Nuno Fonseca

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.

A cidade nas práticas artísticas [The city in artistic practices] is the result of the work developed, of the presentations and the debates held within the cycle of seminars “The experience of the city between art and philosophy”, held between 3 March 2020 and 16 June 2021 (calendar dramatically compromised by the challenges of the COVID 19 pandemic), one of the main activities of the OBRA project — Fragmentation and Reconfiguration: experiencing the city between art and philosophy, based at IFILNOVA — Philosophy Institute of NOVA, in Lisbon. The book is divided into five parts, relating to each of the artistic disciplines to which the seminars were dedicated – cinema, photography, sound arts, literature and architecture —, which are edited by the organizers responsible for each of them — respectively, Susana Viegas, Humberto Brito, Nuno Fonseca João Oliveira Duarte and Susana Ventura — and composed of the respective narrated accounts of each seminar and of short essays, some merely textual, others graphical or even photographic, which are either in-depth versions of the reflections and positions that were presented and debated by the participants and guests, or works that motivated and inspired the work of the seminars. The seminar cycle and the book now presented here intend to reflect on the role of artistic practices in the representation and reconfiguration of urban experience, trying to understand their different attempts to apprehend and express the fragmentation of aesthetic experience in modern and contemporary cities, as well as to evaluate their contribution to an eventual symbolic and imaginative reconfiguration of that experience. Each section tries, in its own way, to answer questions such as: How do these arts think and reinvent the city? What do they make us feel? And what is their social and political role? For reasons that are easy to understand, Lisbon was the starting point, but other cities were also part of the journey.

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).

La Logique ou L'Art de Penser (LAP), also known as the Port-Royal Logic, is generally presented as a "logic of ideas" in which the idea, the central epistemological entity, is the starting point of this logic based on Cartesian ontology. Structured around the four main operations of the mind - conceiving, judging, reasoning and ordering - the first part of the LAP contains "reflections on ideas". The idea, "the form by which we represent things [objects]", thus takes the place of the concept in Aristotelian-inspired logic. Some of the chapters in this first part deal with the problems raised in scholasticism by the theory of _proprietates terminorum_, which means that it is also a semantics of terms. The word 'term' itself must be understood in its logical and grammatical dimensions. The analyses of the 'Messieurs' of Port-Royal often have a logico-grammatical character, because, according to the anthropology of the authors, men need to make their thoughts heard by one another through language (institutional signs) and, therefore, "it is necessary in logic to consider ideas joined to words, and words joined to ideas". In this text, we shall endeavour to show the importance and innovative character of the semantics of terms in this logic of ideas which makes LAP a pivotal moment in the evolution of the language sciences, reviving the tradition and allowing dialogue with future developments (extension vs. comprehension, explanation, determination of terms, etc.). We will pay particular attention to the chapters on definition, "a remedy for the confusion that arises in our thoughts and speech from the confusion of words".

The notion of aesthetic experience attempts to account for an important part of human experience and, although it embraces an immense and multifaceted variety, the complexity and vagueness of which have been an authentic challenge to its definition (to the point that some suggest its conceptual uselessness), it is still crucial and decisive for an entire philosophical discipline: aesthetics-which is not to be confused with the philosophy of art, although it often intersects with it. This chapter considers the case of the city-which is not so much an object as a multifaceted and fragmented environment where aesthetic experiences can occur-in order to attempt to elucidate (or at least to make a contribution to the elucidation of) the meaning and scope of this philosophical topic.

In just a few decades, there's been the birth and fast rise of a recreational activity that implies the interaction between one or multiple players with electronic devices, normally, known as videogames. Being a very complex process and a multi-sensorial practice, playing with videogames produces intense and fulfilling experiences for all those who engage in such activity. Here, I intend to show how those experiences entail relevant aesthetic – and also cognitive and ethical – values for philosophical discussion.