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Buildings as non-human narrators: Between post-phenomenological and object-oriented architectural geographies
Transactions of the Institute of British Geographers ( IF 3.3 ) Pub Date : 2021-04-20 , DOI: 10.1111/tran.12457 Tania Rossetto 1 , Giada Peterle 1
Transactions of the Institute of British Geographers ( IF 3.3 ) Pub Date : 2021-04-20 , DOI: 10.1111/tran.12457 Tania Rossetto 1 , Giada Peterle 1
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This paper intervenes in the current debate on architectural geography and the lives of buildings, aiming to provide some suggestions in light of the recent development of post-phenomenological and object-oriented geographical theorisation. Despite the fact that new non-representational approaches in architectural geography do pay attention to the materialities and agencies of non-human actors, we argue that such readings often tend to remain phenomenological and human-centred and fail to experiment more radically with a post-phenomenological, object-centred stance. Analysing an example of filmic it-narration by a fictional speaking building, namely Wim Wenders’ The Berlin Philharmonic (2014), we situate the device of non-human narration as an experimental field for advancing a critical reflection on geographic epistemologies. Critically analysed in its paradoxes and oscillations, with its double dialectic of both empathy and defamiliarisation, it-narration provides new insights into architectural geographies by enacting a post-phenomenology that is consciously and aesthetically object-oriented. We take both architectural geography and narratology as a testing ground to show the possibilities of expanding such conceptualisation within a broader range of geographical subfields.
中文翻译：
作为非人类叙述者的建筑：在后现象学和面向对象的建筑地理学之间
本文介入当前关于建筑地理学和建筑生活的争论，旨在根据后现象学和面向对象地理学理论的最新发展提供一些建议。尽管建筑地理学中新的非再现方法确实关注非人类行为者的物质性和能动性，但我们认为这种解读往往倾向于保持现象学和以人为中心，并且无法更激进地尝试后现象学的、以对象为中心的立场。分析一个虚构的演讲建筑，即 Wim Wenders的柏林爱乐乐团的电影叙事示例（2014），我们将非人类叙述的装置作为一个实验领域，以推进对地理认识论的批判性反思。通过对它的悖论和振荡进行批判性分析，它具有同理心和陌生化的双重辩证法，它通过制定一种有意识和美学上面向对象的后现象学，为建筑地理学提供了新的见解。我们将建筑地理学和叙事学作为试验场，以展示在更广泛的地理子领域内扩展这种概念化的可能性。
更新日期：2021-04-20
中文翻译：
作为非人类叙述者的建筑：在后现象学和面向对象的建筑地理学之间
本文介入当前关于建筑地理学和建筑生活的争论，旨在根据后现象学和面向对象地理学理论的最新发展提供一些建议。尽管建筑地理学中新的非再现方法确实关注非人类行为者的物质性和能动性，但我们认为这种解读往往倾向于保持现象学和以人为中心，并且无法更激进地尝试后现象学的、以对象为中心的立场。分析一个虚构的演讲建筑，即 Wim Wenders的柏林爱乐乐团的电影叙事示例（2014），我们将非人类叙述的装置作为一个实验领域，以推进对地理认识论的批判性反思。通过对它的悖论和振荡进行批判性分析，它具有同理心和陌生化的双重辩证法，它通过制定一种有意识和美学上面向对象的后现象学，为建筑地理学提供了新的见解。我们将建筑地理学和叙事学作为试验场，以展示在更广泛的地理子领域内扩展这种概念化的可能性。
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