The knowledge that shapes the city:the human city beneath the social city

In the Atlanta Symposium (Hillier, 2001, 2003a) a theory of the social constructionof the city was presented. In this paper it is proposed that underlying the variouskinds of social city there is a deeper, more generic human city, which arises from thepervasive intervention of the human cognitive subject in the shaping and workingof the city. This intervention is explored at two critical stages in the forming of thecity: in the 'vertical' form-creating process by which the accumulation of built formscreates an emergent spatial pattern; and in the 'lateral' form-function process bywhich the emergent spatial pattern shapes movement and sets off the process bywhich an aggregate of buildings becomes a living city. The nature of these cognitiveinterventions is investigated by asking a question: how do human beings 'synchronise'diachronically acquired (and diachronically created) spatial information into asynchronic picture of ambient urban spatial patterns, since it is such synchronicpictures which seem to mediate both interventions? A possible answer is sought bydeveloping the concept of 'description retrieval', originally proposed in 'The SocialLogic of Space' as the means by which human beings retrieve abstract informationfrom patterns of relations in the real world. Our ability to retrieve such descriptionhappens, it is argued, at more than one level, and can includes the high-level notionsof the grid which seems to plays a key role in cognitive intervention in the city.Finally we ask what the ubiquity of the human cognitive subject in the formation ofthe city implies for how we should see cities as complex systems. It is argued that,as with language, there is a 'objective subject' at the heart of the processes by whichcities come into existence, and that this provides us both with the need and themeans to mediate between the social physics paradigm of the city, with its focus onthe mathematics of the generation of the physical city and phenomenologicalparadigm with its - too often anti-mathematical - focus on the human experience ofthe city. Since the intervention of the cognitive subject involves formal ideas andhas formal consequences for the structure of the city, we cannot, it is argued, explaineither without the other

Towards general spatial intelligence

The goal of General Spatial Intelligence is to present a unified theory to support the various aspects of spatial experience, whether physical or cognitive. We acknowledge the fact that GIScience has to assume a particular worldview, resulting from specific positions regarding metaphysics, ontology, epistemology, mind, language, cognition and representation. Implicit positions regarding these domains may allow solutions to isolated problems but often hamper a more encompassing approach. We argue that explicitly defining a worldview allows the grounding and derivation of multi-modal models, establishing precise problems, allowing falsifiability. We present an example of such a theory founded on process metaphysics, where the ontological elements are called differences. We show that a worldview has implications regarding the nature of space and, in the case of the chosen metaphysical layer, favours a model of space as true spacetime, i.e. four-dimensionality. Finally we illustrate the approach using a scenario from psychology and AI based planning

Reenactment: An embodied cognition approach to meaning and linguistic content

A central finding in experimental research identified with Embodied Cognition (EC) is that understanding actions involves their embodied simulation, i.e. executing some processes involved in performing these actions. Extending these findings, I argue that reenactment – the overt embodied simulation of actions and practices, including especially communicative actions and practices, within utterances – makes it possible to forge an integrated EC-based account of linguistic meaning. In particular, I argue: (a) that remote entities can be referred to by reenacting actions performed with them; (b) that the use of grammatical constructions can be conceived of as the reenactment of linguistic action routines; (c) that complex enunciational structures (reported speech, irony, etc.) involve a separate level of reenactment, on which characters are presented as interacting with one another within the utterance; (d) that the segmentation of long utterances into shorter units involves the reenactment of brief audience interventions between units; and (e) that the overall meaning of an utterance can be stated in reenactment terms. The notion of reenactment provides a conceptual framework for accounting for aspects of language that are usually thought to be outside the reach of EC in an EC framework, thus supporting a view of meaning and linguistic content as thoroughly grounded in action and interaction

The Knowledge Level in Cognitive Architectures: Current Limitations and Possible Developments

In this paper we identify and characterize an analysis of two problematic aspects affecting the representational level of cognitive architectures (CAs), namely: the limited size and the homogeneous typology of the encoded and processed knowledge. We argue that such aspects may constitute not only a technological problem that, in our opinion, should be addressed in order to build articial agents able to exhibit intelligent behaviours in general scenarios, but also an epistemological one, since they limit the plausibility of the comparison of the CAs' knowledge representation and processing mechanisms with those executed by humans in their everyday activities. In the final part of the paper further directions of research will be explored, trying to address current limitations and future challenges

Are creative cities good places for creative people? notes on the social conditions for cultural production in contemporary economy

Purpose: This paper discusses the social conditions for cultural production in contemporary cities, in the context of a globalized economy, with rising importance of the integration of cognitive, symbolic and emotional elements into tradable products and services. Although the agglomeration dynamics of creative activities in urban contexts and the social or spatial inequalities related to processes of urban reorganization in Post-Fordist societies have been analysed in the last years, the interrelations between these aspects still lack adequate investigation and empirical analysis. Methodology/Approach: By synthetizing diverse theoretical contributions related to different levels and interactions arising from creative activities, their transformations into tradable products (commodification) and some of their spatial implications in the urban context (agglomeration, externalities, identity, place branding and gentrification), the article emphasizes the different benefits obtained by the agents involved in this process, potentially contributing for increasing social conflicts and to a process of cultural homogenization with negative implications on the uniqueness and authenticity of places. Findings: Benefits arising from the externalities generated by the agglomeration of cultural production and creative activities can be framed within the "Common Pool of Resources" approach, suggesting that a more balanced share of the benefits can be obtained by means of participatory processes for city planning and development. Research Limitation/implication:The paper is based on a conceptual approach and further empirical research can be useful in order to test the formulations proposed. Originality/Value of paper: This analysis leads to the identification of different questions for further research, by combining quantitative analysis for the measurement of cultural and creative externalities and modelling processes for the distribution of benefits arising from cultural production, with qualitative analysis related to participatory processes of urban planning and monitoring

The benefits of prototypes: The case of medical concepts

In the present paper, we shall discuss the notion of prototype and show its benefits. First, we shall argue that the prototypes of common-sense concepts are necessary for making prompt and reliable categorisations and inferences. However, the features constituting the prototype of a particular concept are neither necessary nor sufficient conditions for determining category membership; in this sense, the prototype might lead to conclusions regarded as wrong from a theoretical perspective. That being said, the prototype remains essential to handling most ordinary situations and helps us to perform important cognitive tasks. To exemplify this point, we shall focus on disease concepts. Our analysis concludes that the prototypical conception of disease is needed to make important inferences from a practical and clinical point of view. Moreover, it can still be compatible with a classical definition of disease, given in terms of necessary and sufficient conditions. In the first section, we shall compare the notion of stereotype, as it has been introduced in philosophy of language by Hilary Putnam, with the notion of prototype, as it has been developed in the cognitive sciences. In the second section, we shall discuss the general role of prototypical information in cognition and stress its centrality. In the third section, we shall apply our previous discussion to the specific case of medical concepts, before briefly summarising our conclusions in section four

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences