Cadence [Caring About Places]

Annual Review of the Faculty of Philosophy, 2022

Sounds are part of the most natural sensory experience of the environment and the world around us. The article explores the modes of corporeal hearing and phonetic understanding of the world. Numerous (urban) places have their own characteristic soundscape. A specific dimension of movement is expressed in it. Sounds are not only in motion, they are movement. Thus, they are in a constant process of changing their faces. But sounds do not only touch upon a physical-acoustic understanding, they equally touch sensations and feelings, they feed atmospheres and communicate meanings. However, they are not "read" semiotically, but experienced holistically through bodily communication. The conscious ability to hear presupposes listening carefully (Hin-Hören). Even if the tonal experience is incommensurable with its literal explication, the practice of autopsying descriptions of situations is nevertheless a prerequisite for a sharpened self-and world-awareness.

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The recent, rich scholarship on rhythms, following in the wake of Lefebvre's book Éléments de rythmanalyse (1992), proves that rhythmanalysis is an important sensitising notion and research technique. Despite its increasing recognition , however, rhythmanalysis has not yet become a proper science as its proponents had hoped. In this article, we argue that rhythmanalysis could benefit from being further developed and integrated into a wider science of territories. What research must attain is, we suggest, not simply a recording, description or analysis of rhythms; instead, the goal is to capture the life of rhythms as they enter territorial formations. A neo-vitalistic conception, in other words, could enrich the standard social-scientific understanding of the relation between rhythms and territories. More specifically, we submit that the notion of rhythm could be explored not only in terms of the recurrent patterns of association it defines, but also with essential reference to the intensive situations and moments it generates and, in the end, territorialises.

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An attempt to understand why people fall in love with places.

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Environmental & Architectural Phenomenology, 2014

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2003

Concerned with anxiety and displacement, the artist explores a sense of place within the self. Personal experiences are presented as an accumulation of fragmented symbols, textures and pattern. Symbolic imagery is being created, influenced by a devaluation of established norms and a reorganization of cultural identity. The individualÆs interaction and experience with the surrounding world affirms his idiosyncratic symbolism. The artwork is a visual language that through the use of disparate segments sets up the portrayal of the fragmented self and psychological journeys of the artist. Individuals establish themselves in many ways, including gestures as part of expression. This expression can be in the visual plane, such as works of art with their color and exploration of ideas. Thus there is continuity in life being established by the artist, while looking for meaning in the apprehended sense of place created in response to natural instinct and intuition

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Etnografica, 2013

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A “Sense of place” is o􏰀en used to convey the rela- tionship that people have to the place where they live, while “place attachment” can refer to a signifi- cant place in a person’s life or a place of inspiration, as well as the place where they may live. These are just two of the terms used by many different disci- plines, such as human geographers, psychologists, sociologists, urban planners, landscape architects and so on, to convey the connectedness of people to a specific place or a type of environment. The terms have become confused, as each discipline brings with it its own understandings. A review by Scan- nell and Gifford (2010) brought some clarity to the topic and they proposed a tripartite model to take the concept further. Whilst this model brings coher- ence to the subject it suffers by dividing the concept into people, place and process as separate entities. It is proposed in this paper that the concept would be better viewed holistically, with people and place connected through the process, with landscape at its heart. By redesigning the tripartite model it is possible to demonstrate the process of people affect- ing the landscape and vice versa. Although in using this process orientated model the questions gener- ated would essentially remain the same, how they are viewed and integrated would change however. “Sense of place” is used to convey the relation- ship people have to the place where they live, work or spend their leisure time, yet it “is a paradoxical concept with a meaning that is readily grasped, but difficult to define” (Morgan 2010:11). Some authors have divided the concept into different components, such as place identity, place attachment, and place dependence, illustrated here by interviews organ- ised by the author and examples in literature.

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Nordic Journal of English Studies, 2017

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Since the 1980s, a number of studies have suggested that stays in and/or views of natural sites are good for people's health. However, all natural areas are not equally good: Some qualities have been identified as being particularly beneficial. Perceived Sensory Dimensions (PSDs) consist of eight different types of affordances in urban parks as well as in natural areas. These PSDs can be used by landscape architects and urban planners to create more pleasant and healthy urban areas. The question is whether the PSDs are perceived and interpreted in the same way in different parts of the world. In the present study, we were interested in comparing the inhabitants of cities in different cultural spheres: Do they prefer the same types of PSDs? Are they able to find them in the cities they live in? Two equivalent studies of preferences for the eight PSDs were conducted in China and Russia: in the cities of Huanggang and St. Petersburg. Despite differences in culture and history, grea...

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