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Comment by Place Link on September 10, 2024 at 6:15pm

爱垦網评注：感性、诗性与认知美学的人文科学角度

跨学科做文创研究，感性、诗性与认知美学三者可结合起来。通过探讨它们在文化创意中的互动关系，形成有人文科学意义的理论框架。这种研究不仅能揭示文化创意过程中的情感、象征与认知机制，还能探索文化产品在个人与社会层面的影响力。

感性：情感体验的核心

感性（Affectivity）在文创中扮演着重要角色，尤其是当文化产品或创意活动通过激发受众的情感体验达到与其产生共鸣时。感性关注的是个体如何通过情感、直觉来与文化内容建立联系。通过感性，文化创意产品得以传递情感价值，从而激发观众的情感参与与共鸣。

在人文科学研究中，感性可以通过现象学、情感转向（Affective Turn）等理论框架进行分析。例如，当文创产品（如一件艺术品或文旅体验）通过调动人们的感官、记忆、情感时，它的文化意义便不仅限于其物质形态，而是通过感性体验引发对人类存在、社会情感的深层反思。

诗性：象征与想象的力量

诗性（Poetics）在文化创意中关注象征、隐喻与想象力。维柯所提出的“诗性智慧”认为，人类最早的思想表达是通过诗意象征与想象力完成的，这赋予了文化创意深厚的历史和人类学背景。

在文创研究中，诗性表现为对符号、象征系统的创造性运用。文创产品往往通过诗性表达，重新塑造人们对现实的感知，开辟新的可能性。例如，一个设计项目、一部电影或一场文化展览，可能通过诗性形式将日常生活转化为充满象征意义的文化表达。

从人文科学的角度，诗性不仅限于文学和艺术，还可以是文化传播、符号学或叙事学的一部分。这使得文化创意不仅仅是市场产品，而是具有审美和哲学价值的象征行为。（下续）

Comment by Place Link on September 10, 2024 at 6:14pm

认知美学：理解与创造的机制

（续上）认知美学（Cognitive Aesthetics）通过研究人类的认知过程，揭示我们如何感知、理解和创造艺术与文化。这一领域借助认知科学，探索人类如何通过大脑的机制来处理文化符号、情感体验与创意内容。

在文创研究中，认知美学帮助理解文化产品如何通过设计、叙事或表现形式引发观众的感知与理解。例如，文化创意产品如何通过颜色、形式、符号等刺激大脑的认知反应，从而引发情感共鸣或文化认同。认知美学可以将复杂的情感体验转化为可理解的认知过程，帮助研究者分析文化产品的受众反应、市场接受度，以及文化符号在记忆和情感层面的深远影响。

感性、诗性与认知美学的关系

在文创研究中，感性、诗性与认知美学三者之间的互动关系，具有深刻的人文科学意义：

感性通过激发情感，使文化产品能够产生直观的情感共鸣；

诗性则通过象征、隐喻的方式，赋予这些情感深层的文化和哲学意义；

认知美学帮助我们理解这些体验是如何通过大脑和心智机制来加工与创造的。

这种关系可以在人文科学研究中得到深度的诠释。例如，研究一部电影或一个文创项目，可以同时分析它如何通过诗性符号与观众的情感产生共鸣，如何通过视觉、听觉等感性元素引发观众的体验，又如何通过认知美学的理论去解释观众对这些符号和情感的理解与反应。这种跨学科的探讨不仅揭示了文化创意的情感和审美价值，还能探索其在更广泛的社会和哲学层面的意义。

文创研究中的人文科学意义

通过整合感性、诗性与认知美学，文创研究可以在人文科学中产生以下几方面的重要意义：

情感共鸣与文化认同：研究如何通过感性体验和诗性象征，促进个人与集体对文化的认同，揭示文化产品的社会凝聚力。

符号与象征的创造力：诗性分析提供了理解文化产品如何通过象征和隐喻重新定义现实与世界的工具，揭示了文化创新的力量。

认知与情感的整合：认知美学使我们能够从科学的角度分析情感、想象与认知的相互作用，形成对文化产品影响力的全面理解。

这种结合不仅让文创研究具备了理论上的深度，还能为实际的文化创意实践提供指导，推动文化产业在情感与认知层面实现更加丰富的表达与创新。

总的来说，感性、诗性与认知美学在文创研究中的关系，揭示了文化产品在情感、象征与认知层面的复杂互动，这使得文创研究不仅具有实践指导意义，也为人文科学提供了多层次的理论反思。（爱垦網内部评析）

访陈明发博士谈感性文創与体验文创的区别

札哈哈蒂：房子能浮起來嗎？

追隨感官 1.6 詩性研究

地方感性

慢活

Comment by Place Link on July 29, 2024 at 11:43pm

Towards Topopoetics: Space, Place and the Poem by Tim Cresswell

Abstract: This essay focuses on the theme of poetry and place – a project I have called Topopoetics. It introduces the idea of topopoetics drawing on the work of Aristotle, Heidegger and more recent philosophies of place, dwelling and poetics.

The point is not to cover the familiar ground of ‘sense-of-place’ in poetry but rather to explore how the poem is a kind of place and the way in which poems create space and place through their very presence on the page, through the interactions of full space and blank space, stasis and flux, and inside and outside.

What can poetry tell us about space and place? Conversely, what can thinking about space and place tell us about poetry? These are the questions that motivate this essay. My aim is to both answer them and to reveal how spatial and platial thinking can inform forms of interpretation beyond the interpretation of space and place in the geographical world.

I develop a topopoetics – a project that sees poems as places and spaces. The distinction between space and place that is most often made is one in which space is seen as limitless, empty, divisible and subject to mathematical forms of understanding while place is seen as bounded, full, unique and subject to forms of interpretive understanding.

Place has been most frequently described as a meaning ful segment of space – as mere ‘location’ in space overlaid with things such as meaning, subjectivity, emotion and affect (Tuan 1977; Buttimer and Seamon 1980; Relph 1976; Cresswell 2014).

The definitions of space have become more sophisti cated thanks to interventions from critical theory and philosophy which have taken space out of the realm of the abstract and absolute in an attempt to reveal the work ings of space in the production of society (Soja 1989; Lefebvre 1991; Massey 2005).

At the same time work on place has added layers of power on the one hand (Cresswell 1996; Massey 1997) and a deeper philosophical role in human existence on the other (Casey 1998; Malpas 1999). There is not space here to rehearse all of the twists and turns in these debates. One aspect that is worth lingering on is the ques tion of which comes first, space or place? (Related)

Comment by Place Link on July 27, 2024 at 10:08am

It has become commonplace to see place as arising from space. In this sense space comes ‘first’. If space is an undifferentiated field – an abstract categorical axis of existence in the Kantian sense, then place has to occur in space. Places here are spatial moments, or points in space on which experience and meaning are layered.

Place comes after space. Space is a fundamental fact of the reality of the universe while place is what humans make out of it. The philosopher Jeff Malpas sees this as a relegation of place to the increasing importance of space in thought following the Renaissance: “The ‘rise’ of space is thus accompanied, one might say, by the ‘decline’ of place.

Indeed, in much contemporary thought, place often appears either as subjective overlay on the reality of materialized spatiality (place is space plus human value of ‘meaning’ …) or else as merely an arbitrary designated posi tion in a spatial field” (Malpas n.d.).

This way of thinking is turned on its head by philosophers of the phenomeno logical tradition following Heidegger and Merleau-Ponty who see spaces being formed out of the reality of place.

Place, here, becomes fundamental and primary while space is what follows once places come into existence as a kind of relation between places. In The Phenomenology of Perception Maurice Merleau-Ponty locates consciousness and intentionality not in the head but in the body.

How does the body relate to space? The most obvious way of articulating this is to think of the body as located (like place) in space where space is an external and continuous field in which the body exists and which the body has to navigate.

This is a body in Cartesian space that exists as an object. Merleau-Ponty rejects this view and argues instead for a ‘body-subject’ that exists in lived space – space which unfolds through the existence of the body rather than providing a precondition for the body. The human body produces certain kinds of orientation such as inside and outside, up and down, front and back and left and right that continually produce space rather than simply inhabit it.

As Merleau-Ponty put it: We must therefore avoid saying that our body is in space, or in time. It inhabits space and time … In so far as I have a body through which I act in the world, space and time are not, for me, a collection of adjacent points nor are they a limitless number of relations synthesized by my consciousness, and into which it draws my body.

I am not in space and time, nor do I conceive space and time; I belong to them, my body combines with them and includes them (Merleau-Ponty 1962, 161). Merleau-Ponty, then, insists that the bodily space is primary to external Cartesian space. Bodies are not simply in an already existing space – rather space is produced by the body.

A similar logic is at work in Heidegger’s account of the work done by building a bridge over a river. The bridge swings over the stream “with ease and power.” It does not just connect banks that are already there. The banks emerge as banks only as the bridge crosses the stream. The bridge designedly causes them to lie across from each other. One side is set off against the other by the bridge. Nor do the banks stretch along the stream as indifferent border strips of the dry land.

Comment by Place Link on July 23, 2024 at 7:43am

With the banks, the bridge brings to the stream the one and the other expanse of the landscape lying behind them. It brings stream and bank and land into each other’s neighborhood. The bridge gathers the earth as landscape around the stream (Heidegger 1971, 150).

Heidegger’s bridge brings a place and a surrounding landscape into being. In so doing, it also produces space. The bridge as a place does not just connect pre- existing spaces or operate within a pre-existing space – it brings space into being.

In this sense, place comes before space. This is a reversal of the more frequent suggestion that places exist in space and that space comes before place. Heidegger is clearly making a different argument from Merleau-Ponty.

Nevertheless, what unites the two passages is an insistence on the way spaces are brought into being in relation to platial bodies and structures as active agents. Place comes first. One final preliminary point about place before moving on to a discussion of topopoetics. One of the defining qualities of place, across disciplines, has been the way in which places bring things together.

They are seen as syncretic mixtures of elements of multiple domains. Different scholars use different terms to describe this fact. Philosophers following Heidegger write of places as sites of gathering (Casey 1996). The geographer Robert Sack uses the metaphor of a loom to describe places as products of the process of weaving (Sack 2003).

Writers informed by the philoso phy of Gilles Deleuze and Manual Delanda refer to this process as assemblage (DeLanda 2006; Dovey 2010). Things mingle in places and places are constantly being made through gathering/weaving/ assembling and constantly being pulled apart. Among the things that are gathered in place are objects (materialities), mean ings (narratives, stories, memories etc.) and practices.

Philosopher Edward Casey puts this as well as anyone. Minimally, places gather things in their midst– where ‘things’ connote various animate and inanimate entities. Places also gather experiences and histories, even languages and thoughts. Think only of what it means to go back to a place you know, finding it full of memories and expectations, old things and new things, the familiar and the strange, and much more besides. What else is capable of this massively diversified holding action? (Casey 1996, 24)

1 Towards topopoetics

In the remainder of this essay I mobilize some of what has preceded in relation to thinking about poetry. I argue for poems as places (as well as about places) that can be interpreted spatially. The term topopoetics originates from the term topos as developed by Malpas and Casey in their readings of Heidegger and others (Casey 1998; Malpas 2012b).

Topo comes from topos (τόπος), the Greek for ‘place’. This is combined with poetics, which comes from poiesis (ποίησις), the Ancient Greek term for ‘making’. Topopoetics is thus ‘place-making’. The particular lineage I am invoking for topos derives from the philosophy of Aristotle. Importantly, for our purposes, topos appears in both accounts of how the world comes into being and as a figure in rhetoric. In rhetoric a topos is a “particular argumentative form or pattern” from which particular arguments can be derived.1

It is very much like a form in poetry – a sonnet or a villanelle. It has a particular shape. This rhetorical view of topos is linked to the world through the art of memorizing long lists by locating things on a list in particular places. “For just as in the art of remembering, the mere mention of the places instantly makes us recall the things, so these will make us more apt at deductions through looking to these defined premises in order of enumeration.” 2

Comment by Place Link on July 20, 2024 at 6:52am

In Aristotle’s rhetoric it is important to choose the right kind of topos for the argument at hand, just as it is important to select the right form for a particular poet. It draws our attention to the importance of (among other things) the shape on the page. The richer meaning of topos emerged more fully formed in the writing of Martin Heidegger and has recently been elaborated by the philosopher, Jeff Malpas (Heidegger 1971; Malpas 1999, 2012a).

Here topos is mobilized through the idea of the topological to indicate the primary nature of place for being. To put it bluntly, to be is to be in place – to be here/there. The connection between poetry and the idea of place as the site of being is right there at the outset as Heidegger’s insistence on being as being-in-place originated from an encounter with the poetry of Hölderlin (Malpas 2006; Elden 1999).

Heidegger’s topological thought includes two key concepts – Dasein and dwelling. Dasein means (approximately) ‘being there’. It combines Heidegger’s career- long enquiry into the nature of being with a recognition that being is always placed – that existence is thoroughly intertwined with place.

The way that we make a home in the world is referred to as dwelling. The way in which you are and I am, the manner in which we humans are on the earth, is Buan, dwelling.

To be a human being means to be on the earth as a mortal. It means to dwell (Heidegger 1971, 145). How, exactly, people enact this dwelling (or fail to enact it) becomes a central object for philosophy in Heidegger’s later texts.3 In an important series of late essays Heidegger invokes poetry as a form of dwell ing. He goes so far as to suggest that it is an ideal form of building and dwelling. Poetic creation, which lets us dwell, is a kind of building.

Thus we confront a double demand: for one thing, we are to think of what is called man’s existence by way of the nature of dwelling; for another, we are to think of the nature of poetry as a letting-dwell, as a – perhaps even the – distinctive kind of building. If we search out the nature of poetry according to this viewpoint, then we arrive at the nature of dwelling (Heidegger 1971, 213).

This observation (linking poetry to its root meaning of ‘making’) gets right to the heart of the constitution of topopoetics. Poetry, as Heidegger observes, is a kind of building and thus a particularly important kind of dwelling. This building-as- dwelling, however, is more than the practical stuff of constructing in the correct way – it is, in Heidegger’s view, about the essential character of being-in-the world – being in, and with, place. 

1 For a discussion of topos, see Rapp 2010: 7.1.

2 Aristotle Topics 163b28.32.

3 Heidegger was a member of the Nazi Party, a membership he later denounced. There is no doubt that these ideas of dwelling were easily incorporated into a Nazi ideology of proper authentic (Aryan) dwelling counterposed to an inauthentic (Jewish, gay, Romany) form of (non) dwelling. Following Malpas I do not believe that this necessarily means that his ideas are irrecoverably infected.

An engagement with the philosophical basis of topos adds to our original definition of place (above) as a gathering of things, practices and meanings in a particular location. While place is all of these things this definition fails to underline the basic significance of being placed to being-in-the-world. A topopoetic account is one which recognizes the specificity of the nearness of things in place and at the same time focuses our attention on the way in which the poem is itself a form of building and dwelling.

Comment by Place Link on July 18, 2024 at 6:05am

Poems of place are not simply poems about places, rather they are a species of place with a special relationship to what it is to be in (external) place. Included in this is a recognition that poems (as places) have a material existence as a gathering of words (literally ink) on the page which takes a particular spatial form.

Topopoetics means closing the gap between the material form of the poem (topos in the sense of rhetorics) and the earthly world of place (topos as place). It means attending to the presence of place within the poem. To do this the rest of the essay considers the role of blank space, the tension between shape/form and movement and the relationship between the inside and outside of the poem. 2

Blank Space/Full Space Before, there was nothing, or almost nothing; afterwards, there isn’t much, a few signs, but which are enough for there to be a top and a bottom, a beginning and an end, a right and a left, a recto and a verso (Perec 1997, 10). My interest here is in the combined impact of two meanings of topos – as correct form and as place – on understanding poetic approaches to and renditions of place. The act of building and dwelling that is a poem starts with a blank white space. By writing poems we gather that space and give it form.

True – it already has edges and texture (it is, in Perec’s terms “almost nothing”) but words (as place) bring space into existence. The space becomes margins and gaps between words – even holes within letters. This relationship between poem and place and the space that takes shape around it is one of the defining elements of poetry. Glyn Maxwell, in On Poetry, ruminates on blank space and silence in poetry. Regard the space, the ice plain, the dizzying light. That past, that future.

Already it isn’t nothing. At the very least it’s your enemy, and that’s an awful lot. Poets work with two materials, one’s black and one’s white. Call them sound and silence, life and death, hot and cold, love and loss…. … Call it this and that, whatever it is this time, just don’t make the mistake of thinking the white sheet is nothing. It’s nothing for your novelist, your journalist, your blogger. For those folk it’s a tabular rasa, a giving surface. For the poet it is half of everything. If you don’t know how to use it you are writing prose. If you write poems that you might call free and I might call unpatterned then skillful, intelligent use of the whiteness is all that you’ve got (Maxwell 2012, 11). Poems are patterns made from space and which make space. Even before a word is read you can see a poem’s shape – the black against the white in Maxwell’s terms.

This is one of the most pleasing things about poetry and it serves no function at all in a novel or most other forms of writing. Writing a poem is a little form of place creation that configures blankness. This resonates with Wallace Stevens’ ‘Anecdote of the Jar’: I placed a jar in Tennessee, And round it was, upon a hill. It made the slovenly wilderness Surround that hill. The wilderness rose up to it, And sprawled around, no longer wild. The jar was round upon the ground And tall and of a port in air. It took dominion every where. The jar was gray and bare. It did not give of bird or bush, Like nothing else in Tennessee.

Here the roundness of the jar (roundness is repeated throughout the poem in ‘round’, ‘around’ and ‘surround’) orders the “slovenly wilderness” around it – it orders and regulates a kind of blankness (the ‘almost-nothing’ of wilderness) in a contrived and designed way.

Comment by Place Link on July 16, 2024 at 4:45pm

Culture brings nature into perspective and makes it make sense in much the way the marks of the poem make the blank space make sense. Stevens’ jar performs similar functions to Heidegger’s bridge. The poem does the same thing – bringing space into being.

Silence is the acoustic space in which the poem makes its large echoes. If you want to test this write a single word on a blank sheet of paper and stare at it: note the superior attendance to the word the silence insists upon, and how it soon starts to draw out the word’s ramifying sense-

potential, its etymological story, its strange acoustic signature, its calligraphic mark; you are reading a word as poetry (Paterson 2007, 63). Here, British poet Don Paterson suggests that the self-aware special-ness of the poem is created by its being surrounded by blankness, which he equates with silence. There is a merging of sight and sound – pure blankness and silence. The sense of sound is the only sense which has a unique word for absence.

While silence is the absence of sound there is no word for the absence of smell or taste for instance (we have to resort to terms like ‘tasteless’). Perhaps it is for this reason that blank space is compared to silence. It also reminds us of the origins of poetry in spoken forms. The blankness is not just something to be filled but an active component in

the creation of the poem. The blank page is the friend of the poet allowing an infinite variety of form in the simple sense of shape. When the single word appears on the blank sheet the word-as-poem and the space around it are simultaneously brought into being. In this sense, one does not precede the other.

Paterson describes the act of poetry as an emergence out of silence and space. This is not quite right. This assumes the pre-existence of a blankness and silence within which the words emerge.

Perhaps, instead, the blankness is produced by the creative act. The blankness emerges with the noise. There are similarities between the poet’s relationship to blank space and the painter’s relationship to the canvas. They are clearly not the same thing.

In most painting the canvas is covered. The first thing many traditional painters do is cover a canvas with paint and then start to work on the detail. The canvas is obliterated. The poet, on the other hand, cannot fill up the space he or she is confronted with. The poem needs to play with the space and allow the blankness to be part of the process. Don Paterson puts it this way: Our formal patterning most often supplies a powerful typographical advertisement.

What it advertises most conspicuously is that the poem has not taken up the whole page, and con siders itself somewhat important. The white space around the poem then becomes a potent symbol of the poem’s significant intent (Paterson 2007, 62). The space around the poem once written advertises the poem’s importance as special words. (Con't Below)

Comment by Place Link on July 14, 2024 at 6:57am

The painter may paint blankness, applying white paint perhaps but rarely leaves the canvas untouched. But there are also similarities between the blank space of the painter and the poet. One similarity is suggested by Gilles Deleuze in his meditation on Francis Bacon. Here he suggests that the blank canvas that con fronts the painter is not blank at all but invested with every painting ever done before. In fact, it would be a mistake to think that the painter works on a white and virgin surface. The entire surface is already invested virtually with all kinds of clichés, which the painter will have to break with (Deleuze 2005, 11). The image Deleuze gives us is of a painter confronted with the whole tradition of painting right there on the blank space which is no longer blank. This is the same for a poet who has to face the page/screen with the knowledge of all the poems that have gone before. There are all the ballads and sonnets, the free verse and the sesti nas, Caedmon’s Hymn, the long lines of Whitman, the dashes of Dickenson, iambic pentameter, half rhyme, sprung rhythm, spondees, syllabic experiments, language poetry and limericks – all of these pre-figure the first letter written or typed. The space is not blank but dizzyingly full. Returning to Deleuze: It is a mistake to think that the painter works on a white surface. The figurative belief fol lows from this mistake. If the painter were before a white surface, he – or she – could reproduce on it an external object functioning as a model. The painter has many things in his head, or around him, or in his studio. Now everything he has in his head or around him is already in the canvas, more or less virtually, more or less actually, before he begins his work. They are all present in the canvas as so many images, actual or virtual, so that the painter does not have to cover a blank surface, but rather would have to empty it out, clear it, clean it. (Deleuze 2005, 87).

The space of the poet, like that of the artist’s is a space to fill with what gets defined by the words or a seething endless presence of everything that has been written before. Once there is a poem on the page then an act of dwelling has occurred that brings space and place into being. If we move beyond the blankness of the empty page/ screen then we begin to see all the other ways in which space works for the poem. Take any poem, copy it, and apply a thick black marker to the lines of text. You end up with a black shape and a white shape. Space works as margins, as gaps, as signi f iers of intent when the poet does anything other than left align the lines. Naturally this use of space is most pronounced in forms of experimental poetry in the modern ist tradition: concrete poetry, Mallarme’s radical departures from the left margin, the projective verse of the Black Mountain School or the contemporary experimen tation with ‘erasure’. But space and place do their work too in traditional forms. The popularity of the sonnet is partly attributable to the perfect way it sits on the page, announcing itself as a poem. 3 Stasis and Flux The topos of the poem results from its play of ink and the absence of ink.

Comment by Place Link on July 12, 2024 at 8:45am

Something has to appear for space to emerge. Georges Perec makes this clear: This is how space begins, with words only, signs traced on the blank page. To describe space: to name it, to trace it, like those portolano-makers who saturated the coastlines with the names of harbours, the names of capes, the names of inlets, until in the end the land was only separated from the sea by a continuous ribbon of text (Perec 1997, 13).

Perec’s book, Species of Spaces is a catalogue of spaces and places with chapters devoted to “The Apartment”, “The Street” and “The Town” for instance. The first chapter, though, is “The Page”. The page is immediately equivalent to spaces we may more easily think of as the world beyond the page.

The page and its markings are not removed from, and about, the world – they are of the world. In this chapter Perec outlines the nature of a topopoetics in simple terms. Writing, particularly writing poems, is the production of space and place.

It is a cartographic act that combines senses of home and journey. The process of writing creates coordinates – a top and a bottom, left and right, beginning and end. In amongst the words are pauses and hesitations. There is a poetic topological correspondence between the poem and the place it is about. In Peter Stockwell’s account of ‘cognitive poetics’ a key idea is the notion of f igure/ground – the notion that some things appear to be more important, more fluid, more foregrounded while others remain as background and setting (and thus seem ingly less important) (Stockwell 2002).

The first is figure and the second is ground. The figure is prominent and the ground is not. This occurs most obviously in the way characters are more important than the places they are in in novels. Description is often about ground and action involves figures. Figures often move across a

We make our places by doing them –by beating the bounds rather than drawing a line in the sand. Beyond that place of movement is the white of silence. But even that space is being shaped, if only as the negative image of the poem. 4 Inside and Outside One way of thinking about place is to think of it as a singular thing – specific, par ticular, bounded and separate.

The very idea of place is bound up with uniqueness and a sense of division from what lies beyond it. But places are actually connected into networks and flows – they have an extrovert side (Massey 1997). This paradoxi cal sense of separation and connectedness is noted by Malpas.

One of the features of place is the way in which it establishes relations of inside and out side – relations that are directly tied to the essential connection between place and boundary or limit. To be located is to be within, to be somehow enclosed, but in a way that at the same time opens up, that makes possible.

Already this indicates some of the directions in which any thinking of place must move – toward ideas of opening and closing, of concealing and revealing, or focus and horizon, of finitude and “transcendence,” of limit and possibility, of mutual relationality and coconstitution (Malpas 2012b, 2). This feature of place is one that translates into the topos of the poem. Poems too open and close, conceal and reveal. (Con't  below)

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