In this chapter excepted from his book “Art as Experience” the American philosopher John Dewey (1859–1952) explores the relationship between art, imagination, and experience. He analyzes how aesthetic experience is linked to the imaginative aspect of human consciousness. The central role of imagination in transforming reality and forming artistic representations is emphasized. The impact of past experiences on current perception and the significance of the subject’s interaction with the environment are discussed. The text also addresses individualism and objectivism in art, noting their effect on art’s perception and value. Lastly, it reflects on philosophy’s role in understanding and assessing aesthetic experience, stressing the need to integrate various human experiences for a full comprehension of art’s essence.

Relating the panopticon writings to Bentham’s utilitarianism, the author shows that the panopticon’s internal structure is that of a spectacle, or a stage effect, aimed at achieving the greatest effect of the punishment on others, i.e. society at large, with the least inflicted pain on the prisoners themselves. This end involves the “fiction of punishment,” an appearance that functions successfully precisely because reality itself is already structured like a fiction. There is thus a critical distinction to be made between the role of fiction in the panopticon (to deter the prisoners from transgressing) and the deterring role of fiction for the innocents outside the prison. Focusing on the role of the inspector in the panopticon’s central tower rather than on the prisoners in the cells, the author shows that it is the very absence of the inspector that sustains his (fictional) omnipresence for the prisoners; he thereby effectively takes up the place of God, who exists only insofar as we (the prisoners) imagine Him (the inspector) looking at us. God (or the inspector) is thus “an imaginary non-entity” without which, however, the universe (the panopticon) would collapse. In turn, the fear of— or, by extension, the belief in — God paradoxically rests upon the very fact of his fictionality or nonexistence.

The jurist and philosopher, Jeremy Bentham, and his lesser-known brother, Samuel, who was equally talented as a naval architect, engineer, and inventor, had a long-standing connection with Russia. Jeremy aimed to aid Empress Catherine II with her legislative initiatives. In 1780, Samuel sought success in St Petersburg and returned as a Brigadier-General with the concept of the Inspection House, or Panopticon, which was widely publicized by Jeremy. The text details the Benthams’ later engagement with the Russian Empire, particularly Samuel’s chance to construct a Panopticon in St Petersburg in 1806 — the sole example of such a structure built by the Benthams. The work aims to demystify the Panopticon, infamously associated with Michel Foucault, by providing a detailed description of the lesser-known St Petersburg building from archival materials. The Benthams’ dealings with Russia during Alexander I’s reign are portrayed as a notable chapter in Anglo-Russian history, with this article addressing an overlooked aspect of their legacy.

In this chapter excepted from his book “Are We Civilized?” Robert Lowie presents an analysis of how technological inventions have shaped human civilizations. Lowie examines various historical instances showing similar cognitive inertia among primitive peoples and civilized societies during technological advancement. He considers tools like nails, needles, scissors, and saws, highlighting their importance in daily life and technological development. Special attention is given to the craftsmanship and innovations of tribes including the Inuit, North American Indians, Polynesians, and others in blacksmithing, textiles, and pottery. Lowie concludes that the lack of certain technologies in primitive peoples does not indicate mental limitation but rather limited opportunities for innovation. He also discusses how civilized societies often borrow and adapt technologies originally developed by other cultures, enhancing and integrating them into their daily lives. The work emphasizes the importance of creativity and innovation in the progress of civilizations and the need to preserve and study the crafts and traditions of various peoples.

Urban studies, a discipline at the intersection of social and natural sciences, plays a crucial role in defining the parameters for action within city spaces, encompassing both possibilities and limitations. The urban landscape serves as a catalyst and product of social transformation, illustrating the dynamic nature of cities. The article highlights how urban studies has reshaped the agenda across various social sciences through an “urban turn.” Beyond social sciences, urban studies have evolved into a multidisciplinary field, engaging information scientists, ecologists, biologists, engineers, and climate scientists, who view cities as complex systems governed by unique principles. The use of big data and statistical analysis aids in deciphering key urban development trends. On a more immediate level, the study touches upon the role of urban design, architecture, and art history in shaping cityscapes. Additionally, the article delves into the portrayal of cities in fiction, where they often emerge as central characters, providing rich analytical material for both literary critics and urbanists. This comprehensive examination covers various analytical approaches to navigating and understanding urban spaces.

The article examines the phenomenon of the shopping mall in a state of decline as a socio-cultural entity, focusing on its portrayal in visual media. It uses the documentary film “Jasper Mall” (directed by Bradford Thomason and Brett Whitcomb, 2020) as supporting material. This film adopts characteristics from amateur urban exploration footage popularized online in the 2000s, encouraging viewers to contemplate representation issues. The article delves into the historical context of mass mall design in U.S. suburbs, exploring the psychogeography of both operational and declining malls. It contrasts the pseudo-collective space of a functioning mall, which inadvertently fosters customer isolation, with the more socially conducive environment of a declining mall. The complex emotions elicited in declining malls foster social connections. These experiences manifest in film, amateur videos, music, and visual culture. The article investigates gothic motifs in the aesthetics of declining malls and the interplay between urban exploration subcultures and electronic music subgenres like vaporwave and mallsoft. It concludes with insights and hypotheses about the mall’s social and emotional impact on American consumers and its potential future
transformations.

The article conducts a critical analysis of the hipster phenomenon from the perspectives of geographic, material, mental, perceived, and socially produced space. The study is based on Henri Lefebvre’s triadic model and uncovers contradictions within hipsterism that extend beyond the original model. Lefebvre conceptualized space as a coherent structure containing three moments that determined how space is perceived, conceived, and ultimately lived. However, the author’s observations challenge this model, revealing that in hipster spaces, contrary to Lefebvre’s model, these dimensions merge inconsistently and incoherently. The research interaction with hipster space during fieldwork includes participant observation, providing primary sources of perceptions of lived and socially produced dimensions. The direct experience of interacting with its symbolism and order conveyed meaning that was irritating. It expressed certain values that were nevertheless marked by contradictions. Living hipsterism is presented as a realm of contradictions, embodying real and imagined elements, intertwining the materialism of spatial practices with the idealism of space representation. By reinterpreting field notes, the author reveals the overt contradictions between perceived and “conceived” dimensions of hipsterism. The study of the materiality of space and its interpretation uncovers divergences, demonstrating that idealistic elements in the concept of hipsterism often do not take material form. Specific examples are used to elucidate these contradictions, offering a nuanced understanding of how concepts and perceptions of space collide in hipsterism. The article concludes by examining three practical contradictions related to cultural interaction, the denial of the “hipster” label, and the pursuit of authentic experience in a context not connected to heritage or reality. These contradictions become key components of the dynamics of hipsterism, expressing awareness of issues, including gentrification.