Nélio Rodrigues Conceição

Within the context of the contemporary heterogeneity of photographic practices, the present text describes some of the possibilities of understanding the temporality of photographs, giving an account of some important theoretical references (Benjamin, Kracauer, Barthes, Derrida). Bearing this in mind, describing photographs as sparks of reality is a way of expanding the Benjaminian proposal and avoiding the strict logics of causality. The strength of photography unfolds the technologically rooted paradox of photographs, whose contemporary relevance can be analysed in the intersection between aesthetics, history and politics. The film 48, by the Portuguese filmmaker Susana Sousa Dias, explores this intersection by using and showing the cracks of the political prisoners’ mug shots.

Interdisciplinary in approach, this book employs the key concepts of fragmentation and reconfiguration to consider the ways in which human experience and artistic practice can engage with and respond to the disintegration that characteri es modern cities. Asking how we might unsettle and decrypt the homogeneous images of cities created by processes linked to capitalism and globalisation, it invites us to consider the possibility of reimagining and rethinking the urban spaces we inhabit. An exploration of the complex relationship between aesthetics, the arts and the city, Rethinking the City: Reconfiguration and Fragmentation will appeal to scholars across various disciplines, including philosophy, urban sociology and geography, anthropology, political theory and visual and media studies.

The volume Conceptual Figures of Fragmentation and Reconfiguration is a collection of revised versions of the papers presented at a research seminar which took place at the School of Social Sciences and Humanities, Universidade NOVA de Lisboa, between January and June 2019. The seminar is one of the core activities of the project “Fragmentation and Reconfiguration: Experiencing the City between Art and Philosophy”, based at IFILNOVA – Nova Institute of Philosophy in Lisbon. This volume strives to reassess the relationship between fragmentation and reconfiguration, the contemporary relevance of which can be appreciated by focusing on the experience of the city, in particular the aesthetic experience of the city. Following the structure of the original seminar presentations, and drawing on key philosophical authors such as Goethe, Benjamin, Wittgenstein, Foucault, Deleuze, Joyce, Proust, and Perec, each of the nine contributors focuses on a specific conceptual figure: Catastrophe (Gianfranco Ferraro); Ruins (Maria Filomena Molder); Chaosmopolitanism (Bartholomew Ryan); Morphogenesis (Maurizio Gribaudi); Atlas (Nélio Conceição); Archive (João Duarte); Collection (Maria João Gamito); Panoramic Presentation (Alexandra Dias Fortes); and Aesthetic Experience (Nuno Fonseca).

Bringing together a genealogy of authors, concepts, and aesthetic case studies, this article aims to contribute to the discussion on ordinary aesthetics by focusing on the tensions that are intrinsic to walking as a fundamental embodied action in everyday urban life. These tensions concern the movement of walking itself and its relation to one’s surroundings, but it also concerns a certain complementarity between home (familiarity) and wandering. Experiencing space and thresholds that disrupt one’s relationship with home and the everyday can be understood as part of a modern “anti-home” tendency that lies at the core of several artistic and aesthetic practices. On the other hand, the study of walking and its relationship with the ordinary has also been enhanced and complexified by the mediation of images and technologies of reproduction. Approaching the paradoxes and ambiguities of everydayness from the perspective of walking allows us to better understand the ordinary as an in-between concept composed of evidence and mystery, familiarity and strangeness. Walking itself, as an ordinary element of life, is an unstable stabilisation, an unconsciousness that may become awareness, an immersive action that knows interruptions, a way of repeating paths that can also lead to detours and discoveries.

Developed through a series of conceptual analyses (Edmund Husserl, Vilém Flusser, Ludwig Wittgenstein and Walter Benjamin) and case studies (Fernando Lopes’s Belarmino and Jeff Wall’s Mimic), this article delves into the relationship between gesture, attunement and atmosphere and how it unfolds in photographic works dealing with urban space. The first section focuses on the role played by photography in the film Belarmino, which raises questions about both the representation of urban phenomena and issues related to expression and gesture in boxing. The second section discusses Husserl’s thinking on image consciousness and his surprising reference to a “photograph” of a boxer, which reveals the relevance of his phenomenological approach when it comes to defining the aesthetic properties of gesture-images. The third section examines the principles of Flusser’s philosophy of gestures, focusing on the semantic field of attunement and its connection with various elements related to photography, gesture, moods and affects. The question of gesture in photography—both the gestures of the photographed and those of the photographer—can be articulated with the notions of attunement and atmosphere, which go beyond semiological, psychological and communicational approaches and are important for our understanding of aesthetic and artistic experiences. Finally, if photography is a privileged way of studying atmospheres and gestures (as suggested by the Benjaminian notion of optical unconscious) and their connection with the inner life of the subject, in relation to urban space this study often acquires an intersubjective, social and political dimension, as in Jeff Wall’s Mimic.

This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of thinkers – Cavell, Benjamin, and Kracauer; and filmmakers Rossellini, Montaldo, Keaton, and Jarman. Reflecting on the aesthetic and cultural impact of cinema is all the more important given the current omnipresence of images and prosthetic technologies that, with their incessant solicitations, threaten the processes of apprehension, learning, and conveying of knowledge. Thinking and perceiving differently thus becomes an essential function of cinema, one keenly performed in Safaa Fathy’s Derrida’s Elsewhere, analyzed in the last two sections.

ABSTRACT This article focuses on the role that the concept of “presence of mind” (Geistesgegenwart) plays in Walter Benjamin’s thought, deepening lines of interpretation that are connected to other relevant concepts such as “attention” (Aufmerksamkeit) and “now-time” (Jetztzeit). It examines elements of Benjamin’s work that develop the philosophical importance of presence of mind, emphasizing its corporeal dimension and its aesthetic and critical relevance. The analysis covers fve lines of interpretation that intersect in different ways: (i) presence of mind is a form of thought/action that should be cultivated as a way of dealing with the experience of shock; (ii) having presence of mind is an attitude that can be exercised; (iii) “seizing the day” involves the body and presupposes an experience of intensive time; (iv) the conceptual framework of presence of mind integrates elements related to play; and (v) by valuing the present, presence of mind implies a relationship between danger and a critical gesture – in Benjamin’s historical and political reflection, this gesture intertwines the individual and the collective dimensions.

Resumo: Analisando o papel desempenhado pela questão da técnica no pensamento de Walter Benjamin, o artigo debruça-se sobre a transformação dos valores estéticos, na modernidade. As técnicas de reprodução/registo inventadas nos séculos XIX e XX, como a fotografia e o cinema, obrigaram a uma revisão das articulações entre arte, técnica e história, articulações que Benjamin desenvolveu em diversos sentidos. Contudo, não encontramos, nos seus textos, uma filosofia da técnica de princípios claramente estabelecidos. Portanto, o presente artigo visa estabelecer uma constelação de temas, os quais, brotando dos seus textos, nos permitem clarificar como a técnica influencia a transformação e a criação de valores estéticos, sendo estes entendidos como eixos em torno dos quais se dão a produção e a crítica dos fenómenos estéticos. A fotografia, constituindo um momento de viragem incisivamente estudado pelo autor, é o fio condutor das diferentes leituras. Historicidade da percepção; dimensão política da arte; sua relação com a memória; elemento de jogo: são estes os quatro eixos em torno dos quais se procura clarificar e, sempre que possível, prolongar a proposta benjaminiana.: Analyzing the role played by the question of technology in Walter Benjamin's thought, this article delves into the transformation of aesthetic values in modernity. The technologies of reproduction and recording invented during the 19th and 20th centuries, such as photography and cinema, led to a reformulation of the relationship between art, technology, and history, which Benjamin examined in various ways. However, we do not find in his texts a philosophy of technology with well-defined principles. Therefore, this article aims at establishing a constellation of themes emerging from his texts, that allows us to clarify the way technology promotes the transformation and creation of aesthetic values. These values are here understood as axes around which the production and the critique of aesthetic phenomena occur. Photography, as a turning point that was incisively studied by the author, is the leading thread in the different readings of his work. The historicity of perception; the political dimension of art; its relation with memory; the element of play: these are the four axes around which a clarification and, whenever possible, an expansion, of Benjamin's ideas are discussed.

Within the context of the contemporary heterogeneity of photographic practices, the present text describes some of the possibilities of understanding the temporality of photographs, giving an account of some important theoretical references. Bearing this in mind, describing photographs as sparks of reality is a way of expanding the Benjaminian proposal and avoiding the strict logics of causality. The strength of photography unfolds the technologically rooted paradox of photographs, whose contemporary relevance can be analysed in the intersection between aesthetics, history and politics. The film 48, by the Portuguese filmmaker Susana Sousa Dias, explores this intersection by using and showing the cracks of the political prisoners’ mug shots.

Walter Benjamin’s texts on Baudelaire put forward a threefold analogy, surprising at first glance, between the experience of the crowd, typical of modern metropolises, mechanized work and games of chance. While exploring gambling and the gambler in Benjamin’s analysis, this article explores the inner ambiguity of the concept of repetition: firstly conceived as belonging to the «time of hell» of the ever-new, it can also be understood as a gateway for understanding the processes of experimentation, which are crucial to modern and contemporary aesthetic experiences. In this sense, urban space can also be conceived as a room for play, vulnerable to and enriched by chance and playful mechanisms encompassing aesthetic and political dimensions.

This issue of Itinera collects a selection of the papers presented by the participants of the International Conference "Aesthetics of Emotions. Arts and Cognitive Science" held in October 2016 at the University of Milan. The focus of the conference, on the link between arts, emotions and cognitive sciences, is richly reflected in the themes addressed by the essays, which attempt to put into interdisciplinary dialogue "classical" perspectives of the history of aesthetics with more contemporary perspectives inspired by experimental sciences, in particular psychology, cognitive sciences and the theory of emotions.