Peter F. Smith

Urban Sculpture: A Kind of Therapy

The author points out that modern environment in its many aspects (phenomenal, social and technological) is creating what has been called ‘culture shock’. Man is being subjected in his daily life to uncertainties and changes that lie beyond his optimum perceptual rate. At the same time, urban environment is being constructed that offers no nourishment to the mind. New construction replacing older buildings invariably manifests a sharp drop in density of interest. The result is a tendency for people to operate within an environment on an increasingly subliminal level of awareness. The mechanics of the brain and its preference for system-maximization give discreet support to this tendency. He believes that the importance of urban design is that it can offer mental stimulation at a level compatible with the optimum perceptual rate, so that the mind does not withdraw, either because of monotony or of sensory overload. To this end, sculpture has a vital role to play, because of its intrinsic interest and its testament to values other than pure utilitarianism. It raises the visual interest of a place, it undermines the incipient tendency of the mind to capitulate to system-maximization. He gives examples of the effective use of sculpture in an urban setting in Europe in the past and in the present. Pour l’auteur l’environnement moderne par ses differents aspects (phénoménal, social, technologique), est en train de créer ce qu’on a appelé un ‘choc culture’. Dans sa vie quotidienne, l’homme est soumis à des incertitudes et à des changements qui dépassent son seuil optimum de perception. En même temps, se dêveloppe un environnement urbain où l’esprit ne peut trouver matière à s’épanouir. Les vieux bâtiments sont progressivement remplacés par de nouveaux dont l’architecture ne suscite que peu d’intêret. Tout cela se concrètise chez l’homme par une tendance à réagir à l’interieur de cet environnement de façon de plus en plus inconsciente. Cette inclination est favorisée par les mécanismes propre du cerveau et sa preference pour les systématisations maximales. L’auteur pense que l’importance de l’urbanisme vient de ce qu’il peut offrir des stimulations mentales à un niveau compatible avec le seuil de perception optimum, de telle sorte que la conscience n’a pas tendance à abdiquer, que ce soit en raison de la monotonie ambiante ou d’une sensibilité atténuée parceque trop surmenée. A cette fin la sculpture a un rôle vital à jouer en fonction de son intêret propre, mais aussi de son message qui donne la prioritê a d’autres valeurs que le simple utilitarisme. La sculpture ressuscite l’intérêt visuel d’un lieu, elle combat la tendance naissante de l’esprit à s’aban-donner a la systématisation maximale. L’auteur donne des exemples de l’utilisation effective de la sculpture dans une ville européenne, aussi bien dans le passé qu’aujourd’hui.

A PSYCHOLOGICAL MODEL FOR AESTHETIC EXPERIENCE

Since World War II three hypothetical models of the way the human brain may work have been proposed on the basis of research by physiologists and psychologists, which the author calls (1) phylogenetic-evolutionary, (2) altitudinal and (3) functional-hierarchical. These models are briefly reviewed. Comments on the implications of these models for vision are made in terms of four proposed attitudes to the way the brain may process information. The first two concern the perceptual modes of the left and right hemispheres of the neocortex; the third the synthesis of neocortical and limbic system activity and the fourth the reaction of the limbic system to stimuli according to built-in criteria. The results of these considerations are applied to aesthetic experience, in particular to an analysis of urban aesthetics of a section of the town of Dartmouth, Devonshire, England. The author concludes that through experience of aesthetic satisfaction a way may be available to bring about a balanced interaction between cortical opposites. If experience brings about structural changes in the brain, as some believe, then those who shape the urban environment have a fearful responsibility as regards the aesthetic responses that they provoke.

The Shape of Space.

Introduction 1. Space and spatial relations 2. Hands, knees and absolute space 3. Euclidean and other shapes 4. Geometrical structures in space and spacetime 5. Shapes and the imagination 6. The aims of conventionalism 7. Against conventionalism 8. Reichenbachs treatment of topology 9. Measuring space: fact or convention? 10. The relativity of motion Bibliography Index.

Philosophical Problems of Modern Physics.

I/Space and Time.- 1. Formulation of the Problem.- 2. The Special Theory of Relativity.- 3. The Structure of Physics in the Theory of Relativity.- 4. Space and Time in the Philosophy of Kant.- 5. Critique of the Concept of Time in the Theory of Relativity.- II/Euclidean And Riemannian Geometry.- 1. Formulation of the Problem.- 2. The Foundation of Euclidean Geometry.- 3. The Theory of the Metric Field.- 4. The Foundation of a Physical Geometry.- 5. Summary.- III/The Quantum-Mechanical Measurement Process.- 1. The Uncertainty Relation.- 2. Quantum Theory.- 3. The Measuring Process.- 4. The Cut.- 5. The Function of the Observer in Quantum Theory.- IV/The Concept of Substance.- 1. The Concept of Substance in Classical Physics.- 2. The Concept of Substance in Quantum Theory.- 3. Objectifiability.- 4. Critique of the Concept of Substance in Quantum Theory.- V/The Causal Law.- 1. The Concept of Causality in Philosophy.- 2. The Concept of Causality in Physics.- 3. The Invalidity of the Causal Law in Quantum Theory.- 4. The Problem of Hidden Parameters.- VI/Logic and Quantum Logic.- 1. Formulation of the Problem.- 2. Classical Logic.- 3. The Logic of Commensurable Properties.- 4. The Logic of Incommensurable Properties.- 5. Probability and Quantum Logic.- 6. Summary.