This book promotes curiosity, exploration and learning about difference by paying as much attention as to how we learn (process) as to what we learn (content). It shares the thinking, experience and learning of staff at the Tavistock Clinic, the premier psychotherapy training institution in the NHS.

The cafe is not only a place to enjoy a cup of coffee, it is also a space - distinct from its urban environment - in which to reflect and take part in intellectual debate. Since the eighteenth century in Europe, intellectuals and artists have gathered in cafes to exchange ideas, inspirations and information that has driven the cultural agenda for Europe and the world. Without the café, would there have been a Karl Marx or a Jean-Paul Sartre? The café as an institutional site has been the subject of renewed interest amongst scholars in the past decade, and its role in the development of art, ideas and culture has been explored in some detail. However, few have investigated the ways in which cafés create a cultural and intellectual space which brings together multiple influences and intellectual practices and shapes the urban settings of which they are a part. This volume presents an international group of scholars who consider cafés as sites of intellectual discourse from across Europe during the long modern period. Drawing on literary theory, history, cultural studies and urban studies, the contributors explore the ways in which cafes have functioned and evolved at crucial moments in the histories of important cities and countries - notably Paris, Vienna and Italy. Choosing these sites allows readers to understand both the local particularities of each café while also seeing the larger cultural connections between these places. By revealing how the café operated as a unique cultural context within the urban setting, this volume demonstrates how space and ideas are connected. As our global society becomes more focused on creativity and mobility the intellectual cafés of past generations can also serve as inspiration for contemporary and future knowledge workers who will expand and develop this tradition of using and thinking in space.

Thinking Space looks at a range of social theorists and asks what role space plays in their work, what difference (if any) it makes to their concepts, and what difference such an appreciation makes to the way we might think about space.

The preoccupation with “depth” and its relevance to cinema and media studies For decades the concept of depth has been central to critical thinking in numerous humanities-based disciplines, legitimizing certain modes of inquiry over others. Deep Mediations examines why and how this is, as scholars today navigate the legacy of depth models of thought and vision, particularly in light of the “surface turn” and as these models impinge on the realms of cinema and media studies. The collection’s eighteen essays seek to understand the decisive but evolving fixation on depth by considering the term’s use across a range of conversations as well as its status in relation to critical methodologies and the current mediascape. Engaging contemporary debates about new computing technologies, the environment, history, identity, affect, audio/visual culture, and the limits and politics of human perception, Deep Mediations is a timely interrogation of depth’s ongoing importance within the humanities. Contributors: Laurel Ahnert; Taylor Arnold, U of Richmond; Erika Balsom, King’s College London; Brooke Belisle, Stony Brook University; Jinhee Choi, King’s College London; Jennifer Fay, Vanderbilt U; Lisa Han, UC Santa Barbara; Jean Ma, Stanford U; Shaka McGlotten, Purchase College-SUNY; Susanna Paasonen, U of Turku, Finland; Jussi Parikka, U of Southampton; Alessandra Raengo, Georgia State U; Pooja Rangan, Amherst College; Katherine Rochester, VIA Art Fund in Boston; Karl Schoonover, University of Warwick (UK); Jordan Schonig, Michigan State U; John Paul Stadler, North Carolina State U; Nicole Starosielski, New York U; Lauren Tilton, U of Richmond.

The cafe is not only a place to enjoy a cup of coffee, it is also a space - distinct from its urban environment - in which to reflect and take part in intellectual debate. Since the eighteenth century in Europe, intellectuals and artists have gathered in cafes to exchange ideas, inspirations and information that has driven the cultural agenda for Europe and the world. Without the café, would there have been a Karl Marx or a Jean-Paul Sartre? The café as an institutional site has been the subject of renewed interest amongst scholars in the past decade, and its role in the development of art, ideas and culture has been explored in some detail. However, few have investigated the ways in which cafés create a cultural and intellectual space which brings together multiple influences and intellectual practices and shapes the urban settings of which they are a part. This volume presents an international group of scholars who consider cafés as sites of intellectual discourse from across Europe during the long modern period. Drawing on literary theory, history, cultural studies and urban studies, the contributors explore the ways in which cafes have functioned and evolved at crucial moments in the histories of important cities and countries - notably Paris, Vienna and Italy. Choosing these sites allows readers to understand both the local particularities of each café while also seeing the larger cultural connections between these places. By revealing how the café operated as a unique cultural context within the urban setting, this volume demonstrates how space and ideas are connected. As our global society becomes more focused on creativity and mobility the intellectual cafés of past generations can also serve as inspiration for contemporary and future knowledge workers who will expand and develop this tradition of using and thinking in space.

This volume offers an integrated understanding of how the theory of general relativity gained momentum after Einstein had formulated it in 1915. Chapters focus on the early reception of the theory in physics and philosophy and on the systematic questions that emerged shortly after Einstein's momentous discovery. They are written by physicists, historians of science, and philosophers, and were originally presented at the conference titled Thinking About Space and Time: 100 Years of Applying and Interpreting General Relativity, held at the University of Bern from September 12-14, 2017. By establishing the historical context first, and then moving into more philosophical chapters, this volume will provide readers with a more complete understanding of early applications of general relativity (e.g., to cosmology) and of related philosophical issues. Because the chapters are often cross-disciplinary, they cover a wide variety of topics related to the general theory of relativity. These include: Heuristics used in the discovery of general relativity Mach's Principle The structure of Einstein's theory Cosmology and the Einstein world Stability of cosmological models The metaphysical nature of spacetime The relationship between spacetime and dynamics The Geodesic Principle Symmetries Thinking About Space and Time will be a valuable resource for historians of science and philosophers who seek a deeper knowledge of the (early and later) uses of general relativity, as well as for physicists and mathematicians interested in exploring the wider historical and philosophical context of Einstein's theory.

In Toward a Directionalist Theory of Space: On Going Nowhere, H. Scott Hestevold formulates a new relationalist theory of space by appealing to the view that the universe is directioned in the sense that there exist directional relations—a class of spatial relations that Leibniz overlooked. Extending the directionalist/relationalist theory of space to the problem of when it is that discrete objects compose a whole, Hestevold revisits his answer to the Special Composition Question. He also uses the directionalist/relationalist theory to formulate reductivist theories of boundaries and holes—theories that may allow one to resist the view that boundaries and holes are ontologically parasitic entities. Finally, he explores directionalism/relationalism vis-à-vis spacetime. After noting findings of modern physics that favor substantivalist spacetime and then developing metaphysical concerns that favor instead directionalist/relationalist spacetime, Hestevold notes the ontological benefit of endorsing spatiotemporal directional relations even if spacetime substantivalism is the winning theory.

The interaction between color and architecture determines our perception of space, and defines the tectonic relationships. The fascinating spatial potential of color, and the multi-layered dimensions of interpretation in the experience of color are design and communication means which, however, are often not fully used – color oscillates between autonomy and functional purpose, and should be understood as a distinct "material" that can be used as part of the design. The book focuses both on the tangible aspects and design criteria of color, and on its indeterminate nature and its experience value. Using examples in art and architecture, the spatial interdependency of color is illustrated, as is its interaction with structure, light, and geometry.

Existing art theory is obsessed by theories of spectatorship based on concepts of signification derived from language. This book shows the weakness of such a perspective, and, as an alternative, argues that individual aesthetic transformations of pictorial structure change one’s experience of space. In addition, it proves that this transformation is an ongoing process; pictorial art is progressively articulated through historical development, and is, therefore able to increase its cognitive and aesthetic scope. To support such a perspective, the book brings together ideas from Ernst Cassirer and Paul Crowther. Cassirer’s philosophy of symbolic forms offers a profound way of understanding historical transformations in our experience of space, and Crowther’s work on imagination and aesthetics shows how this can be extended to pictorial space and the uniqueness of pictorial art. By combining the two approaches, it is demonstrated how pictorial art extends our basic involvement in, and cognition of, space, and provides it with a special kind of aesthetic meaning.

-Guiding principles for designing new work and learning environments, with the aim of enhancing and stimulating creativity -Twenty outstanding and wide-ranging examples, from offices and schools to research facilities -Interviews with the designers and users of these 'creative spaces' reveal their functionality in practice Businesses and schools today are looking for ways to spur the kind of creative thinking that leads employees and students to generate innovative ideas. Many are finding that the physical spaces in which people work and learn can provide a strong impetus to follow a creative train of thought. Space for Creative Thinking puts this trend into the knowledge-work context, discussing the underlying design concepts that factor into making a space that stimulates original thinking. The book follows this outline of theory with twenty compelling examples, which range from offices and schools to research facilities. Each case study is presented through photographs, as well as interviews with both designers and users. It concludes with a brief set of guiding principles for designing spaces that capture the essence of a Creative Thinking Space.