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Space Oddity: Exercises in Art and Philosophy

edited by

Giulia Gelmi    Università Ca’ Foscari Venezia, Italia    

Anastasia Kozachenko-Stravinsky    Università Ca’ Foscari Venezia, Italia    

Andrea Nalesso    Università Ca’ Foscari Venezia, Italia    



The volume includes papers presented at the 4th Postgraduate International Conference of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice (Venice, 5-7 October 2022). Our understanding of reality is filtered through myriad media, and we have the ability – and power – to gather, ignore, tweak, and explore the information needed to define what we mean by ‘reality’. The concept of ‘space’ – in its broadest sense – plays an essential role in an individual’s explanation of reality, and we must deal with a plurality of models and concepts of it. As elaborated in the text Space and Time in Art, the Russian theologian, philosopher, and art theorist Pavel Florensky states: “all culture can be interpreted as the activity of organising space”. Starting from this culturological reading, Florensky identifies three spatial “dimensions” and three corresponding genres of activity: (1) The space of our strong relations and the activity of ‘Technique’; (2) The mental space and its organisation and the activities of ‘Science’ or ‘Philosophy’; (3) The space between the previous two, and the activity of ‘Art’. Ultimately, all have the same aim: to change reality to reconstruct space. According to leading scholars and critics, the late 1980s saw a “spatial turn” take place in literary, social, and cultural studies. In 1991 Fredric Jameson theorised a shift from the paradigm of time to the paradigm of space, from modernism to postmodernism. The pandemic era has refocused investigation on the present paradigm, where Florensky’s spaces have been concentrated through cyberspace almost overnight. Through the notion of the ‘semiosphere’ – as elaborated by Juri Lotman 100 years ago – we collectively pondered the question: “should we reconsider the concept of space as a cultural category altogether?”.

Dec. 21, 2022
Copyright: © 2022 Giulia Gelmi, Anastasia Kozachenko-Stravinsky, Andrea Nalesso. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

Table of contents

Giulia Gelmi    Anastasia Kozachenko-Stravinsky    Andrea Nalesso   
Dec. 21, 2022
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Display Tools: From Theory to Practice
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Juggling the Presence, Revealing the Concepts
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Reconsidering Hylonoetic Agency in Malafouris’ Material Engagement Theory
Riccardo Valenti   
Dec. 21, 2022
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Cultural Crossroads: In Search of a Common Ground
Apartment on the Kryukov Canal: From an Apartment House to a Communal Apartment
Anastasia Kozachenko-Stravinsky   
Dec. 21, 2022
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Social Dynamics’ Insight: Questioning Power and Community
Andrea Missagia    Feliciano Tosetto   
Dec. 21, 2022
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Permeable Boundaries: Materiality vs Immateriality
A Matter of Coloniality
Lara Barzon   
Dec. 21, 2022
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Representation as Trace of Enunciation
A Contribution on Spatiality in Analogue Photography
Miriam Rejas Del Pino   
Dec. 21, 2022
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Browsing Through a Space in Constant Transformation
Simone Rossi   
Dec. 21, 2022
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Watching the Crucifixion from God’s Point of View
Martin Wiesinger   
Dec. 21, 2022
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Building Narratives, Imagining Realities
Identity and Material Culture in Late Imperial Russia Public Museum Practices
Giulia Gelmi   
Dec. 21, 2022
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