The Vitruvian Man is a metaphor for the “ideal man” by feminist posthuman philosopher Rosi Braidotti (2013) as a proxy for eurocentric humanist ideals. The first half of this paper extends Braidotti's concept by thinking about the metaphor of the “ideal nurse” (Vitruvian nurse) and how this metaphor contributes to racism, oppression, and burnout in nursing and might restrict the professionalization of nursing. The Vitruvian nurse is an idealized and perfected form of a nurse with self‐sacrificial language (re)producing self‐sacrificing expectations. (...) The second half of this paper looks at how regulatory frameworks (using the example of UK's Nursing and Midwifery Council Code of Conduct) institutionalize the conditions of possibility through collective imaginations. The domineering expectations found within the Vitruvian nurse metaphor and further codified by regulatory frameworks give rise to boredom and burnout. The paper ends by suggesting possible ways to diffract regulatory frameworks to practice with affirmative ethics and reduce feelings of self‐sacrifice and exhaustion among nurses. (shrink)

Robots are simultaneously real machines and technical images that challenge our sense of self. I discuss the movie Ex Machina by director Alex Garland. The robot Ava, played by Alicia Vikander, is a rare portrait of what could be interpreted as a feminist robot. Though she apparently is created as the dream of the ‘perfect woman’, sexy and beautiful, she also develops and urges to free herself from the slavery of her creator, Nathan Bateman. She is a robot created along (...) the perfect dimensions as a Vitruvian robot but is also a creature which could be interpreted as a human being. However, the point I want to raise is not whether Ava’s reaction to robot slavery is justified or not but how her portrait raises questions about the blurred lines between reality and fiction when we discuss our robotic future. A real version of Ava would not last long in a human world because she is basically a solipsist, who does not really care about humans. She cannot co-create the line humans walk along. The robots created as ‘perfect women’ today are very far from the ideal image of Ava. They are sexist, primitively normative and clearly ‘wax-doll machines’. So though Ava’s dimensions are perfect she, like the Vitruvian Man, remains a fiction. In real life, however, we may have to deal with an increasing solipsism stemming from people engaging with machines like sex robots. In this case, it is human and not robotic solipsism we need to worry about. (shrink)

The Vitruvian Man of Leonardo da Vinci is one of the most famous and most studied drawings over the world as well as one of the most reproduced ones, e.g. in coins, space suit patches, books and movies. The aim of the present work is to discuss the Vitruvian Man as a figurative representation of the Leonardo’s scientific method. Our analysis is based on scientific elements both present in the drawing and provided by Leonardo in his approach to this drawing. (...) Our thesis is that the square symbolizes the measurable physical world and that the man inscribed within the square refers to the physics measurement process based on the operational definition of quantities, including the measurement unit system and the quantities conversion factors. Therefore, the measurement process is fundamental for the Leonardo’s approach to the scientific knowledge, albeit, the drawing also suggests that this latter does not correspond with the true knowledge. The circle, which has a different center with respect to the square, symbolizes the truth, to which the man inscribed in the square yearns, without ever achieving it, the truth being reachable only by the man inscribed within the circle. (shrink)

A critical note on Paul Guyer’s A Philosopher Looks at Architecture (2021). In his book, Paul Guyer proposes that the Vitruvian triad of venustas, utilitas, and firmitas represents central goals and normative values of architecture – ideals that architects should realize and success criteria regarding their realization – that persist through time, place, cultural settings, and other contextual parameters. Indeed, the triad presents sufficiently abstract goals that many disparate views in architectural theory may be subsumed under the triad as distinctive (...) ways of explaining how architecture may be beautiful, functional, or structurally sound. These are significant thematic values by which we experience and judge architecture (as are also useful in gauging other human pursuits), and which architects draw on in their creative acts. There is much to recommend this broad picture of the triad as architectural ideals. That said, I suggest two difficulties for Guyer’s claim as to the centrality of these values, relative to architectural success regardless of Vitruvian goal-satisfaction; and to non-persistence across architectural cultures. (shrink)

The study aims to contribute to understand the Vitruvian design system through the analysis of the temples described in the text leading to the three key concepts related: proportio, commensus and commodulatio. At first, it is proposed a conceptual discussion about the origin of the compositional elements, and further it is discussed the concept of proportio as an operation of sizing and scaling these elements individually. Analyzed the definition and types of elements, it is proposed to continue the discussion on (...) the relationship that must be built as a way of associating elements in a consistent way, leading to the notion of symmetria, understood as an ideal state in which the elements maintain dimensional and/or geometrical relationships between them, creating a relational harmony. From the operational point of view, it is sought to demonstrate that the Vitruvian symmetria is fetched from two types of relations: a modular and a dimensional. (shrink)

Renaissance Vitruvianism provides a broad context in which to situate the architecture of Tycho Brahe’s Uraniborg, but fails to account for the motivation behind Tycho’s design, for how Tycho knew Vitruvian design principles, and for any of Uraniborg’s specific features. Identifying Uraniborg as a Palladian design fares even worse. Some of Uraniborg’s features can, however, be understood in terms of talismanic ideas such as those circulating in sources such as Agrippa’s De occulta philosophia (which Tycho possessed) and Dee’s Propaedeumata (...) aphoristica. Of the several kinds of talisman possible, those of interest were intended to manipulate astral influences by mathematical resonance. Regardless of whether Tycho believed in talismanic efficacy, his early meteorological convictions make talismanic motifs a plausible inspiration for Uraniborg’s design. (shrink)

The Origin of Scientific Notions in the Circle of the Roman Accademia della Virtù around 1550. Between c. 1537 and 1555 a group of humanists, clerics, architects and philologists known as the so‐called Accademia della Virtù got together in Rome to work on a program which was formulated in a letter by the Sienese humanist Claudio Tolomei in 1542 and published in 1547. Starting out with the intention to understand the only surviving antique book on architecture and architectural theory – (...) Vitruvius’ De architectura libri decem – the program describes a series of 24 books, eleven containing the classical text and its translation with commentaries, 13 books systematically illustrating and documenting all known and available material remains from Roman antiquity. This program for a scientific classical archaeology in a modern sense was not only intended to serve the intellectual curiosity of some humanist antiquarians but to help architects and their patrons to develop a new architecture of the same high quality as the idealized Roman examples. To achieve this practical as well as theoretical goal it was obviously necessary to re‐create the antique vocabulary of architecture and its rules as well as to unify the contemporary usage of notions and norms in a canon. The first results of this project seem to be the In decem Libros M. Vitruvii Pollionis de Architectura Annotationes by Guillaume Philandrier (Rome, 1544) – up to this day a very valuable explanation of ambiguous parts in the Vitruvian text. Until the 1980s, it was believed that this book was the only outcome of the ambitious project; but then two codices of drawings after antique reliefs were identified as preparations for one of the other 23 volumes – and, because of their systematic approach, regarded as the ‘first systematic archaeological book’. Now it seems that there are some other corpora of manuscripts and drawings documenting antique artifacts that should be regarded as results of the Accademia’s work, too, showing antique buildings, inscriptions and coins. Other results of the unfinished project may be the theoretical and practical works of the two most influencial architects of the sixteenth century: Jacopo Barozzi da Vignola and Andrea Palladio. (shrink)

Objective: Based upon notions to a mental vision of the Vitruvian Man, to determine if any obvious asymmetries exist within Leonardo da Vinci’s timeless schematic—which is famous for its highly symmetrical presentation. Methods: A qualitative analysis performed upon a Vitruvian Man print (taken from the namesake Wikipedia article) to: closely examine if the man’s head is positioned to noticeably tilt toward either direction—left or right—of a dissecting line superimposed for equally splitting (vertically) the circle in the schematic; and, to closely (...) examine the man’s eyes for any artistic asymmetry therein drawn. Results: The man’s head is determined tilting toward his right half/hemisphere of the circle. Also noticeable: the man’s right eye appears being of a much brighter look relative to a darkness observable about his left eye; and, an outline to an inverted equilateral triangle is identifiably shaded surrounding his left eye, whereas a more contrastingly circular shape appears as so shaded around his right eye. Discussion: Once a certain awareness is drawn to such artistic anomalies, they can become so clearly observable that one may wonder if Leonardo da Vinci did as much intentionally. And if so, then why? This paper details a hypothesis necessarily built upon the assumption that Leonardo intentionally embedded such cues within his Vitruvian Man whereby speculations toward a hemispheric brain theory can be established of such cryptic nature, given a then-pronouncedly authoritarian Catholic Church, whereupon he may have figured it possible to receive credit posthumously if ever such notions were proven valid. Incidentally, the concerning analysis as to why the Vitruvian Man’s head tilts in such a fashion aligns with Dr. Iain McGilchrist’s peer-reviewed findings to a hemispheric hypothesis. (shrink)

The article discusses the modern philosophical concepts of transhumanism and posthumanism. The central issue of these concepts is “What is the posthuman?” The 21st century is marked by a contradictory understanding of the role and status of the human. On the one hand, there comes the realization of human hegemony over the whole world around: in the 20th century mankind not only began to conquer outer space, invented nuclear weapons, made many amazing discoveries but also shifted its attention to itself (...) or rather to the modification of itself. Transhumanist projects aim to strengthen human influence by transforming human beings into other, more powerful and viable forms of being. Such projects continues the project of human “deification.” On the other hand, acknowledging the onset of the new geological epoch of the Anthropocene, there comes the rejection of classical interpretations of the human. The categories of historicity, sociality and subjectivity are no longer so anthropocentric. In the opinion of the posthumanists, the project of the Vitruvian man has proven to be untenable in the present-day environment and is increasingly criticized. The reflection on the phenomenon of the human and his future refers to the concepts that explore not only human but also non-human. Very often we can find a synonymous understanding of transhumanism and posthumanism. Although these movements work with the same modern constructs and concepts but interpret them in a fundamentally different way. The discourse of transhumanism refers to the Cartesian opposition of the body and the mind. Despite the sacralization of technology and the desire to purify the posthuman from such seemingly permanent attributes of the living as aging and death, transhumanism in many ways continues the ideas of the Enlightenment. For posthumanists, the subject is nomadic and a kind of assembly of human, animal, digital, chimerical. Thus, in posthumanism the main maxim of humanism about the human as the highest value is rejected – the human ceases to be “the measure of all things.”. (shrink)

Marcantonio Raimondis so-called Caryatid Façade has received scant attention, yet it occupies an important place in the printmakers oeuvre and was widely admired and imitated in the sixteenth century. The image, which features an architectural façade adorned with Caryatid and Persian porticoes and an oversized female capital, does not fit easily with the usual narrative about Raimondis career in Rome, summed up in Vasaris account that he collaborated with Raphael to publicise the masters storie. Rather than being an illustration of (...) a religious or mythological subject, it brings together architectural fantasia, archaeology and Vitruvian studies, reflecting on the origins of the orders and the nature of architectural ornament. Arguably, it is also an indirect trace of Raphaels unfinished projects to reconstruct Rome and to collaborate with humanist Fabio Calvo and others on a new, illustrated edition of Vitruvius. (shrink)

The eighteenth and nineteenth centuries witnessed a change in the perception of the arts and of philosophy. In the arts this transition occurred around 1800, with, for instance, the breakdown of Vitruvianism in architecture, while in philosophy the foundationalism of which Descartes and Spinoza were paradigmatic representatives, which presumed that philosophy and the sciences possessed a method of ensuring the demonstration of truths, was undermined by the idea, asserted by Nietzsche and Wittgenstein, that there exist alternative styles of enquiry (...) among which a choice is open. The essays in this book examine the circumstances, features, and consequences of this historical transition, exploring in particular new aspects and instances of the inter-relatedness of content and its formal representation in both the arts and philosophy. (shrink)

Sylvia Wynter, novelist, dramatist, cultural critic, and philosopher, has called for a new poetics that “will have to take as its referent subject, that of the concrete individual human subject”. By “referent subject” Wynter means a shared sense, poetic in nature, that can nevertheless exclude many who are also expected to live it. Man, Wynter argues, as a referent subject first appeared in the Italian Renaissance. As Walter Mignolo has argued, this way of representing an individual is made visual in (...) Leonardo da Vinci’s Vitruvian Man, a man of perfect... (shrink)

The eighteenth and nineteenth centuries witnessed a change in the perception of the arts and of philosophy. In the arts this transition occurred around 1800, with, for instance, the breakdown of Vitruvianism in architecture, while in philosophy the foundationalism of which Descartes and Spinoza were paradigmatic representatives, which presumed that philosophy and the sciences possessed a method of ensuring the demonstration of truths, was undermined by the idea, asserted by Nietzsche and Wittgenstein, that there exist alternative styles of enquiry (...) among which a choice is open. The essays in this book examine the circumstances, features, and consequences of this historical transition, exploring in particular new aspects and instances of the inter-relatedness of content and its formal representation in both the arts and philosophy. (shrink)

This article argues that Vitruvius’ description of Julius Caesar's ‘discovery’ of the larch (larix, De arch. 2.9.15–16), previously read as a journalistic account of the author's first-hand experience in Caesar's military entourage, should instead be interpreted as a highly crafted morality tale illustrating human progress thwarted. In the passage, the use of larch wood to construct a defensive tower renders the Alpine fortress at Larignum impregnable to assault by fire; only the fear aroused by siege provokes the inhabitants to surrender (...) to Caesar and his troops (2.9.15–16). Nevertheless, the outcome of this discovery is not a complete victory, because the logistics of importing this remarkable timber to Rome are as yet insurmountable (2.9.16). Once the siege of Larignum is recognized as a diptych to Vitruvius’ narrative of the origins of civilization, in which fire and wood likewise play essential roles (2.1.1–7), and compared with similar aitia and source histories across the De architectura, it becomes clear that Larignum and its resources emblematize obstacles to a Vitruvian conception of imperial success, in which the city of Rome catalogues and indexes architectural knowledge amassed throughout the empire. (shrink)

Summary The reception process of Aristotle's Mechanical Questions during the early modern period began with the publication of the corpus aristotelicum between 1495 and 1498. Between 1581 and 1627, two of the thirty-five arguments discussed in the text, namely Question XIV concerning the resistance to fracture and Question XVI concerning the deformation of objects such as timbers, became central to the work of the commentators. The commentaries of Bernardino Baldi (1581–1582), Giovanni de Benedetti (1585), Giuseppe Biancani (1615) and Giovanni di (...) Guevara (1627) gradually approached the doctrine of proportions of the Renaissance architects, some aspects of which deal with the strength of materials according to the Vitruvian conception of scalar building. These aspects of the doctrine of proportions were integrated into the Aristotelian arguments so that a theory of linear proportionality concerned with the strength of materials could be formulated. This very first theory of strength of materials is the theory to which Galileo critically referred in his Discorsi where he published his own theory of strength of materials. Economic and military constraints are determined as the fundamental reasons for the commentators’ commitment to developing a theory of strength of materials that later linked Galileo's work to the practical knowledge of the architects and machine-builders of his time. (shrink)

Discussions of green design and sustainable architecture have become common in the architectural profession, but not in philosophy. This is unfortunate, as philosophers could make important contributions to this discussion, given that these terms rife with ambiguities and that the relationships between these ideas and the traditional Vitruvian values of architecture (beauty, structure, and utility) are unclear. In a recent article, Tom Spector addresses some of these issues to assess whether the notion of sustainability could underpin an entire design philosophy. (...) He concludes that it cannot. I argue that Spector’s argumentsare flawed. After discussing the history of green design, I connect a number of theories in the new field of environmental aesthetics to the question of architectural aesthetics to show how sustainability might inform architecture. (shrink)

The present article explores the productive afterlife of the Vitruvian anecdote concerning Aristippus’s shipwreck on the shore of Rhodes. Known to several medieval scholars, the anecdote came into vogue during the Renaissance, when it was transformed into a potent metaphor mobilised by moralists, educators and religious authors. Not until the sixteenth century, however, did mathematicians come to recognise the value in appropriating the metaphor as a means to elevate the dignity of their discipline. Two centuries later, having accomplished their mission, (...) mathematicians elided much of the anecdote, preserving only the geometrical part. (shrink)

This work discusses the origin of the architect and the architecture presented in the treatise _De Architectura_ by Vitruvius and its association with imitation. It is discussed the Vitruvian notion of the progression of humanity and its connections with the architect and the establishment of Architecture as the science of the architect. The proposal of training for professionals from various areas is analyzed, which would guarantee, according to Vitruvius, a generalist training and at the same time specialized in their field. (...) It also discusses the attributes necessary, according to the author, for a good professional, which would allow him to achieve recognition for his authority. (shrink)

An analysis of the Delos capital makes it possible to outline a method of argumentation (based on the traces preserved on the surface of the eye) in favour of hypotheses about the methods of tracing the external and internal spirals. Based on these methods, an attempt has also been made to identify the Vitruvian indications. We have analysed the integration of the spiral in the composition of the whole facade of several Hellenistic Ionic capitals (from Halicarnassus, Priene, Magnesia on the (...) Meander, Didymes, Sardis and Delos) and a fortiori of the capital described by Vitruvius, having in view the width (D), the height of the volute (G), the height of the interior tangent of the volute (N) and the secondary diagonal (Ds). The constant, so to speak, utilisation was established of pentagons as important elements of the geometrical support in the architectural composition. Thus, the presence of a "common denominator" in the internal geometry of these capitals argues strongly in favour of a research procedure on the internal — geometrical — support of the composition of Ionic capitals. (shrink)

L'articulation vitruvienne de la fabrica et de la ratiocinatio, de l'expérience et du savoir, est l'une des questions fondamentales de l'épistémologie de la Renaissance. Or il existe à ce sujet un conflit radical entre une pensée du projet, défendue par la théorie de l'art en Italie, et l'approche inductive du chancelier Bacon. Ce conflit éclaire et modifie de fond en comble la généalogie de la métaphysique en jeu dans la question de la technique. The Vitruvian articulation between fabrica and ratiocinatio, (...) between experience and knowledge is one of the most fundamental topics of Renaissance epistemology. Now, there remains a radical conflict between a thought of the project, evidence, as it is by the theory of art in Italy and the inductive thought of the Chancelor Bacon. Such a conflict casts a new light on, and alters thoroughly, the genealogy of metaphysics at stake in the matter of technique. (shrink)

This chapter contains sections titled: “Indian Agriculture” Practical Astronomy, Surveying and Time‐keeping Gunpowder and Firearms Philosophy of Technology References and Further Reading.