A text as ambitious as Malvezzi’s The Archetype of Wisdom provides a particularly challenging subject for review – precisely because of the wide aim and reach of this project. Far from considering the ambition of this work pejoratively, my intentions in this review are to make explicit the way in which Malvezzi’s text opens (or at least attempts to open) space for a philosophical project of much greater length. The text itself, standing at roughly 100 pages (omitting the use of illustrative plates) is very short, especially when this length is considered alongside the breadth of Malvezzi’s interest. Indeed, he acknowledges this explicitly when he states that the work’s wide angle makes impossible a certain level of comprehensively (Malvezzi, 2018, p. 15). It is therefore my view that The Archetype of Wisdom should be read as a kind of philosophical manifesto – as the extended opening remarks of a much larger philosophical project. As such, my review seeks to bring out the key components of Malvezzi’s position in light of the project this work seeming precipitates. Given the breadth of his project, it is perhaps understandable and forgivable that Malvezzi does not always tease out the full conclusions of many of the comparative claims he makes within his work. This review shall draw out these claims, particularly attending to the similarities and difference between Malvezzi’s project and Husserl’s phenomenology, as well as to how orientation figures within his work.
The Archetype of Wisdom is a bold unification of several distinct areas of scholarship. Not only is it a work of phenomenological philosophy, but it is explicitly concerned with classical architecture, and philosophy of religion – with the latter’s role in the text specifically concerned with questions of cosmology and metaphysics. Given its classical subject matter, the text raises further questions pertinent to history and archaeology – though these concerns are largely outside of my field of expertise, so shall not be central to my appraisal of this work. Malvezzi makes explicit that his primary concern throughout the text is with the spatial metaphysics of Greek spiritual thought, specifically with their conceptualisations of the relationship between what is considered human and divine. To paraphrase this, we could suggest that Malvezzi’s concern is with the constitutive relationship between practices of worship – with their explicit concern, in the Greek context, with wisdom – and the embodiment of these practices within physical space. In order to understand this, he insists, we must begin with the spaces within which this relationship was placed and enacted: the Greek temple. Yet no sooner than this project has established its central concern as architectural, it immediately problematises this notion, at once insisting that we must understand the temple as constituted both by its architecture and by the lived experiences of the Greeks. Through his early invocation of Schulz’s observation that “temples are regarded as “individual concretizations of fundamental existential situations””(Malvezzi, 2018, p. 14), Malvezzi’s project comes to rest its interests on the site of worship as a phenomenologically constructed space. The primary implication here is that Malvezzi’s project is concerned with how the Greek temple is a site wherein meaning and significance are constructed, mobilised, and proliferated – that the temple should be understood as the staging ground for particular religious practices that are primarily concerned with phenomenological experience. We are thereby implored to reject any understanding of the temple as a static system, as a fixed concretisation of some transcendent divine power, but as a site wherein and upon which “the changing conditions of life from all around are unceasingly acting” (Malvezzi, 2018, p. 74). It is on these grounds that he presents his work as applied phenomenology. In so far as the temple itself represents the divine (and, for Malvezzi, on some level it clearly does) Malvezzi’s approach encourages us to consider the temple as an experience, which is to say in relation to those that use the site. As such, Malvezzi’s work foregrounds the relational aspects of the temple and the divine to human experience.
Perhaps the most overt point of continuity between Malvezzi’s project and the standard canon of phenomenology is his invocation of the term erlebnis. One of the central terms deployed with Husserlian phenomenology, erlebnis is experience in and of itself – the product of his specific schema of philosophical reduction (Husserl, 1982). The direct parallel within the context of the Greeks is the stress placed on the role played by pre-rational elements of thought when considering the wider, universal existential structure embodied within the temple (Malvezzi, 2018, p. 14). Though some of us may be sceptical of this division between pre-rational experience and cognition, the Greeks – according to Malvezzi – mirror Husserl quite closely when they suggest that the point of their project is to investigate universal structures. Yet within this similarity is the implicit, yet stark, distinction between the erlebnis of Husserl and the erlebnis of the Greeks: the latter has an explicitly existential concern. As aforementioned, Malvezzi’s project is – at least in part – a work of the philosophy of religion, at least in so far as the focus on Greek life is within the conceptual framework of religious metaphysics. Taken together, these elements frame The Archetype of Wisdom as attempting to provide a phenomenological account of Greek religious experience, yet precisely what this project reveals is that these experiences express a clear existential attitude of humanity’s relationship to the divine.
This deep link between existential erlbenis and the Greek religious experience of the divine is further explored within Malvezzi’s brief treatment of other aspects of Greek architecture (loosely conceived). He speaks of monumental statues, those that depict mortals and Gods, represented in the like form of the human being. Their prevalence, for Malvezzi, speaks to the true object of reflection for Greek thought: “man himself” (Malvezzi, 2018, p. 53). For any concern the Greeks may have had with a transcendent divine, the transcendent becomes intimately connected to human experience – it works to ground the divine whilst also working to unground the everyday. In his consideration of these statues, Malvezzi focuses on the prevalent pose many of these monuments took – depicting the figure as taking a step forwards (Malvezzi, 2018, p. 53). For Malvezzi, this is not to be read as a mere hint at movement, but instead allows us to read this statues as having intermediate dimensionality, as neither rooted nor moving, and this challenges the very idea of human stability. This becomes implicitly existential for Malvezzi, specifically in so far as it comes to challenge the advice of Tirtaeus: that one should “have both feet planted on the ground” (Malvezzi, 2018, pp. 53–4). This picture of the fundamental existential condition as one of rootedness is thereby overcome by a new image: that of a youth looking at the world around him and attempting to find his path (Malvezzi, 2018, p. 54). Though Malvezzi does not explicitly illuminate this as an existential dimension to his work, it is explicitly concerned with action. To extend Malvezzi’s reading of this example, we can regard the intermediary status of man – as expressed through the statue – as core to his reading of the Greek’s as phenomenologically oriented, for the youth is attentively considering the relationship between the world as he experiences it and his action. Though Malvezzi does not use the term, I think it useful to consider this image in terms of the language of orientation, specifically in the phenomenological sense explicated within Sara Ahmed’s Queer Phenomenology (Ahmed, 2006). Upon this reading, we can see Malvezzi present us with a reading of Greek architecture as furnishing us with a series of anchors upon which their philosophical practice hangs, with statues and temples acting as both sites of practice but further as points of reference, through which the Greek individual could find their orientation.
This notion of orientation, specifically as part of a process of disorientation and reorientation, becomes more overt (though is never actively avowed), within the Greek sense of the divine as Malvezzi explicates it. Importantly, his reading stresses that for the Greeks wisdom is rooted in experience itself, not upon the accumulation of information (Malvezzi, 2018, p. 54). Again, we can see the clear link to Husserl’s project – in so far as the investigation concerns experience rather than specific objects of knowledge – but also, I hope, a clear point of divergence: the Greeks do not present this as a project with an end, their practice is innately sceptical of the codification of this experience. Greek spiritual practice never overcame the need for novelty, it cannot be codified precisely because this codification would be its end (Malvezzi, 2018, p. 79). This scepticism, on Malvezzi’s reading, is foundational within the very building of the temple itself, for the temple was to act as a site of provocation, as a reminder of the ‘divine experience’ at the root of Greek wisdom (Malvezzi, 2018, p. 13). Indeed, the temple itself is as far as the Greeks can go in terms of codification, for the temple is an approximation and a reminder of the divine experience itself, an experience that – being pre-rational – cannot be clearly expressed within language, and thus resists standard forms of philosophical codification (Malvezzi, 2018, p. 66). Expressed more succinctly – the temple itself is the best codification of this experience. Attempts at the rationalisation of this experience must, at least on Malvezzi’s account, be considered definitively as moving away from the experience itself. Whereas we may read Husserl as seeking what can be codified within experience, what rational structures we can tease out of the experience itself, Malvezzi’s account of Greek divine experience resists this kind of determination.
This is precisely expressed within the division between the two worlds: mortal and divine. The former is primarily characterised by peras, by ephemerality (Malvezzi, 2018, p. 31). The mortal world is limited and determined, it is the realm of what dies. Conversely, the divine is characterised as apeiron, as that which cannot undergo any kind of determination (Malvezzi, 2018, p. 32). The world of mortals is limited just as the world of the divine is infinite. Understanding divine experience in this way, we must read Malvezzi’s as strongly differentiating between this experience and attempts at codification through rational thinking. Divine experience – being so limitless – challenges the limits of everyday life and thus cannot be approximated to them. We must recall that divine experience is fundamentally pre-rational for Malvezzi, and it cannot be rationalised without the experience itself becoming essentially changed.
Indeed, the opposition between rationalisation and the divine is most keenly expressed within Malvezzi’s treatment of chaos, which is considered as “unknown divinity” (Malvezzi, 2018, p. 34). Malvezzi appears to suggest a certain temporal structure to one’s relationship with the divine, as one at first encounters the divine as an unknown. One’s initial experience of the divine is presented in terms of unveiling – as aletheia – wherein the mind is opened to truth (Malvezzi, 2018, p. 37). Malvezzi expresses this by drawing on Hesiod’s account of the genesis of the divine: “at first Chaos came to be” (Malvezzi, 2018, p. 34). Hesiod presents this as a mythological account, as a creation myth for the Grecian pantheon. Malvezzi understands this as a part of the phenomenological process. Chaos is a logical opening, it is at once aletheia and epoche – it is the collapse of one’s preconceived ideas. But this collapse is an exposure to truth, not as a series of universal structures of thought or propositions about reality, but as a direct experience of harmonia. If we are to experience harmony – the divine truth, “an underground weaving from which everything can rise and vanish” (Malvezzi, 2018, p. 35) – we must first experience chaos. Both are core aspects of the divine experience. For Malvezzi, divine experience is at once terror and beauty.
To best explicate Malvezzi’s view, I return to the notion of orientation. How he presents the phenomenology of the divine appears to follow a movement from orientation to disorientation, a movement engendered by the chaotic component of divine experience. Having passed through chaos, we arrive at harmony, we move from disorientation to reorientation. This reorientation is not a return to one’s original perspective, but a transformation of one’s relationship with the world. This new relationship is rooted in understanding, not as rationalisation, but as facing the divine substratum – as rootedness in one’s phenomenological experience of the divine (Malvezzi, 2018, p. 37). The movement to reorientation is the taking up of a divine orientation, the availability of which depends directly upon this experience. But this experience is transitory, its impression fades and we return to our original, everday orientation – and this precipitates a need to return to the temple, to relive our encounter with the divine. We must once again pass through chaos to reach harmony. Malvezzi does not provide an extended treatment of orientation in this way, though he does mention the concept in connection with Prometheus, who “showed men what to see and hear in order to get oriented” (Malvezzi, 2018, p. 48). This is to say that Prometheus provides us with a shift in perception through revealing a fundamentally element of the world: fire. Through extending this metaphor of orientation, I have attempted to more clearly demonstrate Malvezzi’s position and its implications.
I regard Malvezzi’s project as heavily relying upon these notions of orientation, disorientation, and reorientation even if these are rarely avowed. Indeed, his project appears to suggest that the distance between the mortal and divine worlds is a precisely the distance between two forms of orientation. To be situated in one world or the other is a matter of one’s attitude, as to whether or not one is oriented towards the divine substratum or merely to the surface appearance. This is not to suggest that Malvezzi regards the surface as superficial in such a way as to dismiss it. Instead, the suggestion is that the Grecian model implies that the surface can only attain its full relevance and meaning through an appreciation of its divine support (Malvezzi, 2018, p. 37).
Indeed, the fundamental distinction between the mortal and divine worlds becomes blurred in his discussion of Ananke. As a Goddess, Ananke is the divine personification of fate – she is at once a divine being and a constraint on divinity itself, for not even Gods fight Ananke (Malvezzi, 2018, p. 47). As a figure, Ananke comes to represent a divine limitation, she is at once apeiron and peras – blurring the distinctions between the divine and mortal worlds. The blurring of this distinction enables man to understand the divine through a new form of codification. For Malvezzi, Ananke is thus the possibility of accumulating knowledge about the divine, for her status is precisely that of a boundary. Accordingly, it is through her that we move from the fluidity of the divine to the solidity of the Gods – aspects of the divine personified and settled into entities. Malvezzi considers Ananke – and what is made possible through her – to be an advancement in the ontological status of the human being (Malvezzi, 2018, p. 48). By allowing the divine to settle into human shapes, mankind is given a framework through which they can conceptualise their relationship to the divine in a clear manner. A mythos is born and settled. The pre-rational experience is given a multitude of faces to facilitate its encounter with humanity.
But though the Gods are a result of this experience, though they are a codification of this experience into a more ready-to-hand framework of understanding, the Gods exist to be transcended. The very reason that the Greeks can afford not to resist the codification of the divine experience into Gods and yet could not afford to allow this experience to be claimed by reason is precisely because the Gods can point us back to the originary experience in a way that reason cannot. This is to say that rationalisation pulls us directly away from the divine experience, it leads us only into abstraction. As a form of codification, rationalisation keeps the experience itself at bay. The Gods, however, like the temples in which they are spatially located, become sites of experience in and of themselves. This is to suggest that the Gods return us to the divine experience, that they enable us to experience harmony.
On Malvezzi’s account, the Gods thus become vehicles for experiencing the divine, which at once return us to this experience of chaos and then harmony, but which also foreground a human element of this harmony. This is fundamentally why the Gods are concerned with wisdom, not because they provide codified doctrines of teachings, but because each of them provides human beings with access to wisdom. Wisdom, on Malvezzi’s account, is the phenomenological experience of, and ability to interact with, the invisible harmony of the world. Wisdom fundamentally depends upon this phenomenological experience, which in turn depends upon the conditions embodied within the temple and its Gods. As such, it would be appropriate to extend Malvezzi’s use of architecture to suggest that temples and their Gods are themselves the architecture of wisdom, as well as the archetype.
To extend Malvezzi’s project into the claim that the Gods serve as an architecture of wisdom is to foreground the temple as a catalyst for a phenomenological encounter with the divine. Malvezzi’s project has a strong historical thread through which he provides a reading of the origins and development of the Greek temple. Though I provide a summary of his account here, this subject is beyond my specialism and thus I am in no position to appraise it. Malvezzi’s history begins with the tѐmenoi, the “cut out lands” (Malvezzi, 2018, p. 19) that serve as the predecessor’s to the Grecian temple structure. These were sites of worship in the open air, closed off spaces that were dedicated to a God – sacred spaces surrounding an altar. Such spaces are closed off in the sense that they are set apart from the corresponding outside: the mortal world. The structure of the tѐmenoi as closed off establishes the sanctity of these spaces as grounded in a shift away from everyday life. Central to this shift is that the tѐmenoi served as thresholds between civilisation and the natural world. Indeed, the location of these were not considered as accidental or as part of civic planning – but as chosen by the Gods. What marked these locations as chosen were their natural features, and thus we can see the roots of the temenoi and the divine within the natural world. Malvezzi notes that for the Greeks, nature was not to be regarded as a “dead”, for nature was alive (Malvezzi, 2018, p. 21). What this means philosophically is the suggestion that for the Greeks, nature was more than a factic state of affairs, not merely a collection of creatures and plants to be regarded merely as resources, but that the Greek spiritual life has its origins within the divinity of nature. Due to its association with the divine, however, it is unsurprising that the natural world was considered as distinct from the mortal world: from the civilised world of the polis. Malvezzi’s therefore regards the temenoi as sanctuaries that sat at the margins of the polis, marking the physical and psychological thresholds between civilisation and nature (Malvezzi, 2018, p. 22), between the known and the unknown, between the mortal and the divine.
Therefore, Malvezzi’s proposes that the general structure of the temple is that it constitutes an interstice between the two worlds – but this is not to suggest that each temple is identical. Malvezzi stresses the observations of other scholars who suggest that temples are each unique, that their construction cannot be entirely reduced to a singular schema (Malvezzi, 2018, p. 65). Despite this, Malvezzi asserts that there is a clear commonality upon which we can comment, and this is the use of light within the temple (Malvezzi, 2018, p. 70). His treatment of the phenomenological experience of the temple comes to focus on the act of entering the temple and approaching the altar. Typically, the temple would have a single entrance, acting as the sole aperture through which light could enter the building. As this entrance was at the opposite end of the building to the altar and the God – herein represented as a statue – the procession towards the architectural representation of the divine would have been a walk into gradually intensifying darkness (Malvezzi, 2018, p. 80). One’s entry into the space was occasioned by the placement of the columns, which would again come to divide the internal sections of the building. Importantly for Malvezzi, the placement of these columns deliberated evoked a sense of a permeable boundary (Malvezzi, 2018, p. 69), crossed by the worshipper entering the holy site. Due to the single entrance, Malvezzi describes the temple as a prism, diffracting not only light, but also reality (Malvezzi, 2018, p. 70).
This image of worship amounts to what I regard to be Malvezzi’s most original claim within this project: that the temple demonstrates how the act and practice of worship was itself implicitly spatial for the Greeks. The temple is a space that one moves through, it is a path out of the mortal world and into the divine, a sojourn of discovery. The sculpted stones of the temple were regarded as living, as imbued with soul through the art of construction – all united within the secret recipe for arousing a sense of the divine (Malvezzi, 2018, pp. 76, 81). It is for these reasons that Malvezzi speaks of the temple as grounded within a human hope that it was possible for all men to have this experience.
The Archetype of Wisdom is an ambitious project, drawing on resources from myriad disciplines across the academy. As a synthesis of these perspectives, Malvezzi’s work provides a compelling suggestion as to how we can productively read the Greek temple, as to how these sacred spaces can provide us with testimonies about Grecian practice, experience, and cosmology. Philosophically, Malvezzi draws several productive connections between Greek practice and later works of phenomenology – especially in his treatment of erlebnis and, in my suggestion, his implicit comments on orientation. Though I consider the text to provide a convincing demonstration as to the utility of pursuing a phenomenology of the classics, it remains limited in the amount it can achieve given its relatively short length. On these grounds, I consider The Archetype of Wisdom as a proposal for additional work – a proposal that implicitly calls for a collaborative effort across those disciplines with which it interfaces. In particular, it would be productive to consider this project alongside archaeology, which is mentioned somewhat sparingly in the text. Finally, another element that is somewhat absent from this text is a consideration of the temple as a political site, thus any further work within this area may wish to consider what contribution could be made by political philosophy. None of these omissions are damning to the central thesis of the text – but each could be addressed in whatever projects Malvezzi’s work precipitates.
Ahmed, S., 2006. Queer Phenomenology: Orientations, Objects, Others. Duke University Press, Durham.
Husserl, E., 1982. Ideas Pertaining to a Pure Phenomenology and to a Phenomenological Philosophy – First Book: General Introduction to a Pure Phenomenology. Nijhof, The Hague.
Malvezzi, R., 2018. The Archetype of Wisdom: A Phenomenological Review of the Greek Temple. Mimesis International, Milan-Udine.
 Malvezzi does not expand upon any connections between his use of this term and its place within the work of Heidegger. This may be another fruitful comparison for any future work.
“For Architecture no longer defines a domain.”
To begin with the title. ‘The last fortress of metaphysics’ is for Francesco Vitale architectural; it is indeed, architecture itself—at once protected and encumbered by a manifold of “theoretical, political, institutional, symbolical, and material resistances” (xvi). In its encrusted ‘lastness’ architecture presents thus the litmus test of deconstruction, making the latter’s intervention into the former the measure of deconstruction’s efficacity.
This is because at and from the outset philosophy and architecture have found themselves “in the most essential of cohabitations” (xv). The apparent oblivion to the fraught resonances of the “cohabitation with women” that haunt Rousseau’s supplementarity across the pages of the Grammatology will be partly compensated by the book’s opening two chapters, which will undertake to think habitation in the figure of the oikos. At the outset however the cohabitation of philosophy and architecture is established in the strange, troubled even, generality of the latter. In a passage of Derrida, which the short book will quote thrice (repetition ringing across the text worse than a stylistic shortcoming) and which must thus appear here in toto, architecture’s generality is contested by logical and material consistency, if not constancy:
“On the one hand, this general architectonic erases or exceeds the sharp specificity of architecture; it is valid for other arts and regions of experience as well. On the other hand, architecture forms its most powerful metonymy; it gives it its most solid consistency, objective substance. By consistency, I do not mean only logical coherence, which implicates all dimensions of human experience in the same network: there is no work of architecture without interpretation, or even economic, religious, political, aesthetic, or philosophical decision. But by consistency I also mean duration, hardness, the monumental, mineral or ligneous subsistence, the hyletics of tradition.” (xiv, 3, 90)
It is at the juncture of this hyletics, upon the rock of its consistency, that Derrida’s confrontation with Peter Eisenman will play out, a confrontation of particular significance for the encounter of deconstruction and architecture. But since the onto-political fate of the latter with philosophy will be from the outset intertwined, so must be the fate of their critique. Accordingly, Derrida destabilises and solicits the significance of the architectural foundation: “Architecture must have a meaning, it must present this meaning, and hence signify. The signifying or symbolic value of this meaning must command the structure and syntax, the form and function of architecture. It must command it from the outside, according to a principle (archē), a grounding or foundation, a transcendence or finality (telos) whose locations are not themselves architectural.” (xviii) With the same stroke, Derrida solicits the significance of the sign itself, a significance always already philosophical. It does so, by exploring the work of spacing that antecedes all given and constituted internal and external spaces.
Law of the Oikos
Vitale’s exploration begins with a return to the ‘law of the oikos’. The book’s first two chapters deal with the Hellenic legacy that informs the shared fate of philosophy and architecture. For, as Derrida reminds us: “there is an architecture of architecture. Down to its archaic foundation, the most fundamental concept of architecture has been constructed. […] This architecture of architecture has a history.” (1) Vitale locates the significant point of entry to this history in the Greek polis in its intricate relation to the oikos.
The politics of habitation in Athens rests on the myth of king Erichthonius, “who was born directly from earth, not from a woman, but from the soil fecundated by the seed of Hephaestus, dispersed after his clumsy attempt to possess Athena.” (7) In this reading, the soil from which Erichthonius emerges, becomes the mythical foundation of all eco-political foundations. Since no reality will be able to adequate the myth, the latter will continue to haunt the imaginary of the West, producing building and dwelling as much as theoretical and political effects. For Derrida, this ontopology, this “axiomatic linking indissociably the ontological value of present-being (on) to its situation, to the stable and presentable determination of a locality, the topos of territory, native soil, city, body in general,” is today more obsolete than ever. (7) This certainly does not mean overcome.
The Erichthonian soil determines the law of the oikos, a law that “imposes the task of thinking identity (ontological and political identity) in terms that are irreducibly spatial: origin as a place, permanence, stability, being distinguished and protected from difference, alterity, the stranger, and the foreign.” (11) It does so by presenting itself as an immutable, yet indeterminate foundation. This terrestrial foundation bears the name of khōra.
Since khōra “is neither sensible nor ideal, not even a being, it cannot be determined in any way as a being could be. For this reason, to describe it, Timaeus must use a set of analogies (the receptacle, the cast, the sieve, the nursemaid, etc.), assuming that none of them are adequate since they all come from the sensible determined in the khōra. This third remains indeterminate: the indeterminate that prevents itself from any possible determination and makes every determination possible. But, at the same time, in its indeterminateness khōra imposes on us the thought that all that is, is as such because it takes place, has an origin that remains fixed, permanent, and stable, has a proper place, oikēsis idias.” (12)
Derrida explicates the status of the khōra further: “Perhaps, because it can receive everything, one could give it all the names one wants, since it can take any form, ultimately one could give a name different from khōra. As it does not exist under the form of a being identical with itself, of an ideal referent or a thing, one does not see why it would have only one name. But it is precisely because of this that it is always necessary to name it in the same way, since it is paradoxically necessary to keep the sense that it has no sense.” (12) Being the signifier of a signified which is not, the khōra is at the same time a quasi-index, a this, each time unique, yet nonetheless a name, and as such more than a mere this, a cipher eliding indication and signification.
Khōra accordingly designates political space, in the primary sense of invested, occupied space. (13) This space is occupied by the ‘dead sons of the polis’, the Erichthonian progeny which returns to rest forever in the originative soil of the city, now the burial ground of the Kerameikos. (8) The soil of the city the dead will share with the heroes, the cult of which is reactivated in the 8th century BC. The Mycenaean constructions, used by the cult are thus reactivated, offering not only the reassurance of a religious a continuity, but also assuming “a civic as well as territorial value,” by gathering the community and rooting it in the soil. In tandem, the acropolis will be “heir of the royal fortress of the Mycenaean age,” circumscribing the unity of the polis. (22) Whereas the fort would guarantee permanence to the city because of the security it afforded, the architectural permanence of acropolis offers a symbolic security. Positioned at the akron, the visible limit of the polis, it determines its whole territory, stabilising the khōra. The ethico-political significance of this stability will lend support to the Socratic indictment of the itinerant sophists, who lack a proper place, an oikos and thus the nomos, the law that pertains to it. (10) The city must exclude the dangerous other: it is a philosophical as much as an architectural function, a function summed up in the designation of an outside against a stable, striated inside. The law of the oikos, coupled with the law of the polis protect this inside, arresting and fixing the fluidity of the khōra.
Politics of Architecture
For Vitale, the significant contribution of deconstruction is precisely the re-articulation of all stability into effects of stabilization and sedentarization (let it be recalled that de-construction determines itself from the outset as de-sedimentation). Thus places lose their mythical-metaphysical origin and identity, appearing as effects of dislocation and localization, whereas the human appears as the effect of a situated self-inscription, placed by default in relation to otherness and the other. (29) Opening up a space in which to think and live this relation, is the contribution of deconstruction. (30) The law of the oikos, which protected the inside from the outside, the familiar from the stranger, and which informed the history of architecture, as well as that of the ‘architecture of architecture’ is here suspended (31). It becomes thus possible to conceive an other end of architecture, decoupled from dwelling. It certainly becomes possible to conceive of a different dwelling. For this “the deconstruction of architecture must in turn become work, it must become architecture.” (33)
The promise of this ‘architecture to come’ is affirmative of its own possibility, yet never positive. It never posits itself in a fortified security, but remains ‘risky, uncertain, improbable’. (34) It thus remains open and assumes the responsibility not only towards its own future, but towards the other to come, the nameless other, whom we do not know, cannot prefigure and imagine, the other that we do not know when, and altogether whether, will arrive. (38) This is a task not only of architecture, but of the polis as a whole. In order to achieve this, a city must strive to remain “indefinitely and structurally non-saturable, open to its own transformation, to additions that come to alter or dislocate as much as possible the memory of the heritage.” (41-2) As prime counterpoint to the acropolis and the funerary sēma, “Derrida conjures up the example of the temple of Ise in Japan, the most remarkable place of worship of Shintoism. The temple has been dismantled and rebuilt with new materials every twenty years for one thousand five hundred years.” (42) If such a thing was ever needed, one has here the most literal and least literary moment of deconstruction. It is all the same a sign.
The following, fourth, chapter undertakes to trace the passage ‘from architecture to writing’ and then ‘from writing to arche-writing’. Derrida, wishes to abandon ‘the envelope of a book’ to seek a different organisation of space—a space, where one does not only read, but also write between the lines. As readers, we are not handed over the model or blueprint of such ‘architectural artifacts’ as Glas or La Carte Postale, but are rather invited to inhabit their text. (47) Neither, because there is no model, nor because the model must be kept secret; we are not presented with the architectonics of architecture, because although the act of writing that has escaped the book, is a spacing akin “to the production of architectural drawing,” (49) this drawing resists its summary, its reduction to a few master-lines. The architecture of deconstructive writing resists the enclosure and subsumption under its own archē.
The book represents for Derrida precisely such a closure or totality, be it finite or infinite, of the signifier, which can only be established, once a totality of the signified has been previously asserted. (50) Although the historic veracity of this assertion is hardly questionable, Vitale could have here explored the necessity of the equivalence: even though no ground or telos might ultimately support totalisation, it appears theoretically possible to de-couple a totality of signifiers from a totality of signifieds. A ‘trans-total’ correspondence, one between a totality and a non-totality, is imaginable.
Architecture offers a paradigmatic possibility of a rupture with totalising writing. Pluri-dimensionality becomes the operative word. In Vitale’s words: “architectural writing is able to articulate geometric and mathematical notation, perspectival drawing and multiple reference systems, computer graphics, diagrams, photography, spectrography (which detects the physical nature of sites and materials as well as the anthropic presence), tridimensional models, and so on.” (51) It contributes thus to the deconstructive programmatic of conceiving “in a manner at once historical and systematic, the organized cohabitation, within the same graphic code, of figurative, symbolic, abstract, and phonetic elements.” (58) The war of linearisation against the originary pluri-dimensionality of writing, a war that reduced the cohabitation of these dimensions to successivity has long appeared won. Derrida, after Leroi-Gourhan, discovers the potentiality of resistance against the dominion of linearity, which marks the promise of a different scriptural future, in the sign of the ‘mythogram’. In the mythogram, “meaning is not subjected to successivity, to the order of a logical time, or to the irreversible temporality of sound. This pluri-dimensionality does not paralyze history within simultaneity.” (59) Mythography grants us access to arche-writing. Leaving this passage to arche-writing underexplored, Vitale follows Derrida, in an open gesture towards writing and reading architecture as mythography.
The fifth chapter explores the theme of spacing as it comes into play in Tschumi’s research and work. Spacing must be understood not only as an empirical necessity of every system of notation, of every scriptural or inscriptive system, but also as an irreducible condition of experience and of the production of meaning. Spacing is already there in every presence, at the heart of its own self-immediacy. (63) Accordingly, spacing is the imprint of the play of the trace, of a movement that produces space in its unfolding. The trace, as “the opening of the first exteriority in general,” (56, 64) spaces by showing the exteriority at the heart of every interiority.
For Vitale, Tschumi’s work follows faithfully the play of the trace. It is thus able to offer a new architectural possibility, a possibility that is “neither architecture nor anarchitecture, [but rather] transarchitecture.” (68) What is particularly significant and particularly topical for Derrida in transarchitecture is that “it comes to terms with the event; it no longer offers its work to users, believers, or dwellers, to contemplators, aesthetes, or consumers. Instead, it calls on the other to invent, in turn, the event, to sign, consign, or countersign: advanced by an advance made to the other—and maintaining architecture, now architecture.” (69) At a given juncture, Tschumi offers for Derrida the inventive now.
In the Manhattan Transcripts Tschumi’s struggle to escape the confines of received architectural writing becomes apparent: “The original purpose of the tripartite mode of notation (events, movement, spaces) was to introduce the order of experience, the order of time—moments, intervals, sequences—for all inevitably intervene in the reading of the city. It also proceeded from a need to question the modes of representation generally used by architects: plans, sections, axonometries, perspectives. However precise and generative they have been, each implies a logical reduction of architectural thought to what can be shown, to the exclusion of the other concerns. They are caught in a sort of prison-house of architectural language, where “the limits of my language are the limits of my world.” [Wittgenstein] Any attempt to go beyond such limits, to offer another reading of architecture, demanded the questioning of these conventions.” (71)
It is precisely the function of movement in Tschumi’s work that destabilises calculability and universality, to bring forth the unique now in which a play of differences becomes possible for architectural writing. Again The Manhattan Transcripts: ‘The movements—of crowds, dancers, fighters—recall the inevitable intrusion of bodies into architectural spaces, the intrusion of one order into another. The need to record accurately such confrontations, without falling into functionalist formulas, suggests precise forms of movement notation. An extension of drawing conventions or choreography, this notation attempts to eliminate the preconceived meaning given to particular actions in order to concentrate on their spatial effects: the movement of bodies in space.’” (72)
It is because of this attentiveness to the plasticity that the play of the trace necessitates, that Tschumi appears not to betray the promise of deconstruction for a different architecture. Thus, the “unique existence and logic” that “books of architecture, as opposed to books about architecture” develop, (70-1) will not be met by Vitale with the suspicion reserved for Eisenman’s attempt to extricate architecture from the exigencies of deconstruction, by establishing a sui generis space for it. Perhaps then the space devoted to the latter’s critique would have been better employed in following much more closely the former’s appraisal, exploring the architectural pathways opened by Tschumi’s practice.
Eisenman the Apostate
The penultimate chapter is then devoted to Eisenman—a cul-de-sac of deconstruction. A certain early rapport of the two men in view of a collaboration on the La Villette park project quickly came to a head. The rupture manifested in dramatic fashion at the 1989 congress in Inrvine, which Derrida decided not to attend. It was precisely this performative absence that dramatised their divergent positioning vis-à-vis the place and function of absence in thought and architecture. Derrida used his physical absence to address on tape a series of questions to Eisenman—a spectral confrontation. (79)
Derrida had proposed his essay Khōra as common ground for their joint exploration, a text and a notion that we saw pose a challenge to territorial foundations of identity. (17) Eisenman retracted in view of this challenge. The concrete materiality of the physical presence of buildings meant for Eisenman that “the term [deconstruction] is too metaphorical and too literal for architecture.” (82) The full scope, however, of the double hyperbole is only made apparent in Eisenman’s attempt to break with the way in which deconstruction engages with oppositionality: “In my view, your deconstruction of the presence/absence dialectic is inadequate for architecture precisely because architecture is not a two-term but a three-term system. In architecture, there is another condition, which I call presentness—that is neither absence nor presence, [neither] form nor function, but rather an excessive condition between sign and being. As long as there is a strong bond between form and function, sign and being, the excess that contains the possibility of presentness will be repressed.” (87)
Presentness as the third term is the wager of the whole dispute and the point on which Vitale will concentrate his vindication of deconstruction. He will do so by means of a theoretico-historical and a logical argument. The former suspects the structure of a transcending-encompassing third of regressing into dialectics and producing dialectical effects. Accordingly, Eisenman will remain haunted by the spectre of an architectural Hegelianism; a spectre he will not even attempt to shake off. (88) The latter argument presents Eisenman’s logic as circular. We are given to read: “Presentness is the possibility of another aura in architecture, one not in the sign or in being, but a third condition of betweenness. […] This excess is not based on the tradition of the plenitude, but rather is the condition of possibility of presentness.” The circle is clear: “Presentness is the condition of possibility of the excess that is the condition of possibility of presentness.” Neither Eisenman, nor Vitale seem to be interested here in a notion such as ‘equi-primordiality’, as an escape from the conundrum.
What emerges in the brevity of this exposition is the introduction of aura as the halo of presentness, which amounts for Eisenman to the “presence of absence.” (90) This is why Derrida will take advantage of his absence to say to Eisenman on tape: “I’m not going to take advantage of my absence, not even to tell you that you perhaps believe in it, absence, too much.” (80) Eisenman believes in absence too much because he believes in the redemptive possibility of its presentification. The implications for Derrida—or what Vitale diagnosed as dialectical effects—are significant: “Whether it has to do with houses, museums, or university research laboratories, what distinguishes your architectural space from that of the temple, indeed of the synagogue (by this word I mean a Greek word expressing a Jewish concept)? Where will the break, the rupture have been in this respect, if there is one, if there was one, for you and other architects of this period with whom you feel yourself associated? I remain very perplexed about this subject; if I had been there, I would have been a difficult interlocutor.” (81)
The difficulty for Derrida amounts to the attempt, both impossible and regressive, to presentify absence. Thus his spectral advise to Eisenman: ‘Well, you can strategically insist on absence as a disruption of the system of presence, but at a certain point you have to leave the theme of absence’.” (93). Derrida who confesses to feeling like an architect when writing, the paradox of architecture cannot be sublimated:
“The paradox, of course, is that on the face of it, architecture seems to have nothing to do with absence, in one of Heidegger’s texts, he says that a temple is a place where God is present, but that implies that the temple is an empty place ready to receive God. It is the ultimate paradox of logocentrism. […] So, because of its unique relationship to representation, architecture is more ‘present’ than any other art, but at the same time, being the most ‘present’, it is also the strongest reference to the opposite of presence, namely absence.” (92)
In the artifacts of the architectural tradition and despite the latter’s claims, the cohabitation of presence and absence remains productively irresolvable. Within this picture Eisenman appears merely to reinscribe a traditional gesture in the architectural matrix.
In order to decide the fate of this gesture Derrida invites Eisenman to position himself with regard to Benjamin’s essay Experience and Poverty, in which a ‘constructive destruction’ of aura is undertaken by the ‘new Barbarians’. (90-1) Benjamin observes the destruction of aura in the glass and steel work of architects such as Loos and Le Corbusier build with steel and glass. The hardness of the former and the (assumed) transparency of the latter preclude auratic effects, such as uniqueness, exclusiveness and mystification. Eisenman, whose attempt to rehabilitate aura is by now clear, will sidestep Benjamin’s essay.
Returning to the challenge of khōra to foundational origins, Derrida shows the need to think the auratic play of presence and absence through the notion of the trace: “The living present springs forth out of its nonidentity with itself and from the possibility of the retentional trace. It is always already a trace. This trace cannot be thought out on the basis of a simple present whose life would be within itself; the self of the living present is primordially [originairement] a trace. The trace is not an attribute; we cannot say that the self of the living present “primordially is” it [l’‘est originairement’]. Being-primordial [l’être-originaire] must be thought on the basis of the trace, and not the reverse. This arche-writing is at work at the origin of the sense.” (85) The difference becomes thus clear: whereas Eisenman’s phenemonological trace enables a reconstitution of presence as retention of absence, Derrida’s deconstruction of this traces shows presence as a transitory effect of the trace’s movement. (87, 93, 95)
Here ends therefore Derrida’s engagement with Eisenman, as well as Vitale’s chapter. It is perhaps unfortunate that the latter did not attempt to identify and extract those intuitions in the latter’s work that originally attracted Derrida, and might still hold the potential of productive effects—intuitions working precisely against Eisenman’s overall gesture. The chapter’s polemic shares thus little of deconstruction’s sense of a fidelity working from within, remaining rather a siege extra muros.
The last chapter of the book functions as a coda to the series of forays of the previous chapters. Vitale returns with Derrida to Saussure, to find a sign both arbitrary and differential (102-3), which will support the renewed call for the displacement of the linearity of architectural and non-architectural writing. The notion of the trace, the fruit of the internal tensions of the two-fold character of the sign, provides the “finite and material element of a composition that takes on the shape of an architectural product,” in order to effect the displacement of linearity. (105) The play of the trace spaces, gives space, opens up the matrix of the khōra.
Vitale chooses to close with a framing of Glas, perhaps the most ‘architectural’ of Derrida’s works, and moreover, in Derrida’s words, one replete with traces, “traces of traces without tracing, or, if you wish, tracings that only track and retrace other texts.” (110) For Vitale the two columns in which the text of Glas is arrange, constitute architectural artifacts: “two columns that are erected and stand out on account of a supposed autonomy: the autonomy of the work, of the Book, granted by the signature of the author (subject, consciousness, etc.). In this case, Hegel’s work, on one side, and Genet’s work, on the other side. […] Glas consists in this frame that exposes what makes it possible: between the two columns, the clapper [battant] of another text, of another logic: spacing.” (107)
The implications of the making, the arrangement of scriptural space are catalytic for the ciphering and de-ciphering of the text. Moreover, the text itself will reinforce its architectural space, the way a stalactite becomes the support of the cavernous, mineral space that produced it. Vitale is observant: “Genet’s work, once inscribed within the frame of Glas, can no longer be entirely solved, absolved, detached from the act of absolute self-naming to which it aims. To realize/idealize itself as such, it cannot but go through the erection of a column of writing, and thus it must leave the traces of its finite and contingent passage.” (109) In this, reading Genet is constituted by Derrida as the anarchitecture that opposes Hegelian architectonics; the space between the two becomes the desired space of transarchitecture, a space between two architectures, two idioms, two tongues. If a kulindros designates the round body of a pyramid, an obelisk or a column, as much as a rolled manuscript or a scroll, Glas, working between its two columns, presents itself as a transversal writing, the most literal trans-script.
The integrated collection of essays that comprise The Last Fortress of Metaphysics would be strengthened if, rather than being their object, trans-scripturality was their constitutive mode of articulation. A second language would have to infect that of Derrida’s, the language of “the master of masters,” in Vitale’s acclaim. (viii) Adoration repays badly the master; if the master is to be followed, his performance must be performed anew. To perform anew in this instance would also require heeding the words of Derrida that Vitale is familiar with: “I am not happy with the concept of collage. I never use it as such. It is a traditional concept. Collage implies fragment, and that implies that there is a proper body the fragment belongs to.” (97) The collage that The Last Fortress is, troubles the reader less by the precariousness of its unity or its repetitiveness, as by the tempting promise of a proper textual body, a naked body in which the intricate and far-reaching interweaving of deconstruction and architecture is exposed in its plenitude. All the same, Vitale’s effort is a first step and as such a significant contribution to the labour required in appraising the lure of this promise.
Place, Space and Hermeneutics is an extensive compilation of articles that cover a wide spectrum of hermeneutical approaches to understanding place and space. It is the 5th volume in Contributions to Hermeneutics series and comprises 37 individual chapters. Hermeneutics is understood quite loosely through philosophical and non-philosophical definitions of it. This is explicitly done in order to avoid diminishing its possibilities: the emphasis is on making visible the richness of current hermeneutical thinking and show new directions and application possibilities for it. Hermeneutics is presented as an umbrella term for a set of methods and perspectives to interpretation that will, and already have proved, to be useful for understanding place and space. How exactly do the fundamental hermeneutic tasks of understanding and interpreting help in making sense of the human relation to space and place? Hermeneutics of place is approached through various very different cases: from imaginary places to embodied experience and from textuality to particular places on the Earth, the specific position of hermeneutics for understanding the human relation to place is shown to be undisputed. One obvious meta-question central to the collection of articles is, what kind of interpretations hermeneutics itself elicits from its authors.
One of the more fundamental themes for an anthology with this type of a theme is the spatial nature of the very situatedness of human beings (v). The interweaving of the ontological and epistemological approaches within hermeneutics is done to a convenient extent: as Jeff Malpas writes in his foreword, the emphasis of the book has been on depicting the hermeneutical engagement with the topics at hand, instead of making a dedication specifically to hermeneutical philosophy (vii). This proves that the approach stays open and close to the topics it is attempting to cover. Another more fundamental question deals with the mechanisms of how place and space contribute to the constitution of the human subjectivity and embodied experience of space. This is a topic that Shaun Gallagher, Sergio F. Martínez, and Melina Gastelum examine more closely in their joint article. The baseline, in a sense, for any hermeneutical relation to the world, comes from understanding how the lived body relates to the world it is by necessity bound to. Understanding the body as it is lived as opposed the ‘corporeal body’ (Körper) brings forth the bodily ramifications for any engagement with place. Kevin Aho takes up this distinction in his contribution and develops the theme of a hermeneutic understanding of the ‘lived-body’ (Leib).
While the application of hermeneutics to place is not new as such, attention has been paid in the book to developing hermeneutic philosophy also towards future needs and purposes. A lot of emphasis is put, quite understandably, on the notion of place. Space is not necessarily discussed to the same extent as place due to the rich, already existing phenomenological tradition concentrating on interpreting place. Space is most often treated in relation to either place or time: direct approaches and experiential perspectives to spatiality become exposed in glimpses. These reflections open up new paths and clarify old conceptions of hermeneutics. It seems clear, that future research will be able to build on the preconception that time and temporality are complemented with place and space within the hermeneutic tradition. The collection makes visible the myriad ways in which hermeneutic philosophy and phenomenology are intertwined and also where their ways part. In this, Ricoeur’s distinction between epistemological (Dilthey) and ontological approaches (Heidegger) to hermeneutics has traditionally worked as a useful compass (116). However, the multiplicity of voices is present throughout the book: in a compilation this vast, no one thinker manages to override others in balancing “the opposing pulls of space and place” (275).
The volume introduces the reader to the internal variation within contemporary hermeneutic thinking. The book is divided into three larger parts: “Elements of Place, Space and Hermeneutics”, “Figures and Thinkers” and “Disciplinary and Interdisciplinary Spaces of the Hermeneutics of Place and Space”. The importance of a comprehensive account of hermeneutical methodologies applied to place is also highlighted directly by many of the contributors, since, for example according to Christina M. Gschwandtner: “place is always interpreted. There is no objective, neutral, or “pure” place.” (170). Place as such calls for an interpretation as it demarcates an already existing, culturally and historically tinged engagement with space.
The first part, “Elements of Place, Space and Hermeneutics”., consists of nine individual articles examining basic questions of hermeneutics as an approach to place and space. Some do it on a more general level, but others have already a specifically chosen point of view to present. Textuality is presented as a central perspective in Bruce B. Janz’ account, the first of many dealing with this specifically central theme. Annike Schlitte takes up narrative, whereas dialogue is presented as the main topic in Kyoo Lee’s contribution. The choice of focus on textuality in the beginning is well justified by the history of hermeneutical tradition and ideas to which it is still associated with most strongly. The textual model for interpretation is a valid starting point for many of the subsequent ventures as well. The textuality-based themes discussed in the first part serve well also the interpretation of the rest of the book. While text interpretation continues to be central point of orientation for any hermeneutic approach, other interesting themes in the first part of the collection are covered by Thorsten Botz-Bornstein’s article on the notion of play (Gadamerian Spiel) and style and Dylan Trigg’s phenomenological take on the differences between place and non-place, that builds on the legacy of both Marc Augé and Edward Relph.
Text as a metaphor for place together with other metaphors is examined since both textuality and place are core concepts in hermeneutics (26). The relation of places to memory is also evoked (171). Different narratives turn spaces into shared places, even fictitious or dreamed spaces (Cristina Chimisso on Gaston Bachelard). The theory and practice of art is also present to some extent (Babette Babich on Merleau-Ponty and Keith Harder on place-specific artistic practices). It goes without saying, that architecture is also present in this context. Interestingly enough, stairwells and stairs prove to be important architectural elements discussed as examples in both articles that are directly focusing on architecture: Jean-Claude Gens writing about Gadamer and David Seamon focusing on the architectural language of Thomas Thiis-Evensen.
The second part is titled concisely “Figures and Thinkers” and it delves deeper into the general theme by presenting central figures for contemporary hermeneutic approach to place and space in its 12 chapters. Diverse and indispensable philosophers from Heidegger to Ricoeur or Gadamer to Malpas receive direct attention, the whole list of figures being too extensive to go through here in detail. Space is also dedicated to thinkers less directly associated with hermeneutical tradition: these include Arendt and Foucault. Some names come altogether outside the philosophical canon, such are for example Yi-Fu Tuan and J. J. Gibson, to name a few. All of these thinkers have a slightly different type of relation to hermeneutics and specifically to examining place and space. Some are closer to what could be characterized as the core of the approach and others have had a less direct influence on the unfolding the interpretational themes related to place and space. The thinkers in this part represent many traditions from ontological hermeneutics to human geography. Despite the seemingly wide variety between figures and approaches, there is unforeseeable value in bringing them together under the same title in this context.
The legacy of some prominent thinkers who have been previously considered to be at the margins of hermeneutical tradition, is rewritten from the perspective of inclusive, multidisciplinary hermeneutics. An example of this, Yi-Fu Tuan, is noted in Paul C. Adams’ chapter to explicitly avoid any methodology. However, in his approach closely following some of the central parameters of hermeneutic thinking: empathy and interest towards a vast variety of human experiences and advancing thought through contrasts in circular motion. Other thinkers would seem to resist the stamp of hermeneutics more but are still depicted in this account as bearing some connection to the current forms of hermeneutics of place and space. Henri Lefebvre, for example, is traditionally seen to be very far from any version of hermeneutics but according to Peter Gratton’s reading of his work, Lefebvre’s projects on spatiality are affect also any subsequent hermeneutical account of the themes of place or space. This selection of articles show also, how hermeneutic approach to place can get significant depth and reinforcement from Arendtian multi-perspectivism, Foucauldian discourse analysis or Gibsonian ecological psychology. Also, the more sceptical attitudes towards methodologies in general are given a place, as the articles on Bachelard, Arendt and Tuan pay attention to show.
Hermeneutics is often used to refer to the conscious development of a specific methodology, but the term also denotes a general, even a more intuitive attempt to understand the constituents of particular human actions. The volume at hand makes explicit the inevitable distinction between hermeneutics as a philosophical program (Malpas & Gander 2014) and hermeneutics as a set of interpretation tools applicable to varying topics. An overview of hermeneutics to place and space is created thus by showing the strengths of these approaches in relation to the main topics of interest here: what types of interpretations do human actions and their spatial dispersions elicit and enable? Understanding human actions and practices, their meanings and intentionality behind them, is at the centre throughout the collection, even though interpretative efforts are directed towards more particular aims in each individual contribution. The human relation to place and space and the forms it gets, opens up the discussion to many directions. This serves as a reminder of the vast terrain of possible subthemes in any variety of hermeneutics of place and space. Besides direct engagement, hermeneutics is used also to interpret the many traces left by human activity. It is easy to see great value in this type of an approach, and hermeneutics in this form could profit even more the ongoing discussions about such complex and large-scale issues as climate change and urbanization. This has already been shown by a growing interest towards environmental hermeneutics that precedes this publication (see e.g. Treanor & al. 2013). This is also precisely where the anthology proceeds towards its end.
The third, last and understandably the largest part of the book is dedicated to “Disciplinary and Interdisciplinary Spaces of the Hermeneutics of Place and Space”. As one strand of the final part, the topical planetary level problems that are increasingly seeping into our everyday consciousness are taken into closer consideration. The broad concepts discussed in the chapter include the Anthropocene (Janz) and climate crisis (Edward Casey). Environmental and ecological thinking is present more broadly also already in Gschwandtner’s application of Ricoeur’s hermeneutics to place. Janet Donohoe gives environmental hermeneutics a more detailed account as she focuses on the concept of the environment and what this environment in peril is in relation to the human culture and the significant places in our lives. This type of an approach is a welcome reminder, of how environmental philosophy can profit from taking hermeneutics into account in comprehending the current complex environmental threats and the relation to the human lifeworlds.
From environmental perspective, it is also relevant to think about how to draw interpretation about the events that take place on a planetary scale. How does the need for space of the human population affect the living conditions of other species on Earth? What type of knowledge and engagement do these types of questions entail? These questions raised by the currently prevailing ecological concerns show, that the need to reflect, understand and interpret these tendencies and the human responsibilities is more crucial than ever. The human capacity for collectively organizing its living conditions according to the afforded space is not unique, by any means. What we are capable though, is the conceptual thinking and long-term planning in relation to how human spaces are created, developed and used. This type of long-term, temporally evolving engagement is what hermeneutics is also well-equipped to illustrate.
The final part of the book consisting of 15 chapters in total, gives an overview of the interdisciplinary relations in which hermeneutics has proven to be particularly fruitful. The clear intention of this part is also to widen the possibilities of use and show new directions for developing hermeutics of place and space. Among various newer or less-studied interdisciplinary constellations presented here are for example topopoetics, which according to Tim Cresswell is “a project that sees poems as places and spaces” (319). This part of the book, intended to be “exploratory and creative”, stretches further ground for new hermeneutical approaches (4). Paths point towards the possible multidisciplinary futures of hermeneutics of place and space: hermeneutics as inherently directed towards exploration of inner meanings encourages these interdisciplinary approaches. This becomes apparent by some chapters of the final part: they rely strongly on the tradition of their specific field but show how hermeneutics has successfully been implemented into their approach to place or space. Thomas Dörfler and Eberhard Rothfuß, for example, have human geography as their starting point. In the same vein, Pauline McKenzie Aucoin has anthropological and Eva-Maria Simms psychological focuses in their contributions. Making visible these intersections with fields of study that grew in importance during 20th century, point towards the scale of possible uses for hermeneutical concepts and methods.
One pivotal strand in the book focuses on how hermeneutics could help in understanding urban life in its current forms and settings. Urbanization is a complex phenomenon that a collection with a focus such as this cannot omit. Yet it can be approached from many different directions even in this context and it follows that there are various more or less direct references to urban hermeneutics: Alan Blum and Andy Zieleniec, for example, take each in their own article into focus the urban social sphere in order to show how hermeneutics has already been applied and could be developed further within the sphere of social sciences. Zieleniec, for example, brings together Simmel, Benjamin and Lefebvre in order to draw a specifically sociological approach to space and spatiality within the urban sphere. The meanings and values that space and spatiality get through everyday urban activities is in the focus when going through the influence these thinkers have had on sociological study of urban environments. Hermeneutic approach definitely has a lot to offer to the philosophical understanding of different facets of urban life. In this context, the subtheme of mobility could have easily been added in a separate article: moving in any given space necessarily alters the starting point for interpretive engagement. Mobility is present in some parts though, as in Cresswell’s account of poetry (327) or when Zieleniec writes about Simmel and Benjamin (384–385; 387).
The social aspects of hermeneutic philosophy include the shared nature of place, intersubjectivity of spatial experiences and spatial or platial interpretations of social situations. Also presented are the themes of globalisation (Gratton) and inequality (Abraham Olivier on townships in the opening article of the collection), to which philosophically solid accounts are urgently needed. Towards its end, the book presents in separate articles some currently important but also exceedingly wide themes. The questions pertaining to the digital realm, for example, are opened up by Golfo Maggini’s article on digital virtual places. He presents the digital places stemming from ubiquitous computing as heterotopic places of radical alterity. This reading … It would certainly be interesting to read more about this type of an approach to digital and virtual environments, where hermeneutics can significantly widen the interpretational context.
Crucial contributions in the last part of the book are the openings towards feminist and racial approaches to hermeneutics of place and space. Janet C. Wesselius charts feminist philosophy through its already existing approaches to situatedness. She takes into examination the notion of “a woman’s place”, in particular. The perspective of philosophy of race comes through Robert Bernasconi’s article where he dissects institutional racism as a historico-spatial construct. In the final article of the volume, the reader is also given a glimpse of the non-western perspectives to hermeneutics of space and place. This is done by On-cho Ng’s critical treatment of the limits and tensions following from applying local knowledge to interpreting phenomena elsewhere: in this case from how Western hermeneutics collides with Chinese traditions of interpretation. This part of the book scratches the surface of a fascinating discussion that will hopefully continue to flourish. Due to the fact that racial, feminist, queer, non-western or multicultural approaches are by no means marginal anymore, they definitely could intersect already earlier with the main themes of the book in order to be better taken into consideration as parts of the multitude of interpretational horizons.
Throughout the entire collection, the list of actual places used as examples opens up a vast spectrum of different place typologies. They include traditionally valued culturally and historically significant places, such as the UNESCO World Heritage Site Meteora in Greece (in Bahar Aktuna & Charlie Hailey’s article) or more generic forms of human spatial traits such as urban hiking trails (in Simms’ example). Walmart chain store (in Trigg’s account) comes to represent a quintessential non-place of the contemporary Western society. Importantly, also places of human despair that should be an exception in the story of any civilisation, such as German refugee camps (in Dörfler and Rothfuß’s article), are included in order to critically examine their non-place qualities. These and other concrete and sometimes even surprising examples fix reader’s attention effectively and punctuate the varied theoretical accounts on place.
The book opens up to two directions that are by no means antithetical but support each other: what are the implications of hermeneutics of place and space on studying different types of phenomena and, on the other hand, what are the direct consequences on the philosophical discourse of more explicitly emphasizing this connection and approach. All in all, there is surprisingly little redundant repetition (or wasted space, one is tempted to say in this context), even when different authors discuss the same thinkers or concepts. It is also a notable feat that the collection is accessible to readers who do not have an extensive knowledge of the hermeneutical tradition. The strengths of this volume are in its wide-ranging scope, the way it presents on-going discussions and includes less heard voices to the canon of hermeneutical approaches. By emphasizing hermeneutics as an inherently open and engaged approach, it encourages any subsequent exploration on human spatiality through this lens. This strong engagement at the core is thus also the legacy of hermeneutics outside the immediate sphere of philosophy.
Care has been put on selecting the themes and writers, at the same time giving them the freedom to approach the topic from an individually selected point of view: “This book is more curated than edited.” (2) This has resulted in a coherent and intellectually rewarding piece of philosophical literature. Janz as the editor clarifies in the introduction, that the idea has not been to cover every aspect of the wide topic but to offer enough for the discussion to continue with renewed energy (2–3). As a result, the collection will inevitably have influence in shaping and directing the contemporary understanding of what hermeneutics is and what it could be. It is also stated explicitly in the introduction that the collection is not intended to be a handbook on hermeneutics and place and space (4). However, this does not mean that it will not, or should not, be used as such. On the contrary, it is easy to see that this selection of texts can open the tradition of hermeneutics to students, scholars and other curious minds, even if they do not have philosophy as their main interest. The collection is an indispensable reference to researchers working on a variety of different topics and approaches within philosophy of space and place as well as more applied approaches circling these themes. It is a valuable contribution to hermeneutic literature as well as to place/space research and the many imaginable intersections between these.
Malpas, Jeff & Ganders, Hans-Helmut (Eds.) 2014. The Routledge Companion to Hermeneutics. London & New York: Routledge.
Treanor, Brian, Drenthen, Martin, Utsler, David & Clingerman, Forrest (Eds.) 2013. Interpreting Nature: The Emerging Field of Environmental Hermeneutics. New York: Fordham University Press.
James Dodd’s Phenomenology, Architecture and the Built World: Exercises in Philosophical Anthropology examines the built environment, as the artifactual composition of human involvement, from the perspective of phenomenological intentionality. From this perspective, “meaning,” as Dodd succinctly states, “is originally the accomplishment of the intentionality of lived experience” (57). Dodd’s formulation of the matter is most clearly expressed in chapter seven which directly explores, among other things, the topic of architectural meaning. The built environment is not a set of meanings inscribed upon buildings as if a “text to be deciphered,” but rather a series of existential paths open to inhabitants (199). As the material arrangement of human intentional involvements, the built environment is meaningful as “a sense of directedness” in “hodological form.” This seems to be the thesis of the text: an argument that phenomenology allows us to read the built environment’s meaning hodologically, rather than textually (215-216). In fact, that and how the world is given in meaningfulness is a large part of the “problematicity of knowledge,” the key issue in the text.
Though Dodd writes for philosophers, the text opens an equally important perspective for architectural historians. It points to the need to investigate architecture phenomenologically, a project which has suffered a legitimation crisis in the field of architecture since the late 80’s and early 90’s saw a rush of publications on the topic, the most notable being Questions of Perception. So many architectural theorists and historians in this tradition have used Heidegger, Husserl, Merleau-Ponty, and Hannah Arendt (the four main characters of Dodd’s text) without full awareness of the ontological critique of Cartesian conception of worldhood at the base of phenomenology. Architects, evoking these phenomenologists’ names, still read architectural meaning as being first of all a visual, or textual, matter. Architecture is not something we look at, or read, though. It is something we live in and, more precisely, are involved in. This insight, which Dodd’s text points out, would help bolster future attempts in architecture to apply phenomenology to the concept of architecture, the city, or the built environment.
The text has eight chapters set between an introduction and conclusion. Chapter 1, “Knowledge and Building” examines “the kind of knowledge operative in the activity of building,” tracing a philosophical argument in the historical debate between the architect and engineer as two distinct kinds of builders. Subsequently, chapter 2, “Building and Phenomenon” examines “the built as something encountered in experience” (8-9). The elegance with which the chapter titles interlock is impressive. Each has two key terms, displaying to the reader the flow of the argument; this can be seen in the word “Building” in first and second chapter titles. The flow continues: chapter 3, “Phenomenon and World” leads from Phenomenon to world. Chapters 4, 5 and 6 interlock concepts of “World” and “Thing,” chapter 6 flows from “Thing and Built Space,” into chapter 7, “Built Space and Expression,” and finally, chapter 8, “Expression and Presence.”
The chapter titles and section headings, while they reveal the flow of the argument, dissolve into one another, literally and figuratively. To this reader, one downside to this otherwise elegant structure is that it caused the text to read too fluidly, making it difficult to discern the main conclusions and objects of study, which are both architectural objects and philosophical texts. It is well written and the prose holds an impressive stride. The argument flows from one point to the next, with the reader often being led through illustrations of foundational ideas in phenomenological methodology. It is certainly not an introductory text, as Dodd states, but it holds a desire to continually return to the base of each problem. In short, it reads as an extensive phenomenological meditation, returning to questions of method as often as it turns to its objects of study. Dodd’s text rewards a patient reader.
For instance, it is hard to know what to subsume, exactly, under the concept (or, more accurately, figure) of the ‘labyrinth’ introduced in chapter 3, especially when the figure of the labyrinth plays such a pivotal role throughout the next two chapters, and not just in the subsections which have the word in their title. Edward Casey, Bernard Tschumi, and Indra Kagis McEwen are all employed in discussions of the labyrinth. The dense fabric this organization weaves is as impressive as it is demanding. Its conceptual complexity is not a point to be criticized, of course. My criticism here is much more limited. I can only say that the book is truly dense; at points, it seems overpopulated with insights. Signposts are needed to help distinguish major and just minor conclusions, as there are so many woven into each chapter. Internal to the argument, there are just four points I find disagreement with.
First, distinctions need to be sustained more thoroughly between the built environment, artifact, and architecture. Is the built environment to be understood as a composition of artifacts in this text? Or is it something over and above this, a whole greater than its parts? What is the difference between artifact and tool, or the difference between Heidegger’s equipmental totality and the idea of an artifactual totality (or composition) as it appears in the text? There seem to be many different ways of conceptualizing these key terms given the many theorists referenced.
Second, the attempt to rehabilitate phenomenology by creating what Dodd calls “classical phenomenology” by synthesizing Husserl, Heidegger, and Arendt, especially for a text which already copes with the workload involved in straddling multiple fields. The unresolved and irresolvable tension between Husserl, Heidegger, and Arendt is most apparent in chapter five, which asks the reader to jump from Husserl’s world of Abschattungen (adumbrations) – a topic already discussed in a previous chapter – to Heidegger’s world of Sorge (care)., by way of Steven Holl’s notion of parallax and Duchamp’s nude. This ten page section is certainly an impressive composition, and the illustrations are engaging, but the technical nuances in which Dodd engages often reveal the distance between these thinkers at those points in which they seem most closely related. I am sure Dodd recognizes that classical phenomenology is no monolith, and never could be, but the methodology of the text betrays a desire for it to be, especially chapter five.
Third, there is a set of competing ends operating in the argument. For instance, the reader is informed that the investigation is ultimately seeking “the development of a descriptive vocabulary for the analysis of built space” (50), but also that it is focused on “the problematicity of knowledge.” In the end, the latter concern appears to win, but the reader is still left wondering if the problem is ethical, concerned with developing a philosophical understanding of the built environment’s contribution to the meaningfulness of human existence, or epistemological, as the text more explicitly claims.
Again, it seems the latter wins. That this text on the built world begins with a chapter on “knowledge” is no accident. Dodd, it seems, asks philosophers to turn to the built environment, but only so they may turn back to questions of epistemology. This becomes clearer as the reader moves into the middle chapters, which grow increasingly epistemological, concerned with rethinking key concepts of intentionality, constitution, the epoché, and perception in light of the built environment. The text reads as an epistemological investigation with a special concern for the perceptual structures of meaning in the built environment. This is especially true in his example of an experience in Café Hawelka in Vienna (87). Descriptive analyses of European cafés are a staple of architectural phenomenology, and so the reader expects to be pulled into the built world, into living experience, but this does not happen. Rather, Dodd asks of perceptual experience in the café, “What does this entail?” and turns to a thorough excursus on Husserl’s notion of Abschattungen (90). Dodd concludes chapter 3 by drawing the conclusion from this that “in living through an experience, I fully inhabit the whole of experience at once” (93). In a way, this is just the epistemological issue at stake, and shows why phenomenology so often seems to spill over from epistemology into ontology. The café will return in the conclusion, this time as Sartre’s missing Pierre in Being and Nothingness (263-265).
My final point of criticism is that this is not a book on architecture, which it claims to be. The examples are never fully architectural. The phenomenological analysis of the way in which a pebble, in its material shape, holds cognitive indications concerning its uses and intentional possibilities, for example, is insightful, but this moment of analysis – one of the more important in the text – does not concern the architectural. Figures such as Eisenman, Tschumi and Le Corbusier do make appearances, as do some famous monuments and ruins, but they are always there for the elucidation of a concept and are not objects of study themselves. This leads me to ask, does Dodd actually discuss architecture at all? Regardless of how one answers this, as I indicated at the outset, this is a text architectural writers interested in philosophy must understand.
Perhaps Dodd’s intended philosophical audience explains why architecture remains conspicuously absent from the book. The ideas of phenomenology remain strongly in the fore, and artifacts often illustrate these, but architecture nowhere fully appears. Dodd’s decision to explain his argument through more typical environmental situations — sitting at a library, reading in a café, enjoying the view of a valley on a park bench, etc. — makes sense, because Dodd’s aim is to study the built environment not by applying concepts of Husserl and Heidegger to architectural objects, but by determining where, in the unique ontological picture of phenomenology, the built world fits. After all, most works of architecture populating the “canon” of architecture are built as perceptual experiences for the trained eye of the designer, and composed more for the attitude of disinterested aesthetic contemplation than the average inhabitant of day-to-day involvement. Architecture seems to be at odds with the idea of the built environment as a cultural setting, in this sense, or at least seems to bear an ecstatic, to use Heidegger’s term, relationship to it.
The title of Dodd’s text thus points out an issue. There seem to be two conceptions of architecture which need to be distinguished more carefully by those operating within the philosophy of architecture today: architecture as defined by the profession, its objects, and the discrete acts of professional architects designing individual buildings; and, second, architecture as understood anthropologically, as the act of arranging “the material-cultural world in which we are enmeshed,” as Dodd says so well, into a purposive whole (29). This second, anthropological conception of architecture, as an ontological condition of human communal existence in the material world, is the “architecture” of Dodd’s investigation.
Examining architecture’s significance, the way in which architecture means something to inhabitants in everyday, circumspective activity is an important and remarkably overlooked issue. Too much of architecture theory has acted as if architectural meaning only existed when architecture was looked at as a signifier or as an aesthetic object of disinterested contemplation. Dodd’s attempt to think architectural meaning in the foreground of human life, in the immediacy of the practically and socially absorbed activity of the occupant, that mode of experience in which the building is usually experienced and, somehow, understood, is a welcome addition. It seems phenomenology might have something left to contribute to this project, showing how the built environment needs to be thought through not as a cultural “objectification,” as recent sociological investigations of architecture have thought it, but as a material conception of Husserlian operative intentionality or transcendental subjectivity. (For an instance of such a sociology of architecture, see Silke Steets, Der sinnhafte aufbau der Gebauten Welt: Eine Architektursoziologie. Suhrkamp, 2015.)
It is surprisingly how little attention has been given to the connection between this broad conception of architecture and phenomenology, a tradition which so often thought in spatial, if not explicitly architectural terms – think of Heidegger’s illustration of the equipmental totality constituting worldhood in section 16 of Being and Time, or of the issue of “ego orientation” (152), both of which Dodd himself points to. Dodd’s work shows how phenomenology might offer a framework for studying the built world as a “cultural expression” in more complex terms than has been done so far. Phenomenology, Dodd shows, offers a way of thinking subjects’ interaction with artifacts’ meaningful structures in terms of operative intentionality.
With this collection of essays, which is in fact the first of its kind, Patricia M. Locke and Rachel McCain have assembled a provocative group of papers which explore one of the most compelling dimensions of contemporary Merleau-Ponty scholarship. The set of papers contained in this volume all take to task the relation, as well as the application, of key concepts in Merleau-Ponty’s oeuvre to a refocused examination of architecture, spatiality, and, importantly, the political.
For Merleau-Ponty the phenomenological subject is, as Locke puts it, “firmly embedded in the world, even before we represent it to ourselves through geometrical or symbolic means.” (5) It follows that the way in which environment, and architecture in particular, are, as Merleau-Ponty would say, “interwoven” with phenomenal experience holds significant influence over our thinking of being, whether it comes down to our construction of dwelling structures or our interpersonal relations.
So if the idea, here, comes down to the co-constitution of the phenomenal lifeworld, which Locke aptly calls “corporeal companionship,” then it is apparent that we can productively reconsider architectural theory and design from an embodied phenomenological perspective. Furthermore we can reexamine this same perspective not for the way in which it situates space, but rather, for the way in which space situates it. The textual launching point for this insight, in the writing of Merleau-Ponty, is found in “Eye and Mind” in the well-known passage where he indicates that the articulation of “light and space” in fact “speak to us,” and he suggests that it is here that a new conception of being bursts onto the scene. Locke’s introduction aptly opens with an epigraph which reminds us of this.
So what exactly are these new conceptions of being? Locke suggests that there are three main strands of philosophical thinking which operate in this area of inquiry, predicated upon either phenomenological space or, with respect to Merleau-Ponty’s later thought, the philosophy of the “flesh.” The three strands are as follows: i) feminist philosophies and critiques of culture, ii) ecophenomenology or so-called “deep ecology,” and iii) material-object philosophies inspired by Deleuze (6). While the collection of essays in the text are organized into three groups, these groups in fact do not correspond to the philosophical strands which Locke here enumerates. Rather, the editors have grouped the papers together in terms of how they relate to the idea of phenomenological limits. Locke does maintain, however, that each paper in the volume engages the claims of these three strands of thinking. I would argue that this is the case, although some of the papers point back to these divisions more so than others.
In any case, the volume is comprised of three parts: liminal space, temporal space, and shared space. Overall I would argue that the third section is, of the three, the most explicitly occupied with the three strands which Locke identifies in her introduction, and in particular, with the political dimensions thereof. That said, there are certainly papers throughout the volume which are at the very least implicit in their reference to the strands, if not exactly exoteric in their presentation.
The essays in the first part, liminal space, all to some extent concern what Locke calls “border regions or boundaries.” (8) As Locke notes, for Merleau-Ponty these experiences have a definite part to play in the constitution of experience. In the first two papers of this section Glen Mazis and Galen Johnson each offer thoughtful examinations of the way in which depth plays into phenomenological thinking, not to mention phenomenological experience itself. Mazis takes up a study of the depth of darkness and the onset of the night. He concludes that some architects, including Gehry, actually design structures which in their housing of a person embody Merleau-Ponty’s construal of spatial inhabitation by bodies. (40-1) Johnson is mainly concerned with the idea of “unreason” as exemplified in (baroque) painting, and Rembrandt’s Nightwatch in particular, which is, of course, a work of special interest to Merleau-Ponty. I was impressed and intrigued by how, at the end of his paper, Johnson cleverly compared Merleau-Ponty and Deleuze on the movement or “rhythm” at work, while at the same time he called into question the sufficiency of the sort of non-phenomenological rhythm which Deleuze identifies.
It goes without saying that this specific set of essays would be incomplete without a contribution from Edward Casey, who has been involved in this area of phenomenological scholarship for quite some time. Casey’s paper, like Mazis’s, takes up a sustained reflection on a specific work of culture. Here he presents his take on the way in which the very design and phenomenology of the Parthenon is rife with edges and boundaries. His punctilious phenomenological description of the this monumental structure is so in-depth that the edges at play practically disappear before us (just as they arguably do in ordinary experience)―and Casey points out this very fact himself. (85)
The final paper in this first section, that on liminal space, is pretty different, especially compared to the inclusion from Casey, and for this reason the paper really stood out to me. Randall Johnson ambitiously weds a phenomenological analysis of what I’d like to call being-in-water, although not in lip service to English translations of Heidegger, to (what seems to me to be) Lacanian psychoanalytic theorety. Johnson focuses on water as unique in how primitively and directly it is phenomenologically experienced, in contrast, as Locke notes, to the “high-altitude” thinking condemned by Husserl (and echoed by Merleau-Ponty). The sort of boundary at play in liquid immersion is at once drastically different from and markedly similar to the other sorts of experience which are described in the papers of this first section.
The next part of the book is focused on the theme of temporal space, and the way in which, following the thought of Merleau-Ponty, the notion of the flesh is interwoven with a dimension which is oriented in time (not to mention space). This second part of the book almost conceives of time as the sort of “glue” which maintains the myriad boundaries explored in the first part.
Here the first essay, by David Morris, takes a look at how memory transcends what is present on a personal level or basis, and extends outward to—or perhaps extends from—things like “places, buildings, and things.” (109) This essay really resonated with me, and I would imagine with others, right at the beginning when Morris notes how various spatial strategies have been known to masters of memory for a long, long time. In the rest of the paper Morris artfully weaves Merleau-Ponty’s thought with a very reasonable argument for how it is that architecture is “articulating temporality in place.” (121)
Dorothea Olkowski’s paper, which is next in the collection, is particularly useful for how it insightfully situates Merleau-Ponty within a broader phenomenological and philosophico-temporal context. Ultimately her conclusion is that the work of Merleau-Ponty stands superior in a way to that of both Husserl and Bergson (and perhaps Sartre as well) for the manner in which it “brings time to space and articulates how it is that our acts are our abode, our dwelling.” (144)
As was the case with Johnson’s paper at the end of the first part, the next paper in this second part, written by Lisa Guenther, constitutes a shift from the way in which the first two papers are framed. Here Guenther examines the phenomenological position of the person who is profoundly confined, that is, the solitary prisoner, who indubitably is crushed in her or his being by the deliberately diminished version of the lifeworld to which this person is relegated. In spite of my contention that it is the final part of this book which is the most overtly political, here Guenther gives us a lot to think about when it comes to policy, and her paper actually opens with a bevy of statistics reminding us of just how preponderant incarceration is in the present-day USA. Guenther’s conclusions in the paper are most touching and provocative, including her insight that if it is the case that our personal freedom is derived from the “punitive isolation of others” then this is a “sham and shameful kind of freedom.” (164)
Lastly in the second part we find D.R. Koukal’s take on the phenomenological implications of torture, and I have to admit that, like Guenther’s paper, Koukal’s contribution calls for significant political consideration. His paper is focused on the sense in which, following Merleau-Ponty, she or he who is subject to torture is irreparably harmed by the “architect of torture” who institutes a damaged space within which one finds “holes” where previously there was meaning. For Koukal these holes are “distortions of the social fabric” that violate space as we, and others, “terrorists” or not, live it.
The third part of the book concerns space which is shared or communal. There is a lot of interesting material here since one of the fundamental questions comes down to how it is that we phenomenologically experience with others the making or designation of public places. The first paper in this final part is from Rachel McCann, and it offers a very nuanced inspection of Merleau-Ponty’s choice of metaphors in his descriptions of phenomenology. Ultimately McCann’s conclusion is that we as readers should strive to really inhabit the metaphors of which Merleau-Ponty makes use, even if the natural temptation is to engage his thought on the linguistic level alone, since, after all, we know his ideas through his writing. McCann presents an alternative way of reading his writing which is drastically more phenomenological, since what is called for is imaginative thought when it comes to the shared-spatial dimension of the “encounter.”
Next, and in the spirit of some of the more politically-direct work in the second part of the book, there is an essay by Suzanne Cataldi Laba, in which she carries out a phenomenological examination of shelter. Particularly intriguing is her suggestion that some members of our society are subject to fundamental violence to the extent that space, especially in a sheltering sense, is not ensured for all persons, and the absence of such space causes deep phenomenological harm.
Nancy Barta-Smith, in the following paper, presents a phenomenology of being a twin. The upshot of this paper is her suggestion that those of us who are not twins can lean something about Mitsein by considering the ontological and phenomenological position of the twin qua natural double. But the point is to notice how others always already “move us affectively” and Barta-Smith argues that this experience is felt resoundingly by the widow, the reminiscent siblings, and even the lifelong friends.
The final paper of the third part, and of the book, is from Helen Fielding, and it’s on a lot: public art, Irigaray, the body as sexed, and the basic experience of difference. Like the paper by Casey, Fielding’s contribution here is really admirable and worthwhile for how directly it appropriates the phenomenological method in all of its richly descriptive splendor. For Fielding, this is done with art in a Toronto airport, as well as the sculpture Maman by Louise Bourgeois. Fielding’s conclusion is that public spaces and public art operate as confluences out of difference, confluences which arise out of the primordial sameness or proximity which permits us to identify difference in the first place. The implicit suggestion is that it would behoove us to strive to become more cognizant of this fact.
In all, I think that this is an exceptionally impressive collection of provocative essays, all of which apply Merleau-Ponty’s ideas to new fields and frontiers. This book will probably be of most use and interest to those who already familiar with Merleau-Ponty’s work, as well as those who are interested in the political implications which are expressed in or entailed by phenomenological concepts and techniques.