Phenomenology of Space and Place

Inscrevo uma crítica à Geografia Humanista informada por ideias filosóficas de Martin Heidegger. Partindo do diálogo direto com um dos representantes deste modo de fazer Geografia, busco implicações topolíticas mais gerais ao campo da produção científica de atmosfera fenomenológica, questionando certos usos de ideias irrefletidas eticamente e a errância do pensamento absolutizada carente de contexto epistêmico. Metodologicamente, faço uma montação do "caso Heidegger", dialogando com o artigo de Eduardo Marandola Júnior, fazendo emergir quatro condições de enfrentamento: 1. Binarismos essencialistas; 2. Variação tautológica; 3. Encobrimento da diversidade teórico-ética; 4. Negação da violência simbólica. Proponho ensaiar um salto dessas condições que arriscam alguma reinvenção propositiva da Geografia Humanista à Brasileira, começando por uma desobediência fenomenológica frente à sombra heideggeriana.

A Transamazônica (Br-230) paraense possui sua imagem congelada há décadas: a estrada enlameada, carros parados ou tratores derrubando uma floresta vazia de gente abrindo o espaço amazônico para um projeto de modernização autoritária. Reproduzida e reprodutiva em termos de ensino de geografia-e discursos que enquadram a escala regional (como totalizante e explicativa) em detrimento das escalas lugarizadas em campo. O resultado desta dinâmica não se restringe a uma distância entre o que se vive como fenômeno e o que se aprende como conceito, vai na direção da reprodutibilidade de uma "inexistência da potência criativa" das vicinais, lugares de construção de uma geografia junto a mapeamentos que, de lá, forcem o repensar dos fundamentos inabaláveis das imagens congeladas, dos mapas generalistas e suas projeções, escalas e simbologia padronizantes. Para tanto, realizamos junto com estudantes e professores de duas escolas vicinais do município de Pacajá (PA), no período que foi de início de 2016 até 2019, uma série de mapas mentais; ou seja, tentativas de provocar o corpo no mapa e o mapa no corpo em um contexto de situação-limite da existência. Este engajamento corporal na tentativa de pensar a vicinal como lugar em instituição e, daí, uma abertura situada ao mundo é o que dá sentido à geocartografia. É possível concluir que: a) emergência de um sentido subjetivo que não separa o emocional do simbólico na feitura de mapas; b) o engajamento corporal e o olhar situado de professores e estudantes não tem apenas valor de exemplo totalizável, mas de abertura ao novo na medida em que fazem uma simbologia que revela a necessidade de construir uma ponte dialógica entre o que se vive na vicinal e o mundo que a tematiza de maneira "inexistida".

This paper deals with one of the most famous rewritings of Sophocles’s "Oedipus at Colonus", the "Gospel at Colonus" by Lee Breuer and Bob Telson, first performed in 1983. This will be a two-stage discussion. In the first part, a close analysis and comparison between some relevant parts of Sophocles’s text and Breuer’s one will be proposed to show the different strategies adopted by the modern playwright to "accommodate" the original pagan text into the totally new Christian-Pentecostal context staged. It will be argued that in the second part of the play the Christian afflatus of the rewriting intensifies, ultimately conveying Breuer and Telson’s final message of a possible conciliation between white and Black, paganism and Pentecostal Christianity. The second part will take a closer look at the figure of Oedipus and at his radical change from his past pagan condition to the newly obtained Christian power: from a vulnerable wanderer in search of a place to die in and have his sins forgiven to a symbolic redeemer of all humanity and dispenser of joy and hope for all the people gathered in the Pentecostal church and beyond.

Wuthering Heights by Emily Brontë is a Gothic masterpiece that intricately explores love, vengeance, class, and identity within the desolate Yorkshire moors. Religion emerges as a complex force shaped by the characters' moral, social, and psychological landscapes. Using Gothic Criticism and a comparative religious approach, this study examines how Christianity, Judaism, and Islam influence the novel's themes and conflicts. At the heart of this exploration is Heathcliff, a figure straddling humanity and Satanism. His defiance of divine authority and supernatural bond with Catherine position him as both a Gothic antihero and a theological enigma. Through characters like Heathcliff, Joseph, and Catherine, Brontë questions faith, free will, and morality, challenging Christian traditions. The study analyses religious elements in the novel, highlighting faith as both a source of comfort and control. The final chapter scrutinizes Heathcliff's ambiguous identity through scriptural references and Gypsy traditions, assessing his human and devilish aspects. By examining Gothic elements alongside religious themes, this research reveals the profound spiritual and existential dilemmas embedded in Wuthering Heights. Ultimately, it argues that religion is not merely a backdrop but a central force shaping character identities, conflicts, and resolutions in Brontë's dark and tumultuous narrative.

Wie ist Husserls Krisis-Schrift einzuordnen? Als sinn-und wissenschaftshistorische Abhandlung oder doch als Krisendiagnose, welche die Philosophie ernstlich zum Handeln drängt? Der Vortrag folgt dieser Frage und wirft dabei nicht zuletzt einen Blick auf die Krisensemantik unserer aktuellen Gegenwart, der wir u.a. das Stichwort der "Polykrise" verdanken. Eine Krise oder aber viele Krisen? Husserls Antwort auf diese wäre wohl eine eindeutige, aber keine einfache gewesen.

The historical dimension of human existence should occupy a cen
tral place in any philosophical reflection that aims to be radical and self
critical. The issues connected with it invest the very identity, purposes,
and possibility of philosophy, which are all constantly brought into play
by the evolution of thought. By deciding on them, philosophy decides
on its own meaning and destiny. After all, a philosopher meets oneself as
philosopher precisely on the terrain of history. However, the historical di
mension is also the closest to individual and collective experience; it per
meates the lives of individuals and societies primarily, though not solely,
through the pervasive role that narratives play in them. This short volume
brings together essays on these two only seemingly distant sides of this
very broad and jagged field.

The German notion of Heimat (home, belonging, region) has often been associated with reactionary anti-modernism and provincial life. This thesis aims to investigate how the term Heimat has adapted to modern places and spaces. The ethnographic study of a small suburban village in the outskirts of Cologne, the author's childhood home, serves as a case study as to how villagers have dealt with the transformation of place and memory. Situated in an open cast brown coal mining area, half of the village was destroyed and rebuilt in a new location in the 1950s. What role does the term Heimat, which traditionally concerned the preservation of local history and natural landscapes, play in such a place? This thesis demonstrates that the transformation and modernisation of rural structures, while blurring the boundaries between city and country life, have led to new and different experiences of Heimat beyond the traditional interpretations of Heimat as nostalgia. Rather than seeking harmony and homogeneity and therefore excluding diversity and foreignness, as previous studies have insisted, the thesis argues that the notion of Heimat has become an inclusive term that accommodates contradictory and often conflicting positions. Based on a new reading of Heimat's cultural history, and the term's impact on literature, art and film, the study aims to present Heimat as utopia and to explore its engagement with both the natural environment and the social world.

Os objetos de interesse cultural quando expostos no espaço público são vistos pelas comunidades como Arte Pública. Não obstante as ambiguidades associadas ao conceito do que é a Arte e do que é o Público, uma dessas obras que se projeta em múltiplas interconexões ideológicas é o Monumento ao Esforço Colonizador Português, da cidade do Porto. O estudo que se apresenta diz respeito ao contexto histórico da obra, sua criação e seu percurso, desde o surgimento de uma primeira versão da chamada Primeira Exposição Colonial Portuguesa, em 1934, nos jardins do Palácio de Cristal Portuense, designado para o evento como Palácio das Colónias. A monumental obra é analisada por um prisma cripto-histórico. Através de fotografias de arquivo e outras fontes, em particular, alguma cartografia especifica da cidade, efetua-se um estudo que ilustra com tecnologias de informação geográfica e de computação gráfica a localização da obra nos jardins do palácio.

Rather than merely the backdrop against which human lives are played out, place is integral to the very possibility of human life. Understanding why this is so and what it implies is a key contemporary task. We need, more than ever before, to turn back to the places in which our lives are shaped, to listen and to respond to them, since only then will we be able adequately to come to terms with the challenges of the contemporary world. Saudade is a familiar word to Portuguese speakers-and a term that suffuses much Portuguese music and literature. It is defined by the 16 th Century Portuguese grammarian and historian Duarte Nunes Leão as "memory of a thing with the desire for this same thing". Although often

At the Le Thor Seminar in 1969, Heidegger characterises his thinking as
taking the form of what he calls a ‘topology of being’ (Topologie des Seins)
and as thereby giving a key role to place (topos, Ort/Ortschaft). Much of
my work over the last 25 years has been devoted to exploring how such a
topology is indeed present in Heidegger’s thinking, both early and late, and
so to showing how place figures in that thinking – to showing, in effect,
how the questioning of being is also the thinking of place. The aim here is
to provide a summary introduction to the topology that this exploration has
aimed at uncovering, but to do so in a way that is focussed on the early
work, especially Being and Time. To this end, the discussion proceeds
through an explication of the topological elements that are present in the
form of key terms and ideas such as facticity, questionability, being-in,
existential spatiality, and there-being or Dasein. There is also a brief
exploration of the way the term Dasein figures in German philosophical
discourse prior to Heidegger in ways that are not only reflected in
Heidegger’s early work, but also draw directly upon that term’s topological
connotations.

In this article I critically interrogate the ways researchers produce knowledge about the making and unmaking of borders. I do so by focusing on social processes of boundary-drawing that have dramatically intensified since the 2015 summer of displacements in Europe. I think through some of the methodological possibilities and conundrums that arise if we try to make visible the unarticulated social conventions underlying the everyday thresholds of belonging that determine who is permitted in, and who has to remain outside, the affective socio-political space of societies. By drawing on my own research experiences, I show why methodologies aimed at lending marginalized people a voice often fail to capture the voiceless, silent nature of these boundary-drawing practices. I suggest that in order to bring the invisible barbed wires permeating societies into the open, we need to develop phenomenologies of everyday exclusionary practices, or ‘cultures of unwelcome.’ Through my ethnographic...

I argue that Aristotle's place (tópos) functions as the against-which of motion and orientation. A spatial episode is well-formed when three conditions obtain: an unmoving envelope that embraces the body, discriminable axes (up/down/center), and a valence that sorts locales as proper or hostile. Reading Physics Δ, place is the innermost motionless boundary that norms locomotion without being an efficient cause; where envelope and axes fail, movement is no longer intelligible as natural or violent. Husserl and Merleau-Ponty supply the mechanism: passive synthesis and body schema repair orientation by re-inscribing envelope and axes when they fray. A trench-warfare case shows depletion (smoke, whiteout, concussion) and repair (revetments, dugouts) of these conditions, reliably predicting when spatial reports retain or lose prima facie warrant.

Historia Morza Śródziemnego oraz krajów, które je otaczała, cieszyła się od lat wyjątkowym zainteresowaniem badaczy na całym świecie. Morze Śródziemne to przecież nie tylko spuścizna kulturowa Homera, Platona, Wergiliusza i Cycerona oraz wielka historia starożytnych Greków i Rzymian wokół Mare Nostrum, lecz także dziesiątki historii poszczególnych państw i kultur, powstałych w wyniku załamania się jedności politycznej świata rzymskiego. Niezamienione na "jezioro bizantyńskie" czy "jezioro muzułmańskie" przez wiele setek lat stało się miejscem powstania, rozwoju i upadku rozmaitych państwowości śródziemnomorskich, które wpłynęły na kształt historii, kultury i religii dużej części ówczesnego świata. Większość osiągnięć cywilizacyjnych, takich jak prawo, sztuka i architektura, dalej religie czy choćby lingua franca -mieszanina języków: greckiego, włoskiego, arabskiego i tureckiego, miały swe źródła w rejonie śródziemnomorskim. W czasach nowożytnych Morze Śródziemne było jednakże miejscem gwałtownych starć i śmiertelnych zmagań militarnych zarówno o podłożu politycznym, jak i ideowym oraz religijnym. Równocześnie było kolebką nieprzemijających osiągnięć kulturalnych i obszarem ważnych inicjatyw pokojowych. Historiografi a światowa doczekała się wielu opracowań dotyczących dziejów Morza Śródziemnego, wśród których można wymienić choćby następujące publikacje:

This paper examines Heidegger’s evolving account of life and non-human disclosure from Being and Time to his later writings, showing that the thesis of animal world-poverty is a transitional rather than final position. It argues that the Kehre and later concepts such as the World–Earth strife and aletheia/lethe open a non-subjectivist framework for understanding natural appearing (phusis) and degrees of disclosedness. In doing so, it clarifies the philosophical-historical legacy of Being and Time, revises the ontological status of the animal, and highlights contemporary relevance for debates on cognition, embodiment, and world-relation.

Drawing on the concept of lived emplacement developed in my Life Takes Place (Seamon 2018), I consider aspects of place and place experience as presented in American novelist Daniel Mason's North Woods, a revealing picture of how one house and homestead in mountainous western Massachusetts (USA) abides in time as various inhabitants and occupants come and go (Mason 2023). By lived emplacement, I mean the everyday ways via which human beings are immersed in the places they inhabit or occupy. In short, place is an inviolate existential structure via which human life happens. We always find ourselves somewhere. Mason's novel is singular in its portrayal of how the homestead sponsors a wide range of lived emplacement for the characters who arrive, settle, and move on because of death or life events. The novel demonstrates implicitly the phenomenological claim that human beings and worlds are always already together integrally via lived emplacement.

El propósito de la arquitectura es proponer espacios que permitan el paso del tiempo. Es una forma ética de contrarrestar, de oponerse a esa idea absurda, tan arraigada en nuestra época, de que el tiempo se pierde. Por eso la arquitectura también es memoria, pues restablece inequívocamente esa íntima unidad entre el individuo, el espacio y su tiempo.

(EA 4010) La réflexion que je propose de mener ici part d'un souvenir d'enfance et, notamment, de la réception du conte d'Andersen intitulé La petite fille aux allumettes, à l'occasion d'une soirée de Noël. Or, si j'ai rapidement retrouvé l'ouvrage illustré qui préside à ce souvenir, je ne m'attendais pas, au fil de mes recherches, à effeuiller autant de versions et d'illustrations de ce conte, traduit dans plusieurs langues et diffusé en divers endroits du monde. Je ne m'attendais pas non plus à en déceler autant d'adaptations (au cinéma, au théâtre ou à l'opéra, voire en jeu vidéo), souvent judicieuses, mais parfois aussi abusivement édulcorées.

This chapter deals with the role of gender in place and enquires into the ways in which the question of space and place is already inscribed into the question of sexuality. I claim that from antiquity to modern times, women have usually been the object of the other’s gaze, being thus reduced to a picture. Architecture provided a frame for the feminine body, a body that ‘orchestrated’ the male gaze directed at it to produce the effect of interior or containment, the ‘proper place’ of women. This strategy concealed the fact that it was this panoptic gaze which produced this space of women’s confinement, thereby instituting a masculine space of control and discipline. Contemporary tendencies in architecture break with this long-lasting tradition by both annulling impositions on gendered attributions of place and conceiving of a fluid and hierarchy-free space, thus allowing for the intertwinement of bodies and spaces as flesh.

Consciousness remains the most elusive frontier in science. Despite progress in neuroscience, physics, and artificial intelligence, no prevailing theory accounts for why or how subjective experience arises. This paper proposes a field-theoretic model in which consciousness is not emergent from neural complexity, but rather a primary, dynamic substrate-a modulated field that underlies reality itself. We integrate concepts from neuroscience, quantum biology, information theory, phenomenology, and physics to argue for a paradigm in which coherence, resonance, and informational gradients shape experience. Consciousness, in this view, becomes the basis from which matter, memory, value, and intelligence unfold. This model opens new paths for empirical research and AI development, while challenging the foundations of materialist reductionism. A unified, testable framework is presented that bridges first-person experience with third-person observation-through the physics of subjectivity.

uma de 1089, comemorando a Dedicação do templo; outra, de 1294, comemorando a reedificação da igreja. A inscrição mais antiga, que corresponde à dedicação presidida pelo Bispo D. Pedro (1071-1091), é contextualizada na mais antiga documentação medieval relativa a Santo Estêvão de Chaves e no conjunto das dedicações conhecidas para aquele bispo de Braga.

I once held tightly to the belief that I was alive — not merely breathing, but existing with an essence, a hidden core that could be called “me.” But what I found at the end of questioning was startling: this “I” is not alive. It is not essence, but construct.
What I thought was me was never more than a cooked recipe of words, memories, and roles, seasoned by the world and served as ego. When the mask of this construction fell, there was nothing behind it — no living core, no immortal flame, no hidden soul.
This realization is not a loss but an unveiling: the recognition that I have no essence of existence.

A partire dagli anni Novanta del secolo scorso, l’era dei media mobili e dei dispositivi portatili di geolocalizzazione ha introdotto un nuovo approccio alla digitalizzazione dello spazio e alla sua rappresentazione in tempo reale, permettendo di includere la fisicità performativa dell’artista come elemento di un sistema complesso e situato. L’articolo propone un’indagine del Locative Media Workshop tenuto a Karosta, una piccola località lettone sul mar Baltico, nell’estate del 2003. La tendenza creativa dei locative media, attraverso questo primo workshop, pone le sue basi su pratiche collaborative nello spazio pubblico. Nel testo, oltre a ricostruire la messa in opera dell’evento negli ambienti del RIXC Center for New Media Culture di Riga, si pone l’attenzione su come un tale agire laboratoriale, esplorativo e partecipato, segnerà un’evoluzione sostanziale rispetto a precedenti forme di media art che hanno fatto uso delle reti.

La geolocalizzazione, originariamente sviluppata come tecnologia a uso militare e oggi parte integrante della vita quotidiana, ha trasformato radicalmente il rapporto con lo spazio pubblico. Partendo da questo presupposto, il libro esplora la genesi e l’evoluzione dei locative media, forme di comunicazione digitale legate alla posizione geografica, analizzandone la metamorfosi in uno strumento di mediazione artistica emerso parallelamente ai primi utilizzi civili del tracciamento satellitare. La tendenza si consolida nei primi anni Duemila come risposta post-desktop alla net art, sfruttando il potenziale performativo delle reti mobili. Ricevitori e dispositivi personali ridefiniscono l’idea stessa di spazio di vita, modulando la percezione di scala tra distanze geografiche e rappresentazione mediata del territorio; un ambito in cui si aprono riflessioni sul corpo dell’artista come elemento attivo di misurazione, connessione e mappatura critica di sistemi di controllo.

This paper proposes an archaeology of perception for the Late Bronze Age (LBA), treating sensation as a socially produced medium through which collective imaginaries organize experience. Methodologically, I articulate a stratified appearance-profile for each sensory domain-embodied invariants (e.g., startle at high SPL, olfactory saturation), an epochal historical a priori (storm-theology, sacrificial semiotics), and discursive-ritual articulations (texts, spaces, residues)-and test co-occurrence across archives, iconography, and materials. The result is a comparative phenomenology in which thunder, scent, color, sheen, fluids, and stone/architecture do not merely signify but act. In this domain, thunder functions as theophany: the god's qōl "thunders" (hirʿîm) over waters, "breaks" (shōvēr), "shatters" (yĕshabbēr) the cedars, "hews out lightning-flames" (ḥōtsev lahavôt ēsh), "shakes" (yāḥîl) the desert, "makes the hinds writhe" (yĕḥôlēl) and "strips" (vayyeḥesóf) the forests, as YHWH "sits" (yāshāv) "over the flood" (la-mabbûl) (Ps 29:3-10). West Semitic myth renders Baʿlu's voice as seismic storm-agency (KTU 1.4 V-VI). Honey and burnt fat are divine alimentation/pacification: after the Flood "the gods smelled the pleasing odor" and swarmed "like flies" (Gilg. XI 155-160), while the priestly whole-offering frames burnt fat as rēaḥ nīḥōaḥ (Exod 29:18); Hittite Telipinu myth deploys honey to turn wrath (CTH 324). Aromatics constitute sacral aura within Aegean palatial economies: named are -pa-zoo "unguent-boilers" (e.g., tu-we-ta, pi-ra-jo) boil coriander (ko-ri-a₂-da-na) and cyperus (ku-pa-ro₂) with wine (VIN) and honey (ME) into labeled oils (pa-ko-we, ku-pa-ro-we, wo-do-we, e-tiwe) for Potnia (PY Un 267; Un 249; Fr-series); Egyptian elite funerary deposits of coriander corroborate (KV62). A chromatic ontology inverts later Western intuitions: red-blood, ochre, wine-indexes vitality and creation (Atrahasis I; Enūma Eliš VI), whereas sea/sky "deep" figures dread and liminality in Anatolian and West Semitic horizons (e.g., the "deep/blue deep" in Telipinu, CTH 324; sea as adversary). Gleaming bronze/gold manifests presence: Baʿlu's cedar palace overlaid with silver and gold marks enthronement (KTU 1.4 V-VI); Egyptian cosmography ascribes to gods "flesh of gold, bones of silver, hair of lapis" (Book of the Heavenly Cow; New Kingdom copies), and golding of the dead effects assimilation to the divine (KV62). Bodily fluids operate as cosmogenic media: Atum engenders by emission/spittle and humankind arises from divine tears (Pyramid/Coffin-Text tradition); Mesopotamian creation mixes a god's blood with clay to animate humankind (Atrahasis I; Enūma Eliš VI). Stone and architecture are responsive: Egyptian oracular processions and the Opening of the Mouth endow statues with breath/speech; Hittite building rites address house and gate as agents (CTH 414); Ugaritic idiom speaks of "the word of the tree and the whisper of the stone" for esoteric oracles (KTU 1.3 III). Framed for critical phenomenology of the imaginary, the LBA sensorium shows how a dominant symbolic order renders sensation efficacious: thunder speaks and commands; perfumes consecrate bodies and spaces; red vivifies while the deep blue threatens; metallic sheen radiates presence; fluids create; stone hears and answers. By triangulating Hebrew poetry (Ps 29; Exod 15; Deut 32), Ugaritic myth (KTU 1.3-1.6), Hittite myth/ritual (CTH 324, 414), Mesopotamian epics (Atrahasis; EnūmaEeliš; Gilg. XI), Egyptian ritual/cosmology (Heavenly Cow; Opening of the Mouth; Ramesside Dossiers), and Aegean administration (PY Un/Fr; KN series), the paper models an LBA structure of consciousness in which sensation is causal, covenantal, and world-shaping.

Of the more striking features of Otto Mauer’s thought is the innovative relationship of his theology and aesthetics. Mauer began writing on the topic of theology and art in 1934 in a piece titled “The Pastor and Christian Art.” He published again the next year, “Artistic Creation in a Catholic Perspective,” and “An Epigram to Art” in a 1941 volume. The influence of Romano Guardini is evident in these early writings, as is a residual impact from Mauer’s personal contact with Hans Urs von Balthasar, Erich Przywara, and other notable Catholic thinkers of his context. He strove to rebuild religion “for the contemporary people who stand before the rubble of the spiritual world of the last century,” doing so with the brunt force of beauty. Mauer continued writing on the topic over the next decades, including “Towards a Metaphysic of Visual Art” (1946), “Freedom in the Visual Arts” (1967), and “Art and Reality. Against the Lie of an ‘Ideal World’” (1972).
During the time of Art and Christianity (1946), Mauer’s theology drew from two contrasting dimensions. From his formal theological training under Theodor Innitzer, he became influenced by the neo-Scholastic ideas of John Henry Newman. Most explicit of these is the grounding of reality in the transcendentals of truth, goodness, and beauty. These categories come to structure the core of his aesthetics. Against this was the understanding of a fundamentally hermeneutical nature of being which had been developing in German thought at least since the Idealists. The first sees the world to have a stable and certain foundation in its relationship to God, as the source of all being; the second, as a great symbol, the understanding of which shifts in light of various modes of human existence. Much of the excitement in Mauer’s aesthetics happen in the interaction between these dimensions. This paper tracks the interaction of these two ways of seeing the world in Mauer’s theology and aesthetics.

La entrada de la niñez menor de 3 años a instituciones educativas ha ido en aumento, generando una serie de retos para los familiares y las personas docentes. Este manuscrito sistematiza el trabajo llevado a cabo en el Centro
Infantil Laboratorio Ermelinda Mora (CILEM), durante la última década, para consolidar un recibimiento respetuoso de la niñez menor de 3 años y generar un apego seguro en el ambiente educativo. El análisis sobre las disonancias entre los postulados teóricos y el trabajo en las aulas inició con una lectura conjunta de principios del desarrollo infantil temprano. Posteriormente, se grabaron videos de las rutinas en todas las aulas y se problematizó, en conjunto con las personas docentes, la congruencia entre los principios orientadores y la realidad. El manuscrito puntualiza ejes teóricos relevantes para un trabajo adecuado con la niñez menor de 3 años y describe el proceso de sensibilización y reflexión sobre este tema, así como las estrategias pedagógicas y vinculares que han resultado exitosas, hasta lograr consolidar cambios en el modelo institucional. El proceso de reflexión-acción permitió agudizar la mirada sobre el quehacer cotidiano, realizado muchas veces de forma mecánica, para descubrir las metas de desarrollo y cosmovisiones subyacentes. El principal resultado de este proceso radica en la creación de un lenguaje común institucional que ha sido consensuado por medio del diálogo interdisciplinario, así como una atención sensible a las necesidades de las familias y de la niñez menor de 3 años, logrando un impacto positivo en el aprendizaje y en el desarrollo.

Apparently, there is a unilateral, one-way foundational relationship between transcendental “pure” phenomenology, as outlined in the first book of Husserl’s Ideas I, and its empirical applications and constitutional consequences in the realm of the positive sciences. Husserl stated in several places that the former grounds the latter: empirical applications of phenomenology are per se rooted in pure phenomenology, and the results of empirical research cannot, so to speak, be recycled into the transcendental. The second book of Ideas has the partial aim of demonstrating some of the constitutive, empirical outcomes of pure phenomenology in its application to empirical reality, while the third book of Ideas delves even deeper into the relationship between pure, transcendental phenomenology and the positive sciences.
However, if we look more closely at the situation, we begin to see that Husserl’s conception contains many subtle and sophisticated implications, some of which may have remained implicit even for Husserl himself. In my opinion, if one reads between the lines and examines Husserl’s trains of thought more carefully, it becomes apparent that certain results of empirical research could, in the end, be associated with some grade of apodictic evidence. At first glance, this seems implausible, since Ideas I (§137) suggests that such scientific results could, at best, carry assertoric or presumptive evidence.
Yet a more nuanced reading of Ideas II, and of the texts from that period, reveals that the relationship between the transcendental and empirical domains—and between the pure and apodictic evidence on one side, and the presumptive, limited evidence on the other—is rather circular. This circularity would later be identified as a hallmark of Husserl’s so-called “genetic phenomenology” of the 1920s and ’30s.
In this context, Husserl’s “double phenomenological reduction,” introduced in his 1910/11 lecture on the Basic Problems of Phenomenology (in Husserliana 13), is, in my view, of crucial importance. The core idea is to suspend assumptions about the veridical status of a given experience and to focus solely on its content as a mere sense-formation. This allows the phenomenologist to analyse empirical findings from within the phenomenological attitude in a legitimate way. I believe Husserl implicitly employed this method in Ideas II. Through phenomenological reduction, empirical evidence can be “purified” to uncover its apodictic core. Not all empirical evidence can become apodictic, of course—but according to Husserl, each such datum contains apodictic aspects and implications.
I will illustrate this with §63 of Ideas II, where Husserl explores the role of the nervous system in realising concrete mental processes. While scientific hypotheses in this area seem far removed from apodicticity, the phenomenological analysis of the eidos of the organic, animate body may still expose apodictic implications within them.

This study examines how phenomenological philosophy expands the space-human relationship based on experience in cultural, social and psychological contexts through architecture and modern art works. The aim of the study is to evaluate the effect of phenomenological perspective on conceptual art and architecture by analyzing Marcel Duchamp's works that redefine the space-human dialectic with architectural components such as windows and doors; transforming the perception of space and objects. Perception and phenomenology of space are discussed within the scope of the theories of different thinkers in the context of 20th century space conceptualizations. The sample of the study, whose conceptual structure is developed based on the qualitative research method, consists of four works of Duchamp associated with architecture. The presence of perception theories such as Empiricism, Rationalism, Nativism and Gestalt in Duchamp's works is questioned on the basis of the phenomenological approach. As a result, it has been determined that Duchamp's architecture-related and experience-oriented works present indicators that can be explained especially by Empiricist and Gestalt theories within perception theories. In a general evaluation, it can be said that Duchamp prepared the ground for the phenomenological interpretation of architectural space with his avant-garde space studies.

In this article, we explore transformations and continuities in cosmology and cultural landscape structure across Pueblo history in the US Southwest. Many researchers have directly compared the archaeology of the society centered at Chaco Canyon (ca. AD 850-1140) in northwestern New Mexico with ethnographic documentation of Pueblo communities from the nineteenth and twentieth centuries. This approach makes it difficult to understand how cultural transformation played out in the intervening centuries. Here, we investigate this history by comparing Kin Nizhoni, a Chaco-era Great House community in the Red Mesa Valley, with Wiyo' owingeh, a post-Chacoan community in the Rio Grande Valley. We find that the built environments of both sites expressed similar cosmological principles, but architectural expressions of these concepts became less explicitly marked over time. We also find that this similar cosmology was mapped onto different social structures, with a focus on elite architecture in the Chaco era as opposed to communal dwellings with spatially separated shrines in later Pueblo contexts. We close by proposing a connection between the functions of Chacoan Great Houses and later Pueblo World Quarter Shrines. Overall, our findings underscore the utility of cultural landscape studies for tracing relationships between religion and society across North American Indigenous histories. Resumen En este artículo, exploramos las transformaciones y continuidades en la cosmología y la estructura del paisaje cultural a lo largo de la historia de los pueblos del suroeste de Estados Unidos. Muchos investigadores han comparado directamente la arqueología de la sociedad centrada en el Cañón Chaco (aproximadamente entre 850 y 1140 dC) en el noroeste de Nuevo México con la documentación etnográfica de las comunidades de los pueblos de los siglos XIX y XX. Este enfoque dificulta la comprensión de cómo se desarrolló la transformación cultural en los siglos intermedios. Aquí, investigamos esta historia comparando Kin Nizhoni, una comunidad de la era chacoana en el Valle de Red Mesa, con Wiyo' owingeh, una comunidad post-chacoana en el Valle del Río Grande. Descubrimos que los entornos construidos de ambos sitios expresan principios cosmológicos similares, pero las expresiones arquitectónicas de estos conceptos se volvieron menos explícitas con el tiempo. También descubrimos que esta cosmología similar se trazó en diferentes estructuras sociales, con un enfoque en la arquitectura de élite durante la era chacoana frente a las viviendas comunales con santuarios separados espacialmente en contextos posteriores de los pueblos. Concluimos proponiendo una conexión entre las funciones de las grandes casas chacoanas y los posteriores santuarios del barrio mundial de los pueblos. En general, nuestros hallazgos subrayan la utilidad de los estudios del paisaje cultural para rastrear las relaciones entre la religión y la sociedad a lo largo de las historias indígenas de América del Norte.

KONSOLIDACIJE OKO PRAVA VLASNIKA STANOVA KOJE KORISTE ILI SU KORISTILI ZAŠTIĆENI NAJMOPRIMCI (II.) by Nikola Dorbić explores the complexities surrounding the rights of property owners in relation to protected tenants. We invite you to check out the article for a deeper understanding of this important legal topic.​

Nikola Dorbić, dipl. iur. , odvjetnik u Šibeniku
" Napomena urednika časopisa: Članak se, zbog opširnosti, objavljuje u nekoliko nastavaka."

Članak čitljiv u sadržaju znanstveno-stručnog časopisa PRAVO U GOSPODARSTVU PUG 3/2021.
web site:  https://www.pravniciugospodarstvu.hr/casopisi/casopis_02_2021.html

In 1917 Marcel Duchamp (1887-1968) submitted for the exhibition of the Society of Independent Artists in New York a porcelain urinal under the title Fountain, which was resituated in a position ninety degrees from the usual and bore the signature "R. Mutt." Although this work was rejected, its photograph together with a short note was published in the journal The Blind Man in the same year, and provoked a controversy surrounding the definition of artwork. The esteem accorded to art since modern times came under challenge. There is no record concerning whether Martin Heidegger (1889-1976) was aware of Duchamp's works. Yet in the beginning of "The Origin of the Work of Art," Heidegger pays attention to the fact that "works are as naturally present [vorhanden] as things," and offers the following examples:

The visual and verbal communicated very differently in the medieval East Roman Empire, which we normally now call Byzantium. While most images were based on verbal or written narratives (for example, the Bible), they virtually always changed the textual message and often actively subverted the written story. Both words and images were often sacred, but the audience for verbal and visual sacrality was differently composed. Words were the preserve of the elite who could read and afford books; images, unlike the written word, were usually available to all and valued by elite and non-elite alike. There is considerable tension between the two media: words about images were usually actually about something else entirely, and textual forgery was an acknowledged 'cottage industry' in the Byzantine world while there is very little evidence of art forgery by the Byzantines. 1 In what follows I will contrast the ways the Byzantine saw and the ways they heard and consider what the tensions between the two can reveal. 2

How do we know through atmospheres? How can being affected by an atmosphere give rise to knowledge? What role does somatic, nonverbal knowledge play in how we belong to places? Atmospheric Knowledge takes up these questions through detailed analyses of practices that generate atmospheres and in which knowledge emerges through visceral intermingling with atmospheres. From combined musicological and anthropological perspectives, Birgit Abels and Patrick Eisenlohr investigate atmospheres as a compelling alternative to better-known analytics of affect by way of performative and sonic practices across a range of ethnographic settings. With particular focus on oceanic relations and sonic affectedness, Atmospheric Knowledge centers the rich affordances of sonic connections for knowing our environments.

We use phenomenology to reflect on the experience of being with others as mediated by screens through videoconferencing platforms, a phenomenon accelerated by the Covid-19 pandemic and social isolation measures. We explore two directions to explain the intersubjective experience of a videoconference. One direction introduces a conceptual background based on previous contributions in phenomenology, while the other one is more speculative: we introduce the novel idea of a phantom other. First, we understand this phenomenon either as a correlate of image consciousness or as a paradoxical perception. Then, we introduce the phantom other using ideas offered in phenomenological descriptions in which the phantom limb appears as a quasi-presence. The phantom other is the same flesh and blood body with whom I co-constitute senses of the world. In a videoconference, the other appears as a whole body with which I coordinate, although she appears as a phantom other.

o presente artigo apresenta e relaciona os anos iniciais do bloco
Cacique de Ramos com as antigas práticas dos cucumbis. O objetivo central é
apresentar uma série de reflexões a respeito da autoafirmação negra, e sua ligação
com o uso da fantasia de “índio”, contidas em ambas as manifestações. Tais reflexões
são apoiadas na historiografia e no conceito de améfrica ladina.

The morphological account of landscape aims to overcome the contrast between an objectivist/scientific account of space and the more qualitative/subjective account of place. It does so by actualizing the notion of landscape, which endows a materiality often overlooked in contemporary spatial theories. In this paper, I will discuss what has been called the ‘space-place conundrum’ by referring mostly to the human geography contemporary debate on space and place. In the following, I will retrieve Carl Sauer’s morphological conception of landscape as an alternative framework aimed at rephrasing both the concepts of space and place. Landscape must be freed from the cage of the aesthetic gaze so that it can be understood as a lived and dynamic complex of interacting forms that encompass the embodied subject. In the end, I will outline the main characteristics of a morphological conception of landscape, paving the way for further inquiries.

El número 36 de Perífrasis abre con tres artículos en los que poesía, ensayo y novela son la excusa para mirar tres momentos claves de la literatura colombiana a través de las propuestas estéticas de autores que han quedado relativamente marginados del canon nacional: la poeta Josefa del Castillo, el narrador y ensayista Tomás Vargas Osorio y la novelista Albalucía Ángel. Traemos luego dos trabajos sobre literatura del caribe antillano en los que la frontera entre República Dominicana y Haití, primero, y la situación de Cuba, después, son escenarios en los que violencia, discriminación, procesos de exclusión y machismo toman forma en novelas de René Philoctète y Dazra Novak. Cerramos este número con una miscelánea caracterizada por establecer vasos comunicantes entre al menos dos problemas estéticos: la relación entre periodismo y novela negra evaluada en dos textos de Leila Guerriero, un estudio sobre la recepción y la traducción de un libro de Lucio Mansilla y un artículo en el que confluyen cuento y poesía de la frontera norte de México.

In the global age of today, while our lives are constantly dragged from one place to another, we consume places temporarily. It is also difficult to establish a connection with these places during short-term relationships. Many thinkers have pondered to describe these places where there is no attachment and where the sense of belonging is lacking. Within the scope of this article, the studies of Foucault – Des Espace Autres (Of Other Spaces: Utopias and Heterotopias), Relph – Place and Placelessness, Augé – Non-Places: Introduction to an Anthropology of Supermodernity and Koolhaas – Junkspace are discussed, which take the most place in the literature. First, these studies were examined in detail, and then all terms were compared with each other. In order to speak of the terms from a general view, a common term has been developed within the scope of this article and all these spaces have been defined as Grey Spaces.

Koolhaas reinterpreta el legado de la promenade architecturale desde un léxico contemporáneo, donde rampas, escaleras, pasarelas y vacíos actúan como dispositivos narrativos que traducen nociones de transgresión, dinamismo, tensión espacial y episodios de descubrimiento, intensificando la percepción arquitectónica, y generando secuencias espaciales que subvierten las lógicas tradicionales del recorrido.

South Africa is known for its high level of road fatalities. The, so called, road safety burden in the Western Cape, and in particular Cape Town, has been decreasing, due to a prolonged investment in road safety measures. However, the decrease seems to have plateaued and further analysis of available data is required to identify further measures. In this study, fatality data for the years 2011 to 2015 was taken to a local level. Absolute fatalities, as well as the fatalities per 100 000 population, are compared. The mode of transport used is also compared to the level of road fatalities. The detailed analysis revealed that an area, such as Khayelitsha, which has a very high road fatality burden per annum, has a low level of fatalities per 100 000 population, i.e. the value is equal to the global average (much better than many African countries and cities). Comparatively, an area, such as Durbanville, has a lower absolute number of fatalities per annum, however, the fatalities per 10...