Architecture, Philosophy, and the Pedagogy of Cinema
Philosophers on the art of cinema mainly remain silent about architecture. Discussing cinema as âmass artâ, they tend to forget that architecture, before cinema, was the only existing âmass artâ. In this work, author Nadir Lahiji proposes that the philosophical understanding of the collective human sensorium in the apparatus of perception must once again find its true training ground in architecture.
Building art puts the collective mass in the position of an âexpert criticâ who identifies themselves with the technical apparatus of architecture. Only then can architecture regain its status as âmass artâ and, as the book contends, only then can it resume its function as the only âartformâ that is designed for the political pedagogy of masses, which originally belonged to it in the period of modernity before the invention of cinema.
Philosophers on the art of cinema mainly remain silent about architecture. Discussing cinema as âmass artâ, they tend to forget that architecture, before cinema, was the only existing âmass artâ. In this work, author Nadir Lahiji proposes that the philosophical understanding of the collective human sensorium in the apparatus of perception must once again find its true training ground in architecture.
Building art puts the collective mass in the position of an âexpert criticâ who identifies themselves with the technical apparatus of architecture. Only then can architecture regain its status as âmass artâ and, as the book contends, only then can it resume its function as the only âartformâ that is designed for the political pedagogy of masses, which originally belonged to it in the period of modernity before the invention of cinema.
Description
Philosophers on the art of cinema mainly remain silent about architecture. Discussing cinema as âmass artâ, they tend to forget that architecture, before cinema, was the only existing âmass artâ. In this work, author Nadir Lahiji proposes that the philosophical understanding of the collective human sensorium in the apparatus of perception must once again find its true training ground in architecture.
Building art puts the collective mass in the position of an âexpert criticâ who identifies themselves with the technical apparatus of architecture. Only then can architecture regain its status as âmass artâ and, as the book contends, only then can it resume its function as the only âartformâ that is designed for the political pedagogy of masses, which originally belonged to it in the period of modernity before the invention of cinema.
