Interiority

The critical and fictional oeuvre of Théophile Gautier offers one of the most nuanced accounts of the idiosyncratic character of French Romanticism. In this paper, I explore Gautier's layered description of the artist's interiority during the Romantic period. In his necrology of the Orientalist painter Prosper Marilhat, Gautier continues his interest in a concept learned from Goethe: the "microcosm." He portrays Marilhat's microcosm through the interweaving of two images of interiors decorated with paintings - one, the expected image of the artist's studio, and two, the less expected image of a dilapidated Rococo interior painted in fresco by nineteenth-century artists and writers.

In March 2020, the World Health Organization officially announced the COVID-19 outbreak as a global Pandemic (WHO, 2020). During this time, the United Arab Emirates (UAE) introduced national preventative measures to slow the spread of the deadly virus by announcing the closure of schools and higher education institutions, and the commitment of online learning. Teaching faculty at the College of Arts and Creative Enterprises (CACE) at Zayed University were suddenly facing the challenge of teaching design through a distance learning approach. As educators of interior design, the authors were part of the team tasked to find ways to teach design without physical contact with the students nor access to campus facilities traditionally used to run the program and its associated courses. This paper charts the pedagogy approach that the authors adopted as a response to the national lockdown. As design faculty, the authors felt that, despite the restrictions imposed on society because of COVI...

When the OT prophets looked ahead to the future redemption, they anticipated a string of redemptive-historical events to be recapitulated in the future. Such recapitulation involves a new deliverance in a new Passover, new exodus, and climaxing in a new covenant. As such, the mention of the covenant in Matthew, the declaration “τὸ αἷμά μου τῆς διαθήκης,” is the climax of a narrative progression from Abraham to the Messiah, from the Passover and the exodus to the inauguration of the (new) covenant. The present thesis aims to illustrate the significance of the new covenant for Matthew’s Gospel.  The core of the argument rests on Mogens Müller’s observation, in his ‘The Gospel of St Matthew and the Mosaic Law,’ that the new covenant is a “substructure underlying” Matthew’s Gospel.

The first chapter situates the present thesis in Matthean scholarship in particular and covenant research in general to demonstrate the relevance of this research.  The second chapter explores the covenantal significances of the titles “υἱοῦ Δαυὶδ” and “υἱοῦ Ἀβραάμ.” The aim is to show that the titles evoke strong covenantal overtones even though covenant terminology is not used. Furthermore, in Matthew, these covenants are synthesized in one christological act of covenant-making.

The third and fourth chapters investigate the only and explicit reference to the covenant in Matthew’s Gospel in 26:28. The question raised in these chapters is whether the introduction of the covenant was a strategically placed climactic reference. Chapter 3 is substantial since it seeks to demonstrate that Matthew, at crucial places throughout his Gospel, engages in symbolic significations and interpretations, thus building the narrative for the climactic scene at the interpretation narrative. As such, the (new) covenant has been proleptically symbolized in the feeding miracles and anticipated in the eschatological banquet, leading up to the Last Supper. To that effect, the chapter will argue that Matthew appears to interpret the meaning of Jesus’ death within the conceptual framework of Passover ordered to exodus, ordered to covenant. The blood of the covenant in 26:28 should be seen as a climactic reference designed to provide Jesus’s death its covenantal overtones.

Chapter 5 builds from these conclusions and explores the theme of interiority as a covenantal reality. Here Matthew’s particular interest on the heart is examined against the new covenant realities of the prophetic promises as the sign of the inauguration of the (new) covenant. Matthew presents Jesus as the interpreter and inscriber of Torah on human hearts in fulfillment of covenant promises. Finally, a summary and conclusion are drawn in chapter 6.

In sum, chapter 2 examines the titles for their covenantal significance (de facto covenantal titles); chapter 3 analyzes Matthew’s narrative for its covenant framework (Passover, Exodus, covenant); chapter 4 investigates the only explicit reference to covenant in Matthew 26:28 (blood of the covenant), and chapter 5 examines Matthew’s focus on interiority (covenant reality).

The biophilic design hypothesis uses nature-based environmental design for optimising people’s health and well-being. Stephen Kellert in 2008 developed a list of biophilic attributes that was further refined in the Biophilic Interior Design Matrix (BID-M) to specifically support the interior application of biophilic design for health and well-being. The present study further investigates biophilic interior design using the BID-M language and the key interior design components colour, light, and materiality. The first part of the study reviewed four decades of literature related to biophilia and colour, light, and materiality to investigate a total of 19 publications. The second part of the study explored the perceptions of 23 design practitioners' and the use of biophilia related to colour, light, and materiality in their practice. For the first time, evidence was identified about colour, light, and materiality being linked to biophilic design and the attributes in the BID-M. Th...

The essay introduces the conception of the interior as interiority. It is also the introduction to the collection "Interiorities: artistic, conceptual and historical reassessments of the interior". To consult or download the entire collection: https://www.nature.com/collections/kzvpjcgckf

This paper addresses the question of becoming in relation to interior design as a practice of designing interiors both physical and mental. An understanding of ‘interior’ in a substantive way shapes current interior design practice. This is evident in the frequent use of the term ‘the interior’ which suggests some thing – a space or a subject – which exists as an independent entity. The proposition of becoming invites different ways of thinking about interior making – a shift from things to processes, from the individual to the process of individuation, from form to information, from space to time and movement.
The focus of this paper is a research project conducted through undergraduate design studios and PhD research. The project addresses the environments (physical, psychological and situational) of young people living in residential care houses. The studios explore how the production of interior designs might affect, transform and/or benefit the physical and emotional wellbeing of adolescents living in these houses. Called Beyond Building, the project invites students to consider the question of interior design as a practice not confined to/contained by the inside of a building. Instead the invitation is to think about interior design as an interior-making; as a process of interiorization. Relational conditions – between people, programs, different times of day and night, schedules, colour, light, tactility, psychological and affective qualities of design and interiors – were highlighted. This also shifts design as practice from one concerned with structures and physical form to one that takes into account temporal as well as spatial conditions. Through the projects, the practice of interior design becomes apparent in relation to the production of subjectivities – from fixed subjectivities based on identity and being to ones that attempt to enable subjectivities to move, change, become. This research contributes to the growing focus of interior design in relation to wellbeing. It has the potential to offer up a different way of understanding interior design through posing the question of interior as ?interior and posing the potential ‘to inspire new modes of subjectivization’ (Deleuze 2006, 260).

Key Words: interior design, interiorization, subjectivity, individuation, becoming, Deleuze, Simondon, interior-exterior, self-.

Following the principle of “spatial inversion” (Attiwill, 2011), whereby spaces between buildings habitually referred to as exteriors become interiors, this paper presents the background research, methodology and key findings from a case study framed as a perceptual documentation of an urban interior, the More London Estate, a riverside business development in London, England. The location sits at the boundaries between inside and outside, private and public, enclosed and open space. This distinctive position and promise of interiority makes it an ideal site of enquiry. The objective of the research is to uncover connections between the way we feel and our sense of belonging by investigating the correlation between the site’s embodied atmosphere and its perceptual affect on the body. The methodology is inspired by Peter Zumthor’s (2006) writings on atmospheres, James J. Gibson’s (1966, 1986) studies of ecology and perceptual systems, and Joy Monice Malnar and Frank Vodvarka’s (2004) work on sensory design. Key findings reveal a duality in existing perceptual narratives, and the recognition of the way the urban interior resonates with our senses provides a framework for reflection and an incentive towards sensory transformations.

This article addresses the uniqueness of Aubrey Beardsley’s late nineteenth-century Poe “illustrations” as works that enjoy a complex relationship with the writer’s theory of graphicality—specifically the dichotomy that exists between exteriority and interiority in both text and image. This essay posits that Beardsley’s use of vague open-endedness (in terms of visual narrative) was deliberately intended to reside in tandem—but not supersede or compete with—the graphicality of Poe’s words. By theorizing the exteriority/interiority binary around two Poesian themes—decay and speciesism—this study seeks to explain how the iconography of Beardsley’s images is at the very crux of graphicality, especially as this concept applies to writing-as-art and the art of illustration.

Paper presented at [in]arch conference - THE STORIES OF INTERIOR
Multiple Perspectives on Interiority, 30-31 January 2018
Universitas Indonesia, Jakarta.

This paper addresses the current emphasis on interiority in the discipline of interior design with a particular focus on the urban environment. The Situationists are a much-cited precedent for this line of thinking; their constructed situations aimed to ‘provide a décor and ambience of such power that it would stimulate new sorts of behaviour, a glimpse into an improved future social life based upon human encounter and play’ (Sadler, 1998, 105). In the twenty-first century, the relation between interior/exterior, interiority/exteriority continues to be a critical topic in relation to the question of inhabitation. The philosopher Gilbert Simondon’s concept of individuation offers a different way of thinking about interiority from one which is premised on the subjectivity of the individual. He writes of the individual as a product of individuation where movement and temporality, change and contingency are foregrounded; inverting individuation as something produced by the individual. This moves interior design from phenomenological and psychological frameworks, which centre the subject and work from the inside out, to an ecology of subjectivity and entertaining the potential of the production of interiority as a ‘subjectification isn’t even anything to do with a “person”: it’s a specific or collective individuation relating to an event (a time of day, a river, a wind, a life …). It’s a mode of intensity, not a personal subject’ (Deleuze, 1990, 98–9). Urban + Interiority, a workshop held in Nicosia, Cyprus I was invited to lead as part of the 10th IMIAD (International Masters of Interior Architectural Design) Workshop – Inhabiting Nicosia: Interior Strategies for the Public Realm – is a key project discussed in this paper.
Keywords: individuation, urban, exteriority, Deleuze, Guattari

“Presence” is a key category of Christian anthropology and theology, and joy is a basic human emotion: together they form the foundation of any “interior” architecture. A second fundamental step in the interior construction of the human person relates to the threefold journey toward liberation from the false gods of the narcissistic “ego”, the intelectual “ego” and the spiritual “ego”. Once the foundations and the walls of freedom have been built, the only thing left for us to do is to sign a “maintenance contract” covering the care of the home which is our personal intimacy and the interior temple of divine silence.

PUERTAS ADENTRO
Interioridad y espacio doméstico en el siglo XX
Aníbal Parodi

INTRODUCCIÓN

Puertas Adentro, dentro y fuera, interior y exterior, envolvente y espacio. Existen, sin duda, pocos diálogos que se vinculen de un modo tan determinante con la identidad más íntima del hecho arquitectónico. Parecería que todo el conflicto que supone la concepción del espacio se resume, precisamente, en la magia que integra y divide estos hemisferios complementarios en permanente interacción. La realidad del espacio arquitectónico es una, aunque ciertamente puede fragmentarse de infinitas maneras según la óptica que gobierne operativamente nuestra mirada.

Anclados en esta convicción, el trabajo que hoy presentamos asume el interior como una realidad espacial con vida propia (y aún así dependiente). “Estar adentro” es una categoría del habitar fuertemente determinada. La necesidad de abrigo y protección es, para el hombre, primaria y primigenia (para Wright será siempre una condición esencial de la vivienda). Pero, ¿cuáles son los atributos que afirman la interioridad de un espacio? Louis Kahn ha sabido desmenuzar pacientemente las relaciones que se establecen entre la intimidad de un espacio, el tipo de vínculos personales a que habilitaba y la conformación de su envolvente física. Interior, interioridad, intimidad son términos asociables espontáneamente cuando abordamos el ámbito espacial natural en el cual nuestra vida cotidiana tiene lugar : la vivienda. Por ello nuestro trabajo decide explorar el fenómeno de la interioridad desde la determinante investigación que supone el diseño del espacio doméstico. La mirada elegida no pretende eludir la integralidad del fenómeno arquitectónico, tan solo selecciona operativamente algunos marcos de restricción que le permiten una aproximación más didáctica a la comprensión de los interiores domésticos a lo largo de todo un siglo.

“Puertas adentro, interioridad y espacio doméstico en el siglo XX” puede aparecer como un título un tanto pretencioso. Sin embargo, busca definir con la mayor precisión posible un área específica de trabajo: el concepto de espacio interior, vinculado al tema de la vivienda a lo largo de un período fermental como es el siglo XX que dejamos atrás apenas ayer. Como ha podido verificarse una y otra vez, la vivienda unifamiliar (y si es la propia mejor) ha sido el laboratorio ideal desde el cual la mayor parte de los arquitectos han desarrollado el fundamento teórico que sirve de base al conjunto de su obra.

La investigación se aleja voluntariamente del espíritu abarcativo y registral de los textos de Historia de la Arquitectura. Decide concentrarse en un universo considerablemente reducido respecto a la más que interesante producción del siglo pasado. Tan solo diecisiete viñetas para presentar el fluir del pensamiento arquitectónico en el transcurso de todo un siglo. Esta selección de ejemplos presentada en orden cronológico -intenta desplegar un abanico lo más completo posible de las distintas actitudes de aproximación al diseño del espacio interior y su equipamiento. Para ello recurre tanto a ejemplos paradigmáticos de la historia oficial como a otros menos difundidos o incluso periféricos. Por más que el número de casos abordado es voluntariamente reducido y la óptica inevitablemente occidental, se ha intentado que el conjunto no solo cubra temporalmente la producción de un siglo, sino que además sea representativo de culturas desarrolladas en diferentes contextos. Pocos ejemplos abordados con toda la profundidad que el acceso a la información, desde estas latitudes, nos ha permitido, privilegiando aquellas viviendas que hemos tenido la fortuna de visitar en persona o a través de los generosos ojos de colegas y amigos.

El trabajo busca explícitamente trascender la información existente identificando en cada caso aquellos ambientes y piezas de mobiliario que mejor representan los diferentes procesos de diseños y proponiendo siempre un nuevo registro conceptual y gráfico. Cada capítulo gira en torno a un componente o atributo característico y diferencial que la vivienda a estudio propone. De este modo, una vez completada la travesía habremos reflexionado acerca del rol de la luz, el color, los materiales, la ornamentación, la geometría, la escala, el equipamiento como generador de lugar, la definición de la textura espacial, el movimiento en el espacio, la transición desde y hacia el exterior, el movimiento en el espacio, el control de la privacidad, la dimensión espacio-temporal del proyecto, etc. Se ha elegido iniciar la aproximación al objeto de estudio de cada capítulo a partir de su información gráfica. Luego de la breve presentación de la ficha informativa, nos sumergimos de inmediato en la sugerencia de la secuencia de imágenes. Se intenta así generar una primera y rápida impregnación visual que preceda al texto analítico y que permita retornar oportunamente desde el desarrollo teórico para su análisis en profundidad. Por último, cada capítulo se cierra con un índice de ilustraciones que incluye breves comentarios e informaciones complementarias.

(From the cover) Se oggi la maggiore occasione professionale per gli architetti, specie se giovani, è quella di «ristrutturare» case ed uffici, ossia progettare arredamenti, il libro della Forino ne propone una chiave di lettura del tutto originale nell'ambito della letteratura architettonica. Non si tratta beninteso di un manuale, perché l'autrice traccia un sottile excursus storico-critico di un fenomeno particolare dell'arredamento, che supera l'ormai tradizionale modo di fare degli architetti-arredatori. Questi si limitano per lo più a modellare pareti, scegliere materiali e colori, aggiungere alcuni mobili e altro, mentre gli interventi più ambiziosi mirano ad articolare lo spazio interno su più livelli, con un esito chiaramente scenografico nel migliore dei casi. Viceversa, quanto si espone in questo libro consiste nel privilegiare la spazialità propria dell'architettura, quella che si lega al binomio invaso-involucro, proponendola anche nella elaborazione di un ambiente interno. Ecco allora come uno spazio arredato perde ogni aspetto rappresentativo, ogni forma di scenografia, ogni sorta di decorazione e di trompe l'oeil, per tradursi in una composizione conformativa, in qualcosa cioè che «conforma» l'invaso spaziale, obiettivo che si raggiunge attraverso la categoria – che è anche un modo di formare – di un «interno nell'interno».
Il saggio, oltre ad interessare operativamente gli addetti ai lavori, risulta di notevole utilità anche per gli storici della disciplina. Lo schema suddetto non è infatti rapportato esclusivamente alle tipologie del domestico, ma anche ad altre relative agli ambienti del passato; il tutto seguendo una rigorosa cronologia, della quale notoriamente si sostanzia la storia.

The indoor’s inside – a big object where to live – is a phenomenology characterizing the Interior Design History through the centuries. Since the 14th century until now, we can recognize, within some domestic environments, the presence of a further delimitation, physically distinct.
Throuht the spaces tinning we can have a space inside another huger one, which is smaller, articulate in a different way, and sometimes movable from its original position. It is a kind of space which has analogies with the architecture, considered as an enclosure, "a box inside box" configuration.

Index: Preface (R. De Fusco) - Introduction: A Phenomenology of Furnishing - (Domestic Spaces:) Studiolo as Single Space - The house of bed - Toilet "island" - Houses inside House - (Sacred Spaces:) Confessional - Ciborio - Between Architecture and Furnishing - A Phenomenology of Living - References - Authors Index.

A B S T R A C T Interiority, the inner being, consciousness, is the core theme of this essay. My main concern is the application of rather marginal approaches to address future potentials for sustainable urban development variously referred to as holistic, integral, transdisciplinary or meta-theoretical. What characterizes them is an attempt to acknowledge many different types of knowledge, including what is typically called " Eastern " and " Western " approaches to science, culture, the arts and also perennial wisdom traditions. In spite of this apparent neglect, these approaches have been noticeably linked in the past to futures studies by several scholars. A key argument is that as much as we recognize the outer built environment of cities to address major challenges of our times like the ecological crisis, we also need to integrate the much more subtle interior dimensions of human existence to address them adequately. On the one hand, this research inquires about the potentials of social urban pioneers and change agents, intentional communities and such transnational initiatives like the transition town movement, which are discussed within the context of their global relevance in developed and developing countries illustrated by the case of India. While on the other hand, it is a quest to develop a conceptual-theoretical approach to what may be called integral transformative urban development planning.

This presentation explores two case studies of courtyard houses to expand the sense of interiority into exterior realms. Both houses fuse interiors, architecture and landscape into a continuous flow of space that challenges the notion of the interior as being literally bound by a weather wall-so they are helpful in exploring what we mean when we use the term "interiority. " This contested term – interiority – is used commonly in psychology , literature, philosophy, and increasingly widely used in the theory of interior design-though without precision sometimes. That term can be used to characterize the inherent qualities of being interior – feeling immersed, contained, surrounded, enclosed,-but it is different than the term " interior " because " interiority " suggests a self-awareness of qualities that specifically describe the distinctive nature of interior space. We can see interiority as an action not as a condition of inside or out. We can see that interiority is something we do, or observe that it is something that has been done, rather than be bound in by an container. We can see that these actions describe a sensibility, an approach, a world view.

"""""Abstract
In the twentieth century, a multitude of people used psychoanalysis to explain their actions and gestures to one another. Their reliance on psychoanalysis, is an indication of how deeply they trusted its theories. This wide and profound diffusion, which has left a very strong impression on contemporary culture, remains however largely unexplained.
This puzzling phenomenon becomes intelligible, from the moment one treats psychoanalysis as a grammar of interiority, which guides interactions by mediating them with symbols and common meanings (norms, values, etc.) specific to contemporary democratic societies (those that conceive themselves as emerging from an agreement between individuals). This social practice, the psychoanalytic inquiry, can be analyzed by situating in their contexts of interactions the speeches in which repressed desires were imputed to various conducts. Freud’s work provides a sample of such speeches. The description of the form and meaning that these imputations of repressed desires conferred to different ongoing interactions allows us to identify the specific features of the psychoanalytic inquiry.
Freud shows that the repression arises from a conflict between a repressed presocial will and a socialized will, which enforces repression, born from requirements inculcated by the parental authority. Hence, to identify a repressed desire, one must simultaneously identify a repressing relationship. The psychoanalytic inquiry leads to review the different interpersonal and intrapersonal relationships in which the author of the repression is involved. This exercise leads to set apart the relationships that constrain the inner presocial will to social requirements, from those that rather emanate from this inner will. Since the former creates the repression and the unwanted symptoms it causes, the healing of the repression requires that its carrier distances oneself from inherited social requirements, in order to recognize one’s her inner will.
By weighing the coercion on presocial wills exercised by specific relations, the psychoanalytic inquiry gauged these relations from a standard specific to contemporary democratic societies: the requirement to ground social relations on the unconstrained wills of the partners. The psychoanalytic inquiry was part of a modern social imaginary that shaped the form of a contract to various relationships. The people who used this inquiry showed that they were concerned about this requirement and they prompted a critical reaction to the relationships that constrained their will.
In sum, the psychoanalytic inquiry provided the contemporary world with a way of organizing relationships that was adapted to a society that gave a preeminent authority to “contractual” requirements. That largely explains the breadth and depth of the diffusion of psychoanalysis in the twentieth century.

Résumé
Une multitude de gens, au XXe siècle, se sont servis de la psychanalyse pour se rendre compte de leurs faits et gestes. En s’appuyant ainsi sur la psychanalyse, ils démontraient la profondeur de la confiance qu’ils lui accordaient. Cette diffusion ample et profonde, qui a laissé une empreinte très marquée sur la culture contemporaine, demeure largement inexpliquée.
Ce phénomène étonnant devient intelligible dès lors qu’on aborde la psychanalyse comme une grammaire de l’intériorité, qui a guidé des interactions en les médiatisant par des symboles et des significations communes (normes, valeurs, etc.) propres aux sociétés démocratiques contemporaines (celles qui se conçoivent comme émanant d’un accord entre individus). Cette pratique sociale, l’enquête psychanalytique, peut être analysée en situant dans leurs contextes d’interactions les discours dans lesquels des désirs refoulés étaient imputés à différentes conduites. L’œuvre de Freud offre un échantillon de tels discours. La description de la forme et du sens que ces imputations de désirs refoulés conféraient à différentes interactions en cours nous permet d’identifier les traits caractéristiques de l’enquête psychanalytique.
Freud montre que le refoulement naît d’un conflit entre une volonté présociale refoulée et une volonté socialisée, refoulante, née des exigences inculquées par l’autorité parentale. Pour identifier un désir refoulé, il faut donc simultanément identifier une relation refoulante. L’enquête psychanalytique amène à passer en revue les différentes relations interpersonnelles et intrapersonnelles dans lesquelles est impliqué l’auteur du refoulement. Cet exercice permet de départager les relations qui contraignent la volonté intérieure présociale à des exigences sociales de celles qui, en sens inverse, émanent de cette volonté intérieure. Comme les premières suscitent le refoulement et les symptômes indésirables qu’il entraîne, la guérison du refoulement exige que le porteur du refoulement prenne ses distances des exigences sociales héritées, de manière à parvenir à reconnaître sa volonté présociale.
En soupesant ainsi la contrainte exercée sur les volontés présociales par les relations particulières, l’enquête psychanalytique jaugeait ces dernières à partir d’une exigence propre aux sociétés démocratiques contemporaines : celle de fonder les relations sociales sur les volontés non contraintes des partenaires. L’enquête psychanalytique participait ainsi d’un imaginaire social moderne qui donnait, à des relations variées, la forme d’un contrat. Les contemporains qui recouraient à cette enquête manifestaient un souci de respecter cette exigence et ils suscitaient une réaction critique envers les relations qui contraignaient la volonté.
En somme, l’enquête psychanalytique offrait aux contemporains une manière d’ordonner les relations qui était adaptée à une société accordant une autorité prééminente aux exigences « contractuelles ». Voilà qui explique en grande partie l’ampleur et la profondeur de la diffusion de la psychanalyse au XXe siècle."""""

Literature is almost unique among the arts for its ability to represent the internal workings of the mind. In this course, students will learn about the evolution of literary techniques for conveying mental experience, from the medieval period to today; they will examine the ways in which literature responds to new psychological theories and discoveries; they will appraise contemporary interdisciplinary research on the mental processes involved in reading literature; they will investigate literature’s capacity to represent impaired, extreme, or inhuman minds and mental experiences; and they will address whether there are mental phenomena that literature as a verbal art-form can’t accurately address. Above all, they will work on substantial writing projects that combine research, psychological knowledge, and literary analysis to examine what the combined study of literature and psychology can contribute to both fields.

This essay examines the use of camouflage, artifice, and abstraction – as strategies of surface-play – by Mickalene Thomas, a contemporary painter. Many scholars have focused on Thomas's use of painting materials (e.g. enamel, rhinestones, glitter) that locate her work within discourses of consumer culture and beauty in hip-hop aesthetics. While providing a different orientation to the look through the black queer gaze, the author argues that Thomas's method (e.g. photography, collage-painting, installation) and use of materials signify the surface of her work as a corporeal topography of black interiorities. Camouflage, artifice, and abstraction reveal interiorities hidden in plain sight. The first part of this article examines camouflage and artifice as porous surface-play, while the second part turns to a discussion of abstraction in Thomas's work as a method that pushes the boundaries of representation and abstractionism.

RESUMEN El desarrollo sostenible ha tomado impulso desde que los Estados Miembro de las Naciones Unidas se comprometieron a alcanzar los Objetivos de Desarrollo Sostenible (ODS) para el año 2030. Pero la sostenibilidad viene siendo reducida a tres únicas dimensiones en el ámbito académico: económica, social y ambiental. Por esta razón, el objetivo del presente estudio está orientado a investigar las áreas de educación, salud y medioambiente. Mediante la combinación de la metodología transdisciplinar y la teoría da complejidad se busca comprender la sostenibilidad como un fenómeno transdimensional que está dentro y fuera de nuestra condición humana. Como resultado, se analizan los modelos teóricos enfocados en la inteligencia humana, así como prácticas educativas que establecen vínculos emocionales, espirituales y racionales con la naturaleza. En suma, se concluye que la inteligencia emocional es una dimensión fundamental para aprender a sentir-pensar-actuar en armonía sostenible con los ecosistemas y mejorar su salud.

ABSTRACT Sustainable development has gained momentum since the Member States of the United Nations committed to achieve the Sustainable Development Goals (SDG) by 2030. But sustainability is being reduced to only three dimensions in academia: economic, social, and environmental. For this reason, the objective of this study is aimed to investigate the areas of education, health, and environment. Transdisciplinary methodology and theory of complexity are combined to understand sustainability as a transdimensional phenomenon that is inside and outside of our human condition. As a result, theoretical models focused on human intelligence are analyzed along educational practices that establish emotional, spiritual, and rational links with nature. In sum, it concludes that emotional intelligence is a fundamental dimension to learn to feel-think-act in sustainable harmony with ecosystems and improving their health.

This article addresses the uniqueness of Aubrey Beardsley’s late nineteenth-century Poe “illustrations” as works that enjoy a complex relationship with the writer’s theory of graphicality—specifically the dichotomy that exists between exteriority and interiority in both text and image. This essay posits that Beardsley’s use of vague open-endedness (in terms of visual narrative) was deliberately intended to reside in tandem—but not supersede or compete with—the graphicality of Poe’s words. By theorizing the exteriority/interiority binary around two Poesian themes—decay and speciesism—this study seeks to explain how the iconography of Beardsley’s images is at the very crux of graphicality, especially as this concept applies to writing-as-art and the art of illustration.

"The limit between interior and exterior seems no longer to exist and the two domains increasingly influence each other to the point where they blur into one. In contemporary representations of interior spaces in particular, the private and domestic aspect is in crisis. Through critical readings of selected examples of the representation of contemporary domestic spaces, this paper considers some features of internal space and of a new interiority - from the loss of borders between exterior and interior - evidenced in projects such as Sway House (2008) by Atelier Bow-Wow, Moriyama House (2005) by Ryue Nishizawa/SANAA, to the dematerialisation of
space when landscapes, with their atmospheric variables, become one with interiors - evidenced in projects such as Curtain Wall House (1995) by Shigeru Ban; House in Leiria (2008-2010) by Aires Mateus."

Goffman: Reality as Self-Fulfilling Expectation and the Theatre of Interiority

A critical exposition, in Spanish, of Erving Goffman's theories on the semiotic organization of social reality and on the structure of subjectivity and subjective experience (two sides of the same coin) through a detailed analysis of the conclusion to Goffman's "Frame Analysis" (1974). Goffman's insights into the interactional nature of subjectivity are related to other theorists' conceptions of the role of reflexivity in perception, consciousness and the structuring of semiotic artifacts (language, narrative, art).

Note: Downloadable document is in Spanish.

Keywords: Goffman, Reality, Frames, Expectations, Subject, Subjectivity, Interaction, Communication, Cognition, Reflexivity

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Este artículo lleva a cabo una exposición crítica de las teorías sobre la organización semiótica de la realidad social y sobre la estructura del sujeto y de la experiencia subjetiva (dos caras de la misma moneda) por medio de un análisis detallado de la conclusión de su libro FRAME ANALYSIS (1974). Además, se relacionan las aportaciones de Goffman sobre la naturaleza interaccional de la subjetividad con las concepciones de otros teorizadores sobre el papel de la reflexividad en la percepción, la consciencia y en la estructuración de artefactos semióticos (lenguaje, narración, arte…)

The Big Brother House (is Watching You!) is part of the publication of refereed papers from an international conference held at the University of Brighton in 2009 and was published in 2013. The book contains the abstracts of 49 conference papers and the attached CD holds the full papers. Practitioners, researchers and designers in fields of Spatial Design, Interior Design, Art and Architecture from the United Kingdom, Europe and Australasia, contributed to an exploration of the way spaces may be formed through processes and layers of inhabitation.  The term ‘Occupation’ broadly encompasses the connection of human life with larger systems of social and technical organisation, as well as the coupling between everyday conduct and spatial context. Themes such as Place, Time, Appropriation, Memory and Imagination were assembled in order to frame the investigations. Many of the papers incorporated several of these themes and proposed additional categories to reveal new and interesting combinations. Issues of inhabitation, enclosure and containment are of critical importance in this new century and an understanding of relationships between politics, place and space is indispensable for any sort of practice today.  From the early stages of the conference, it became clear that there are many and varying correspondences between this word and its associated meanings. Papers range from the inhabitation of domestic interiors to the occupation of the city and include practice-based research alongside experimental techniques for recording everyday events and situations. Together, this collection communicates a diverse but exhilarating understanding of the depth, complexity and variety of transactions between people and buildings. What they all have in common is that each in their different ways suggests that we cannot understand occupation unless we are willing to think about interior space. Not necessarily interiors formed by walls or building, but the inhabitation of significant places over which an individual or a group has a claim. By placing the figure of the occupier foremost, the contributors have generally shunned the notion of fixed relationships between figures and buildings, promoting instead a critical response to a rich and complex area of investigation.

Abstract-
The transitory celebrities who compete in Big Brother occupy the arena of their competition agog and open mouthed, for while Big Brother is, apparently, about the contestants, the real star of the reality show is the house in which it takes place.

The Big Brother House is a place of mirrors concealing hidden eyes, disembodied voices and multiple voyeurs. Its occupants, rather than finding refuge in the house, are exposed in a crazy cottage where Orwell meets vaudeville and prison cells or luxuriant dens appear overnight installed by mischievous pixies. The Big Brother House is the antithesis of Bachelard’s vertically ordered Oneiric Axis of nightmarish cellar, formal, domestic ‘middle kingdom’, and the dream space of the attic. The Big Brother house is horizontally layered but fabricated, (to build and to lie).

The Big Brother House is a model in extremis of what the contemporary domestic interior has become. Like a Foucauldian heterotopia it is a hermetic, apparently complete model of occupancy. Indeed, there is no exterior to this house, which is both closed-off and opened-up through live digital streaming, RSS feeds, and text updates. As such the Big Brother House reveals surrealist tendencies: the mirrors are evocative of Magritte; the windows are for the voyeur to look in rather than to reveal the external vista; the Big Brother occupants and the TV viewers are passive idle loafers.

In this respect, the Big Brother House reflects the spectacular model homes that have adorned expos from the Great to the Ideal Home exhibitions, from Peter and Alison Smithson’s House of the Future (1956) to Archigram’s 1990 Automated House (1967). Like these other models, the Big Brother House is not a ‘real’ home, but is as abstracted as a white card maquette.

But the Big Brother House possesses something that these other simulations lack: occupants who are at the same time real and imagined. The Big Brother House is not a fantasy, but an experiment, as empirically valid as any the most Orwellian of rational modernists could desire. Because the design of the house (and the show itself) is iterative and repeated, learning with each iteration from the experiences of the last, it is a continuing experiment in the negotiation between occupancy and constructed space of the most radical kind. 

This paper explores the emergence and the development of the many Big Brother Houses of the last decade, and the ways in which they have been occupied, in order to discuss issues that affect more general perceptions of the contemporary interior.

Different from the door, the window is an enigmatic threshold. It invites us to discovered the world, but its framing puts a geometrical order and establishes a border. This essay analyzes the window’s threshold as a “space”, little but well-defined, during the history of interiors and of art with their connections to the cultural history of human beings.
Neither inside, neither outside, the “window space” is a precious cell of intimacy, a refined studiolo, a romantic point of view for the exterior. Its furnishing can be a qualifying element: curtains, mirrors, tables, stools and chairs, platforms changed comfortably this space in the course of time. Some modern architects (Webb, Mackintosh, Behrens, a young Le Corbusier, Kahn) thought again to it, updating the relationship between the “window space” and the human being. Only with Rationalism the adoption of  the continuous window (or then the “pan de verre”) abolished this way to stay “inside the window” for a never-ending view.

Watteau's fêtes galantes break with key aspects of academic art theory in early eighteenth-century France, particularly as put forward by Roger de Piles, to elicit an experience of reverie in the spectator. Watteau's formal innovations inaugurated a new relationship between painting and beholder that opened up a new sphere of subjective experience, linking the artist's enterprise with the rise of modern interiority.

Una delle immagini più importanti nelle opere di Teresa d’Ávila, il castello come simbolo del mondo interiore, è il punto di partenza per manifestare un contributo possibile per l’antropologia teologica odierna. A partire dalla questione delle origini del simbolo teresiano, si tratterà di come l’antropologia teologica possa essere arricchita dall’esperienza dell’interiorità e della relazionalità. Si approfondisce in tre passi lo sfondo biblico del simbolo, i suoi limiti e i suoi pregi per pensare la relazione con il Dio Trinità e infine si propone un ripensamento della chiave dialogica con l’interpretazione di Edith Stein. In conclusione viene stabilito un collegamento con l’antropologia teologica come viene concepita oggi.

This article constitutes one of the first comparisons between the philosophies of Peter Sloterdijk and the philosophical tandem Gilles Deleuze-Félix Guattari. Subject of the discussion between both philosophical positions is how the communication with the exterior, and thus also how an interiority is to be conceived. Both philosophers raise these questions in reference to the work of the Estonian biologist Jacob von Uexküll. At first sight, Sloterdijk's focus on immunity mechanisms seems to suggest a preference for restricting this communication , whereas Deleuze and Guattari's interest in becomings seems to direct us in the opposite direction. However, a closer examination of both positions reveals that the difference lies in the nature of their approaches: whereas Deleuze and Guattari's interest in opening up interiorities is ontologically motivated, Sloterdijk's focus on shielding them off is existential. These findings might help us in demining the opposition between progressive socialism and conservatism. This article is published as part of a collection on interiorities.

Revisiting Richardson's _Pamela_ as a site of "spatial formalism," this essay maintains that the notion of the domestic interior as a setting conducive to psychological interiority requires further materialist analysis.  The interiority of _Pamela_ hinges less on characters' emotions than on its ability to move between different spatial interiors, from the of-cited interiors of domestic architecture to the interiors of spaces that initially register as objects, such as women's detachable pockets as well as books and letters.  Ultimately, Pamela lays claim to her selfhood through effecting a dynamic whereby her movable possessions--her letters and her pockets in particular--become spatial territories of the self that challenge the authority of land ownership conferred to her social superiors.  She effects, in other words, a shift in social relations as defined by property as well as by marriage through her ability to transform the interiority afforded by her everyday possessions into a movable estate of the self.

The article examines how artists and writers were affected by Haussannization, the term for a mid-19th century urban renewal project in France under the direction of George-Eugene Haussmann ordered by Emperor Napoleon III. Citing principles of trauma studies, the author looks at why individuals such as Gustave Caillebotte and Emile Zola became more isolated and used this as a theme in response to the changes in cities like Paris. –Source, EBSCO

The article examines how artists and writers were affected by Haussmanization, the term for a mid-19th century urban renewal project in France under the direction of George-Eugene Haussmann ordered by Emperor Napoleon III. Citing principles of trauma studies, the author looks at why individuals such as Gustave Caillebotte and Emile Zola became more isolated and used this as a theme in response to the changes in cities like Paris.  —Source, Shanghai Library

Michel Henry radicalises phenomenology by putting forward the idea of a double manifestation: the "Truth of Life" and "truth of the world. " For Henry, the world turns out to be empty of Life. To find its essence, the self must dive completely inward, away from the exterior movements of intentionality. Hence, Life, or God, for Henry, lies in non-intentional, immanent self-experience, which is felt and yet remains invisible, in an absolutist sense, as an a priori condition of all conscious experience. In Christian theology, the doctrine of the Trinity illuminates the distinction between the immanent Trinity (God's self-relation) and the economic workings of the Trinity (God-world relation). However, the mystery of God's inmost being and the economy of salvation are here understood as inseparable. In light of this, the paper aims to: 1) elucidate the significance of Henry's engagement with the phenomenological tradition and his proposal of a phenomenology of Life which advocates an immanent auto-affection, radically separate from the ek-static nature of intentionality, and 2) confront the division between Life and world in Henry's Christian phenomenology and its discordancy with the doctrine of the Trinity, as the latter attests to the harmonious unity that subsists between inner life and the world.

Chapitre 7 de la thèse de doctorat de Bruno Restif, soutenue en décembre 2004 à l'Université Rennes 2 Haute-Bretagne sous la direction d'Alain Croix : La Paroisse, cadre d'application de la Réforme catholique en Haute-Bretagne (diocèses de Rennes, Dol et Saint-Malo). Histoire d'un processus de transformation religieuse et culturelle (XVIe et XVIIe siècles). Titre du chapitre 7 : Transformation des pratiques et conversions intérieures. Intériorisation, souci de perfectionnement et usages de l'image-objet.

published in INTERIORS, Sternberg Press and the Center for Curatorial Studies, Bard College, 2012. Edited by Johanna Burton, Lynne Cooke and
Josiah McElheny

With contributions by Anni Albers, Doug Ashford, Gaston Bachelard, Angelo Bellfatto, Nova Benway, Gregg Bordowitz, Johanna Burton, Theresa Choi, Beatriz Colomina, Lynne Cooke, Moyra Davey, Tom Eccles, Diana Fuss, Jennifer Gross, Elizabeth Grosz, Roni Horn, Jenny Jaskey, Susanne Küper, Elisabeth Lebovici, Nathan Lee, Zoe Leonard, Dorit Margreiter, Josiah McElheny, Helen Molesworth, Georges Perec, Juliane Rebentisch, David Reed, Lisa Robertson, Joel Sanders, Virginia Woolf, Amy Zion

Este capítulo del libro "Contexto y Nueva Evangelización" (Madrid 2007) ofrece una reflexión sobre la experiencia religiosa del sujeto contemporáneo construida a partir de 3 dimensiones de todo sujeto religioso: la interioridad como lugar teológico, la comprensión de lo que ahí acontece y la reflexión teológica que brota de dicha comprensión.
This chapter from the book "Contexto y Nueva Evangelización" (Madrid 2007) offers a reflection about religious experience of contemporary spiritual person based on 3 dimensions of every religious subject: interiority as "theological place", the understanding of what in interiority is goin on and the Theological reflection of the experience.

La configuración y construcción del nido nace de la propia acción de habitar su interior. Habitar, morar, abrigar, acoger, son todas acepciones asociadas al término anidar.
En sentido figurado, así como los pensamientos y los sentimientos pueden anidar en el interior de una persona, hay conceptos que anidan dentro de otros. De este modo, al hablar de anidar nos referiremos también a la inclusión de una ealidad
dentro de otra, idea que puede adoptar carácter estructural y habilitar incluso fugas abismales. Como mecanismo físico, el anidamiento permite, a partir de la aplicación de una lógica telescópica, optimizar el almacenamiento de objetos y el uso del espacio disponible.
Anclados en este pequeño manojo de conceptos que giran en torno al término anidar –el espacio doméstico concebido desde el acto primario de habitar, construido y adaptado a menudo por su propio habitante; el hombre como centro y medida del interior doméstico; el rol de las estructuras nido en la maximización del aprovechamiento del espacio cotidiano– proponemos una revisión crítica de algunos episodios capaces de arrojar luz sobre aspectos clave de la economía de recursos en el proyecto del espacio interior doméstico y de su equipamiento.