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Introdução ou «guia» crítico para atravessar a cidade
Publication . Conceição, Nélio; Instituto de Filosofia da NOVA (IFILNOVA)
The City as Spielraum
Publication . Conceição, Nélio; Instituto de Filosofia da NOVA (IFILNOVA)
The German notion of Spielraum, which can be translated as “room-for-play” or “space for free play”, implies a relationship between rules and free movement within rules which is a defining feature of playing and games in general. Delving into the work of key urban philosophers Walter Benjamin, Guy Debord and the Situationists, Henri Lefebvre and Michel de Certeau, this chapter develops a theoretical framework around the notion of Spielraum and enquires into the connection between the city, play and democratic life. The latter refers to the participation of citizens in the processes that determine individual and collective life and calls both for prioritising inhabitants’ use of space over idealised planning and for counteracting the negative effects of capitalism and other power relations. Following on from this, the last section of the chapter analyses two seminal case studies from architecture and art, the first concerning Aldo van Eyck's Amsterdam playgrounds and the second the work of the artist Francis Alÿs. In different ways, the two explore the link between the political dimension of collective play and aesthetic experiences that can foster the transfiguration of urban space and strengthen democratic life.
A cidade nas práticas artísticas
Publication . Fonseca, Nuno; Brito, Humberto; Duarte, João Oliveira; Ventura, Susana; Viegas, Susana; Instituto de Filosofia da NOVA (IFILNOVA); Departamento de Estudos Portugueses (DEP); Instituto de História da Arte (IHA)
A cidade nas práticas artísticas [The city in artistic practices] is the result of the work developed, of the presentations and the debates held within the cycle of seminars “The experience of the city between art and philosophy”, held between 3 March 2020 and 16 June 2021 (calendar dramatically compromised by the challenges of the COVID 19 pandemic), one of the main activities of the OBRA project — Fragmentation and Reconfiguration: experiencing the city between art and philosophy, based at IFILNOVA — Philosophy Institute of NOVA, in Lisbon. The book is divided into five parts, relating to each of the artistic disciplines to which the seminars were dedicated – cinema, photography, sound arts, literature and architecture —, which are edited by the organizers responsible for each of them — respectively, Susana Viegas, Humberto Brito, Nuno Fonseca João Oliveira Duarte and Susana Ventura — and composed of the respective narrated accounts of each seminar and of short essays, some merely textual, others graphical or even photographic, which are either in-depth versions of the reflections and positions that were presented and debated by the participants and guests, or works that motivated and inspired the work of the seminars. The seminar cycle and the book now presented here intend to reflect on the role of artistic practices in the representation and reconfiguration of urban experience, trying to understand their different attempts to apprehend and express the fragmentation of aesthetic experience in modern and contemporary cities, as well as to evaluate their contribution to an eventual symbolic and imaginative reconfiguration of that experience. Each section tries, in its own way, to answer questions such as: How do these arts think and reinvent the city? What do they make us feel? And what is their social and political role? For reasons that are easy to understand, Lisbon was the starting point, but other cities were also part of the journey.
Aproximações fotográficas da cidade
Publication . Conceição, Nélio; Instituto de Filosofia da NOVA (IFILNOVA)
The Productive Disorder of the Atlas
Publication . Conceição, Nélio; Instituto de Filosofia da NOVA (IFILNOVA)
In The Arcades Project, Walter Benjamin suggests that a kind of “productive disorder” is the canon of both the collector (Sammler) and involuntary memory. This chapter investigates how this “productive disorder” can apply to the conceptual figure of the atlas. Following closely – although with some detours – Georges Didi-Huberman’s Atlas, or the Anxious Gay Science and its characterization of the atlas as a visual form of knowledge, it explores a thought space in which fragmentation and reconfiguration emerge as fully operative notions. The different sections complement each other and unfold the “essential dialectic” of the atlas: on the one hand, a materialist dimension linked to the sovereign individuality of things; on the other hand, a psychic dimension linked to association, memory and imagination. The atlas takes part in a struggle against dispersion and chaos and makes productive certain principles of observation linked to morphology and physiognomy. In addition, it entails various forms of exercise related to aesthetic and political issues, to correspondances and to the infinite interplay between childhood and adulthood. Two features make up the ambivalence of the atlas and threaten its productivity: the risk of the ever-new and the risk of forgetting the ragpicker (Lumpensammler), a figure whose spirit of “collection” becomes an intrinsically economic and urban matter.
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Fundação para a Ciência e a Tecnologia
Programa de financiamento
3599-PPCDT
Número da atribuição
PTDC/FER-FIL/32042/2017