 وصولاً إلى احتجاجات 17 تشرين الأول/ أكتوبر 2019، إلى جانب العمل على بلورة مطالب وأهداف محددة لعملية إعادة الإعمار والتعبئة بأشكالها المختلفة بهدف تحقيقها.

وبالإشارة إلى عملية إعادة إعمار بيروت التي تلت الحرب الأهلية، فعلى الرغم من عدم وجود أوجه شبه كبيرة بين العمليتين، حيث إن أهداف عملية إعادة الإعمار ما بعد الحرب الأهلية كانت كثيرة ومتشعبة ويصعب حصرها في بناء وسط المدينة لما سيكون مركزًا تجاريًّا إقليميًّا، ولكن أيضًا كان هناك هدف إقليمي ربما يمكننا الإشارة له وهو أمل حصاد نتائج السلام العربي الاسرائيلي المرتقب آنذاك والذي لم يتحقق. إذ لا يمكن فهم مشروع “سوليدير” من دون ربطه بالأوهام التي تمثّلت حينها بالسلم العربي الإسرائيلي، وبواقع أنّ “اتفاقيّة أوسلو”، التي كانت قيد التحضر، آتية، كما كانت هناك حرب العراق الأولى، ومؤتمر مدريد، وأنّ السلم آتٍ.60

وعلى الرغم من ذلك، فإن التجربة السابقة بمجملها تطرح أمامنا الحديث حول سيناريوهين اثنين لعملية إعادة الإعمار الحالية، السيناريو الأول هو تكرار ما حدث في عملية إعادة إعمار بيروت من حيث إقصاء المواطنين بشكل كامل من هذه العملية والاعتماد على تبنّي منهجية فوقية وغير تشاركية مع سيطرة كاملة وتحكّم لرؤوس الأموال ما أدى في النهاية إلى خلق مساحات “شبه” عامة تم إقصاء المواطنين منها على كل المستويات السياسية والاقتصادية والاجتماعية ما عمّق من الانقسامات المكانية وعزّز شعور المواطنين بالرغبة الدائمة في استعادة مواطنتهم بشكل كامل وممارسة حقهم في المدينة وكافة مساحاتها كفضاء للممارسة السياسية. إلى جانب ذلك تطرح عملية إعادة الإعمار قضية مصير مرفأ بيروت أمام المشروعات المتنازعة والمتضاربة التي قد تتراوح بين بيع المناطق المدمرة التي تُعتبر أملاكًا عامّة؛ ومشروعات خصخصة المرفأ بشكل كامل حيث إنه الآن يعبّر عن شكل من الشركة الهجينة بين الخاص والعام ما يفسّر أزماته المرتبطة بالفساد وانعدام الشفافية وغياب الرقابة.61

أما السيناريو الثاني هو تجنّب ما حصل في عملية إعادة إعمار بيروت التي تلت الحرب، والاستفادة من حالة الحراك السياسي الموجودة إلى جانب قدرة المواطنين على تنظيم جهودهم والتعاطي مع الكارثة وهو ما برز منذ الساعات القليلة التي تلت الانفجار، بالرغم من الأزمة الاقتصادية الطاحنة، لإدماج المواطنين في عملية إعادة الإعمار. ولا تعني تشاركيةُ العملية فقط دعوة مواطنين إلى اجتماعات رسمية ليبدوا آراءهم في العملية، بل تعني التشاركية إدماجَ المواطنين منذ بدء العملية من خلال جمعياتهم ونقاباتهم ومجموعاتهم المختلفة لتحديد أولويات التدخل والعمل في الأماكن المنكوبة مع الإبقاء على طابعها وهويتها العمرانية والاجتماعية والاقتصادية، إلى جانب إشراك المواطنين في وضع خطة محددة لكيفية وأوجه التصرّف في المِنح والمساعدات الأجنبية لتكون في مواجهة مشروطية المانحين، خصوصا مع وجود تخوفات فئات من المجتمع من فرض أجندات خارجية سياسية عبر تواصل جمعيات المجتمع المدني مع الخارج. وربما يكون هذا الأساس لتشكيل الحكومة بدلاً من التقسيمات الطائفية والسياسية وهو تشكيل حكومة هدفها الأساسي هو إدارة عملية إعادة الإعمار بشكل تشاركي وديموقراطي يضمن الحفاظ على حقوق المواطنين في مدينتهم.

This chapter attends to somaesthetic expressions occurring irrespective of knowledge of the movement, using Mandalay’s Water Festival and Cairo’s Arab Spring as case studies.  These celebrations and protests feature bodies creatively gravitating around urban structures and according to emotional, cultural concerns, all of this together defining city spaces for a time.  Bodies also become venues for artistic refashioning, for example, through creative conversion of injuries into celebratory badges of dissent.  Geared almost therapeutically towards life-improvement—albeit sometimes implicitly—these celebrations and protests also have meliorative aspects that mark the somaesthetic movement.  Moreover, they have a shared, public character stressed by Shusterman, but arguably lost on many because of his interest in self-focused meditation and the popular appeal of such exercises among those interested in body practices.

This project explores the idea of justice in urban contexts. There is no general consensus in the social sciences about what type of human produce a city is. Its definition cannot therefore serve as a point of departure for its moral and political appraisal. A different approach is needed. The relation between space and social agency has been a matter of contention since the emergence of urban sociology. The reflection on the city has been traditionally charged with normative and philosophical overtones as well. Philosophy was born in the ancient polis and made of it its matter of concern, for the gist of the urban has a communal dimension that cannot be reduced to a mere aggregation of individual needs. In order to tackle the problems involved in the redress of contemporary urban inequality and exclusion, we need to gain a spatial perspective on the idea of justice that not only accounts for the constitutive elements of the urban habitat or the distributive conflicts involved. Such approach must be guided to the same extent by the possibility of developing the human capabilities

This Special Volume is dedicated to an increasingly central direction in contemporary philosophical aesthetics that has also been gaining interest in the dynamically developing multidisciplinary field of the philosophy of the city. In addition to these theoretical approaches, more applied and practical fields that deal directly with how our cities look and feel are engaged in the multidisciplinary discussion around urban aesthetics. The built environment, urban nature, and art in the urban environment are examples of topics within the reach of traditional aesthetic inquiry. Besides continued attention on these central topics, it is also clear that new, increasingly multidisciplinary terminology is needed and being developed to better address the whole range of urban aesthetic phenomena. In this editorial introduction to the Special Volume, some but by no means all interesting lines of thinking in philosophical and applied urban aesthetics are identified and future directions are considered based on them, before introducing the eight articles in the volume.

Vivimos, desde hace más de un siglo, la época de las grandes ciudades y, coincidentemente, el tiempo de las grandes guerras, una epoca caracterizada por la destrucción monumental. Ante este panorama, Urbicidio: filosofía de la ciudad herida despliega reflexiones filosóficas a través de interrogantes como ¿qué consecuencias trae consigo la destrucción de las ciudades?, ¿qué tipo de ciudades nos esperan?, ¿qué es un edificio y qué implica su destrucción? Las ciudades son víctimas de procesos de devastación armada y los autores de este libro se encargan de esclarecer que no son daños colaterales como la visión clásica de los conflictos pretendía sostener. Este libro es resultado de una investigación y escritura conjuntas de tres intelectuales agrupados por el Urbicide Project. Un libro evidentemente testimonial y denunciante frente a la hostilidad histórica que no cesa; pero, simultáneamente, un libro crítico que nos invita a pensar sobre qué se pierde frente a la experiencia violenta de la destrucción de nuestros espacios. Así, se trata también de un referente intelectual en constante diálogo con la arquitectura, la antropología, el urbanismo y las ciencias forenses, que da como resultado un estudio integral y crítico con enfoque filosófico forense.

Resumen: Desde la experiencia de conformación de una cooperativa de viviendas de ayuda mutua en la Ciudad Vieja de Montevideo en lotes dispersos, se propone una reflexión sobre teoría de la comunicación urbana, como aporte a dicho proceso innovador.

Palabras Clave: trama socio-territorial, mediación urbana, producción de subjetividad.

Abstract: Since the experience of constitution of a mutual aid housing cooperative in Ciudad Vieja of Montevideo in a disperse plots, we propose a reflection about theory of urban communication, like a contribution for this innovating process.

Key words: socio-territorial weft, urban mediation, process of subjectivation.

How does woman experience the City? In addressing that question, this work focuses on the theme of tension, specifically the tension of visibility-invisibility, that confronts woman in her experience of the urban space. On one hand, the career woman, the driven woman, and the ambitious woman of the City are acknowledged and visible; on the other hand, we also have silenced, invisible women-the family woman, the raped woman, the prostituted woman, and other similar figures. What this study proposes is that woman's experience of the city finds its basis precisely in her being a woman, where womanness is understood here as Simone de Beauvoir describes it-a situation, where one is caught in between that painful tension between subject and object, and therefore ambiguous. It is in being the in-between of subject-object that woman engages the city, and this tension in herself is the very same tension that comes into play at the level of urban space, and so she experiences the city as an ambiguous space. As subject, woman experiences the city as a space of liberation, but as object, she experiences it as a space that objectifies and excludes her even further. However, instead of treating of woman's ambiguity as a problem to be solved, this work treats of it as an opportunity to enrich the construction of the city. The present study seeks to explore the question of what the urban space would look like, if the ambivalence of woman, instead of the self-assuredness of man, were the starting point of urban planning. By positing woman as an ambivalent position, and by proposing this ambivalence as a foundation for urban planning, we then raise the question of why this would be a better alternative for the City-space.

Dans une ville énorme devenue mégapole postmoderne, l’œuvre de Jacques Réda métamorphose la tradition de la flânerie littéraire parisienne. À défaut de marquer la fin de l’ère du « piéton de Paris », elle est un creuset dans lequel s’élaborent de nouvelles formes de citadinité. /// En ligne : https://classiques-garnier.com/geographie-litteraire-de-paris-dans-l-oeuvre-de-jacques-reda-le-flaneur-megapolitain.html /// Recensions de l'ouvrage / - Fabula : https://doi.org/10.58282/acta.15809 / - L'espace géographique : https://www.cairn.info/revue-espace-geographique-2022-1-page-95.htm
/ - Viatica : https://journals.openedition.org/viatica/2969

Architecture or building a madīnah corresponds not only to
constructing what is physical but also to building people and a
community. Humans construct the madīnah just as the madīnahs
build the people. Quarters (maḥallahs) or madīnahs present not only
physical structures but also have an administrative, social, and cultural
nature. People who have lost their space have also lost themselves.
Indeed, civilizations have been built on madīnahs. The
industrialization that started during the 18th century and gained speed
during the 19th century brought with it the concept of urbanization.
Europe lost its concept of the medieval city and built cities parallel to
the positivist, secular, and materialistic approaches of its traditions of
thinking. The high-tech process that took place during the 1970s
following industrialization transformed the material universe and order into a simulative order. The present study focuses on how space
and the city — and hence reality — have been lost by breaking away
from the Islamic ḥaḍārah (tamaddun) by way of the Baudrillardian
simulation concept.
Key Words: Space-Humans, Madīnah-Community, Reality-Simulation

The omnipresence of technology in cities has had an undeniable effect on the urban everyday experience. This experience is increasingly structured by technological objects or constellations of converged technologies. Activities in a city affect how and what technologies are developed but these new and emerging technologies also have an inevitable effect on what is perceived to be the possible sphere of action. The aim of this article is to interpret and understand some of the ways in which new technologies are changing – and have already changed – the way we experience the city. The focus is on those elements of everyday experience that have a clear relation to how the city is experienced aesthetically, through its technological representations or in more direct contact with the physical environment. We set out to examine what type of consequences technological change has regarding the perceptual and interpretative skills that are needed when moving in the urban environment. Of course, we recognize that technology has already profoundly changed the way people come into contact with urban environments. However, there is a shift within the experiential sphere that has not been described thoroughly enough. The implementation of many smart city solutions is affecting urban dwellers and their engagement with the everyday urban environment. Urban aesthetics in its philosophical and applied forms offers perspectives on how and to what extent technologies mediate experiences in the urban sphere. Emphasis is put on understanding and evaluating urban technologies and their role in the constitution of everyday experience by introducing the phenomenological concept of urban lifeworld. We illustrate the theoretical discussion with examples such as contemporary navigation technologies and the metro as a complex technological system. The focus is on the implications of their use on the aesthetic experience and evaluation of urban environments.