Book review: Philosophy and the city: classic to contemporary writings

Book Review: Philosophy and the City: Classic to Contemporary Writings Sharon M. Meagher (Ed.), 2007 Albany, NY: State University of New York Press 309 pp. US$75.50 hardback; US$24.95 paperback ISBN 978 0 7914 7308 5 paperback; 978 0 7914 7307 8 hardback

Colour Sensation and Empathy: Arthur Schopenhauer's Negative Philosophy and Colour Theory as the Basis of an Elemental Colour Architecture

Arthur Schopenhauer proposed a theory of colour as a consequence of his first hand knowledge of J.W. Goethe’s experiments with color phenomena. This colour theory can be used to explore an interesting proposition Schopenhauer made about architecture. For Schopenhauer, architecture is about feelings, not about functions or forms, its purpose as an art is to reveal the principles of primitive forces, specifically gravity and rigidity. For Schopenhauer, architecture expresses these forces in the poised equilibrium of massive structures built out of stone. Schopenhauer was inclined to believed that architecture had already achieved its most perfect expression in Greek temple architecture. However; he did offer one possibility for architectural research: this was the suggestion that architecture was also concerned with the expression of light. It seems never to have occurred to Schopenhauer to use his colour theory to speculate about light in architecture. This paper explores some of the implications of Schopenhauer’s theory of colour for his aesthetics of architecture?

Modernism and Magic: Experiments with Spiritualism, Philosophy and the Occult, paperback

The book explores the aesthetic and political implications of the relationship between magic and mimesis in the work of those early twentieth-century writers, artists and filmmakers who were most self-consciously experimental, including James Joyce, Ezra Pound, Dziga Vertov and Sergei Eisenstein.

Welcoming International Visitors - Communication and Culture

It is extremely rare for an international visitor to museums and galleries in the UK to find information in foreign languages which is anything more than a relatively literal translation of an English source text. At the same time, a huge body of research and theory in the humanities and social sciences implies that major cultural differences are likely to accompany the differences in first language of international visitors. As such, in spite of the fact that museums and galleries often declare their intention to meet the needs of their visitors, it is fairly clear that, in this instance, they are at best meeting their international visitors’ linguistic needs whilst ignoring their broader cultural needs. With this in mind, staff from the University of Westminster together with a number of London’s major museums and galleries obtained UK Research Council funding to work on the production of leaflets in foreign languages fully acknowledging cultural differences amongst international visitors. The collaboration was intended to generate reflection on how such materials might be most effectively produced, what impact they might have and what forms of policy review museums and galleries might as a result wish to undertake. The collaboration confirmed that cultural difference, and therefore difference in need, between visitors with different first languages is a simple reality. Translations, including ones which are culturally ‘adapted’ or ‘sensitive’, will always fall short of acknowledging the intercultural complexity of the experience of international visitors. Materials acknowledging that complexity are more effective. Museums and galleries need, therefore, to ask themselves how far and in what ways they wish to acknowledge this reality in the nature of the welcome they offer. The core of this article will draw on the outcomes of this collaboration, and also on aspects of translation and intercultural theory, to offer a critical exploration of some of the options museums and galleries therefore have in producing materials to welcome international visitors in ways which acknowledge the intercultural complexity of their experience.

Walter Benjamin and the Inhumanities: Towards a Pedagogical Anti-Nietzscheanism

The following discussion is intended as a critical intervention into recent debates about the “crisis of the humanities,” reading the symptomaticity of crisis in the medical sense of a turning point. It does so from the perspective of the work of Walter Benjamin, whose own transdisciplinary practice of thought has been characterized as a “philosophy directed against philosophy” and a “philosophizing beyond philosophy,” and stands as a model for the kind of intellectual and para-academic activity evoked here. Historically re-situating Benjamin’s famous allegory of the Angel of History from the twentieth-century context of the “crisis of culture” to the contemporary “crisis of education,” it attempts to reconstruct a dialectical understanding of pedagogization within Benjamin’s work, which is used to sketch out the contours of a critically reimagined pedagogy of the Inhumanities.

How the sublime became "now": time, modernity and aesthetics in Lyotard's rewriting of Kant

Writing in the late 1980s, Nancy gives as examples of the "recent fashion for the sublime" not only the theoreticians of Paris, but the artists of Los Angeles, Berlin, Rome, and Tokyo. At the beginning of the twenty-first century, the sublime may of course no longer seem quite so "now" as it did back then, whether in North America, Europe, or Japan. Simon Critchley, for one, has suggested that, at least as regards the issue of its conceptual coupling to "postmodernism," the "debate" concerning the sublime "has become rather stale and the discussion has moved on." Nonetheless, if that debate has indeed "moved on"-and thankfully so-it is not without its remainder, particularly in the very contemporary context of a resurgence of interest in explicitly philosophical accounts of art, in the wake of an emergent critique of cultural studies and of the apparent waning of poststructuralism's influence-a resurgence that has led to a certain "return to aesthetics" in recent Continental philosophy and to the work of Kant, Schelling, and the German Romantics. Moreover, as Nancy's precise formulations suggest, the "fashion" [mode] through which the sublime "offers itself"-as "a break within or from aesthetics"-clearly contains a significance that Critchley's more straightforward narration of shifts in theoretical chic cannot encompass. At stake in this would be the relation between the mode of fashion and art's "destiny" within modernity itself, from the late eighteenth century onwards. Such a conception of art's "destiny," as inextricably linked to that of the sublime, is not unique to recent French theory. In a brief passage in Aesthetic Theory, Adorno also suggests that the "sublime, which Kant reserved exclusively for nature, later became the historical constituent of art itself.... [I]n a subtle way, after the fall of formal beauty, the sublime was the only aesthetic idea left to modernism." As such, although the term has its classical origins in Longinus, its historical character for "us," both Nancy and Adorno argue, associates it specifically with the emergence of the modern. As another philosopher states: "It is around this name [of the sublime] that the destiny of classical poetics was hazarded and lost; it is in this name that ... romanticism, in other words, modernity, triumphed."

Reading Maud’s remains: Tennyson, geological processes, and palaeontological reconstructions

As Tennyson's “little Hamlet ,” Maud (1855) posits a speaker who, like Hamlet, confronts the ignominious fate of dead remains. Maud's speaker contemplates such remains as bone, hair, shell, and he experiences his world as one composed of hard inorganic matter, such things as rocks, gems, flint, stone, coal, and gold. While Maud's imagery of “stones, and hard substances” has been read as signifying the speaker's desire “unnaturally to harden himself into insensibility” (Killham 231, 235), I argue that these substances benefit from being read in the context of Tennyson's wider understanding of geological processes. Along with highlighting these materials, the text's imagery focuses on processes of fossilisation, while Maud's characters appear to be in the grip of an insidious petrification. Despite the preoccupation with geological materials and processes, the poem has received little critical attention in these terms. Dennis R. Dean, for example, whose Tennyson and Geology (1985) is still the most rigorous study of the sources of Tennyson's knowledge of geology, does not detect a geological register in the poem, arguing that by the time Tennyson began to write Maud, he was “relatively at ease with the geological world” (Dean 21). I argue, however, that Maud reveals that Tennyson was anything but “at ease” with geology. While In Memoriam (1851) wrestles with religious doubt that is both initiated, and, to some extent, alleviated by geological theories, it finally affirms the transcendence of spirit over matter. Maud, conversely, gravitates towards the ground, concerning itself with the corporal remains of life and with the agents of change that operate on all matter. Influenced by his reading of geology, and particularly Charles Lyell's provocative writings on the embedding and fossilisation of organic material in strata in his Principles of Geology (1830–33) volume 2, Tennyson's poem probes the taphonomic processes that result in the incorporation of dead remains and even living flesh into the geological system.

Examination of the factor structure of the Schizotypal Personality Questionnaire (SPQ) among British and Trinidadian adults

Much debate in schizotypal research has centred on the factor structure of the Schizotypal Personality Questionnaire (SPQ), with research variously showing higher-order dimensionality consisting of two to seven dimensions. In addition, cross-cultural support for the stability of those factors remains limited. Here, we examined the factor structure of the SPQ among British and Trinidadian adults. Participants from a White British sub-sample (n = 351) resident in the UK and from an African Caribbean sub-sample (n = 284) resident in Trinidad completed the SPQ. The higher-order factor structure of the SPQ was analysed through confirmatory factor analysis, followed by multiple-group analysis for the model of best-fit. Between-group differences for sex and ethnicity were investigated using multivariate analysis of variance in relation to the higher-order domains. The model of best-fit was the four-factor structure, which demonstrated measurement invariance across groups. Additionally, these data had an adequate fit for two alternative models: a) 3 factors and b) a modified 4-factor. The British sub-sample had significantly higher scores across all domains than the Trinidadian group, and men scored significantly higher on the disorganised domain than women. The four-factor structure received confirmatory support and, importantly, support for use with populations varying in ethnicity and culture.

Tourist photographers and the promotion of travel: the Polytechnic Touring Association, 1888–1939

The Polytechnic Touring Association (PTA) was a London-based, originally philanthropic turned commercial travel firm whose historical origins coincided with the arrival of the Kodak camera in 1888 – thus, of popular (tourist) photography. This article examines the PTA’s changing relationship with tourist photographers, and how this influenced the company’s understanding of what role photography could play in promoting the tours, in the late nineteenth and early twenty century. This inquiry is advanced on the basis of the observation that, during this time, the PTA’s passage from viewing tourists as citizens to educate, to customers to please, paralleled the move from using photography-based images to mixed media. Such a development was certainly a response to unprecedented market demands; this article argues that it should also be considered in relation to the widening of photographic perceptions engendered by the democratization of the medium, to which the PTA responded, first as educator, then as service provider. In doing so, the article raises several questions about the shifting relationship between “high”, or established, and “low”, or emerging, forms of culture, as mass photography and the mass marketing of tourism developed.