scholarly journals Anthropological Discourse in the Performative Context of Body-Spatial Experience

2020 ◽  
Vol 13 ◽  
Author(s):  
Sergii Rudenko ◽  
Volodymyr Prykhodko
Keyword(s):  
Spatial Experience ◽  
Anthropological Discourse

The Varieties of Spatial Experience

PsycCRITIQUES ◽  
2006 ◽  
Vol 51 (24) ◽  
Author(s):  
John G. Benjafield
Keyword(s):  
Spatial Experience

Vitruvian Character: The Case of the Egyptian Museum

2014 ◽  
Vol 8 (3) ◽  
pp. 105
Author(s):  
Khaled Asfour
Keyword(s):  
Local Community ◽  
British Museum ◽  
Spatial Experience ◽  
The Public ◽  
Cultural Boundaries ◽  
The World

In Vitruvius’ treatise, what makes good architecture is its ability to communicate to the public particular messages that reflects the program of the building with spaces and components arranged in an orderly way. According to Vitruvius these messages when acknowledges by the public the building posses strong character. This research discusses this idea by reflecting on the 1895 competition of the Egyptian Museum project. Marcel Dourgnon, the French architect of the winning scheme, showed profound understanding of character resulting in a building that had positive vibe with the local community.  Today Vitruvius’ idea is still living with us. Norman Foster succeeded in upgrading the British Museum in a way that addressed all cultures of the world through his grand atrium design.  Similarly, Emad Farid and Ramez Azmy revived the presence of the Egyptian Museum in public cognition.  Spatial experience that evokes similar perceptions to all its visitors is a timeless piece that transcends cultural boundaries.

The Aesthetics of Island Space

2019 ◽  
Author(s):  
Johannes Riquet
Keyword(s):  
Pacific Northwest ◽  
Physical World ◽  
Literary Texts ◽  
Spatial Experience ◽  
Spatial Poetics ◽  
The Tempest ◽  
The Pacific ◽  
Age Of Discovery ◽  
Words And Images ◽  
Modern Experience

The Aesthetics of Island Space discusses islands as central figures in the modern experience of space. It examines the spatial poetics of islands in literary texts (from The Tempest to The Hungry Tide), journals of explorers and scientists (such as Cook and Darwin), and Hollywood cinema (e.g. The Hurricane and King Kong), tracing how islands have offered vivid perceptual experiences as well as a geopoetic oscillation between the poetic energies of words and images and the material energies of the physical world. Its chapters focus on America’s island gateways (e.g. Roanoke and Ellis Island), tropical islands (e.g. Tahiti and imagined South Sea islands), the islands of the Pacific Northwest, and mutable islands (e.g. the volcanic and coral islands in Wells’s fiction). The book argues that the modern voyages of discovery posed considerable perceptual challenges to spatial experience, and that these challenges were negotiated via the poetic engagement with islands. Postcolonial theorists maintain that islands have been imagined as geometrical abstractions subjected to the colonial gaze. There is, however, a second story of islands in the Western imagination which runs parallel to this colonial story: the experience of islands in the age of discovery also went hand in hand with a disintegration of received models of global space. Rethinking (post-)phenomenological, geocritical, and geopoetic theories, The Aesthetics of Island Space suggests that the modern encounters with islands as mobile and shifting territories implied a diversification of spatial experience, and explores how this disruption is registered and negotiated by non-fictional and fictional responses.

The Listener in François Bayle’s Works: A resonant subject in a living space

2015 ◽  
Vol 20 (3) ◽  
pp. 308-315
Author(s):  
Edith Alonso
Keyword(s):  
Discrete Time ◽  
Temporal Evolution ◽  
Outer Space ◽  
Time Structure ◽  
Energy Transformation ◽  
Spatial Experience ◽  
Living Space ◽  
Creative Life ◽  
Dynamic Production

Bayle’s aesthetic radicalism is based on a conception of a living space in which there is not an opposition of an inner space to an outer space. This idea will be discussed by looking at the morphology creation, temporal evolution and sound spatiality on François Bayle’s works. Sound events as ‘images-of-sounds’ are characterised by a philosophy of dynamic production and energy transformation which creates a space in movement. However, the organisation of time structure in Bayle’s works can be divided into three categories (discrete time, time based on independent moments and circular time) corresponding to three periods of his creative life. We can conclude that this organisation led him to realise how important the active behaviour of the listener is for the construction of space. As a result, the spatial experience does not create a constructed space but rather a subjective one in which the listener is a resonant subject with the space surrounding him.

scholarly journals Theorising the deaf body: using Lefebvre and Bourdieu to understand deaf spatial experience

2021 ◽  
pp. 147447402110036
Author(s):  
Dai O’Brien
Keyword(s):  
Social Networks ◽  
Social Space ◽  
Deaf Children ◽  
Deaf People ◽  
Work Practices ◽  
Spatial Experience ◽  
Individual Basis ◽  
Theoretical Approaches ◽  
The Individual ◽  
The Way

In the field of Deaf Geographies, one neglected area is that of the individual deaf body and how individual deaf bodies can produce deaf space in isolation from one another. Much of the work published in the field talks about collectively or socially produced deaf spaces through interaction between two or more deaf people. However, with deaf children increasingly being educated in mainstream schools with individual provisions, and the old social networks and institutions of deaf communities coming under threat by the closure of deaf clubs and changing work practices, more research on the way in which individuals can produce their own deaf spaces and navigate those spaces is needed. In this paper, I outline two possible theoretical approaches, that of Lefebvre’s productive gestures to produce social space, and Bourdieu’s habitus, capital and hexis. I suggest that these theories can be productively utilised to better understand the individual basis of the production of deaf spaces.

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