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Ologies
No full textAlie Ward is an Emmy Award-winning science correspondent and humorist who has appeared on CBS's Innovation Nation, Netflix's Brainchild, and the Science Channel's How to Build Everything, to name a few. She is also the creator and host of Ologies, a fantastic podcast in which Ward interviews an expert "-ologist" in a different field of study for each episode. Recent examples include bufology, or the study of toads, with Priya Nanjappa; ludology, or the study of games, with Dr. Jane McGonigal; and etymology, or the study of word origins, with Helen Zaltzman. Ward's inexhaustible curiosity, zest for "ask[ing] smart people stupid questions," and rambunctious sense of humor make Ologies a delight that everyone can learn from, regardless of their academic background. For those wanting to share this podcast with younger audiences, "bleeped" versions, as well as transcripts of many episodes, are available at the Ologies Extras link at the bottom of the site. Episodes are generally an hour or more in length, and listeners can stream them at the link above or subscribe via their podcast platform of choice
Performativity and Aesthetic Experience of the City. From the body of the flâneur to the soma of the Man in Gold
Get PDFIn this essay, I do not want to focus on performativity as such and understand it as an aesthetic expression; instead, I would like to illustrate how performativity takes on the role consequential to an aesthetic experience. Specifically, I want to highlight how aesthetic experience takes place in the spatial contexts of the city. In this regard, I want to define the aesthetic-practical-sensory relationship of the soma, understood as a paradigm of a living body, that is, a body that moves and acts in space, by declining three historical moments that tell the story. I want to define three historical moments from the early twentieth century to the present through the soma-city relationship: 1) The first moment is inscribed in the emergence of the Baudelairian concept of the flâneur, a symbolic figure who introduces a relationship with the city characterized by a disenchanted gaze and a slow, wandering movement picked up, especially by Walter Benjamin in the Paris Passages; 2) The second moment is that of Situationism, in which Guy Debord introduces the concept of dérive, understood as an approach to the city marked by the experiential and emotional relationship; 3) The third and most recent moment concerns Richard Shusterman\u27s embodiment of the somaesthetic exercise, in which the Avatar of the Man in Gold, enters into a relationship with the city, aspiring to reconnect urban spheres and not to a pure somaesthetic experience of the city. The last point to be made is that these three historical and aesthetic experience-based moments of the body in the city are marked by the body moving in space. In the case of the flâneur, the body wanders in an unresolved manner without a precise destination; in the case of the drift, the body is propelled by the many sensations and expressions of the city that are expressed through walking (urban Walkscapes); finally, in the case of the Man in Gold, there is a movement totally absorbed in the experience of places.In this essay, I do not want to focus on performativity as such and understand it as an aesthetic expression; instead, I would like to illustrate how performativity takes on the role consequential to an aesthetic experience. Specifically, I want to highlight how aesthetic experience takes place in the spatial contexts of the city. In this regard, I want to define the aesthetic-practical-sensory relationship of the soma, understood as a paradigm of a living body, that is, a body that moves and acts in space, by declining three historical moments that tell the story. I want to define three historical moments from the early twentieth century to the present through the soma-city relationship: 1) The first moment is inscribed in the emergence of the Baudelairian concept of the flâneur, a symbolic figure who introduces a relationship with the city characterized by a disenchanted gaze and a slow, wandering movement picked up, especially by Walter Benjamin in the Paris Passages; 2) The second moment is that of Situationism, in which Guy Debord introduces the concept of dérive, understood as an approach to the city marked by the experiential and emotional relationship; 3) The third and most recent moment concerns Richard Shusterman\u27s embodiment of the somaesthetic exercise, in which the Avatar of the Man in Gold, enters into a relationship with the city, aspiring to reconnect urban spheres and not to a pure somaesthetic experience of the city. The last point to be made is that these three historical and aesthetic experience-based moments of the body in the city are marked by the body moving in space. In the case of the flâneur, the body wanders in an unresolved manner without a precise destination; in the case of the drift, the body is propelled by the many sensations and expressions of the city that are expressed through walking (urban Walkscapes); finally, in the case of the Man in Gold, there is a movement totally absorbed in the experience of places
L’artidesign : Il dialogo fruttuoso
Get PDFIn this paper, we would like to illustrate how the conception of a third gen-re, “artidesign”, can represent: 1) The relationship between the cultural and conceptual contribution of craftsmanship and the consequent aesthetic and phenomenological implications of the size of the workforce in the three thematic areas of art, craftsman-ship and design. 2) It should be a real system that is becoming concrete through the logic of design, production and consumption
La Natura Poetica Dello Spazio: Modelli Di Memoria Sensibile / The Poetics Of Space: Aesthetic Remembrance In Architecture,
No full textAesthetics & Architecture : Living is the Answer
No full textThis paper wants to focus the main topics of inhabiting in three dimensions concerning the relationship between Aesthetics and Architecture: 1) The intimate space of the house, 2) The shared space of the city and 3) The felt space of Atmospheres. In this way we would like to introduce the concept of lived space as an important field of the Architecture project and, at the same time, we would like to illustrate how Architecture approaches the world of phenomenological and aesthetically sensitive inhabiting space
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