This essay aims to show that the concept of landscape does not indicate something static or well-defined in the physical world but is rather the result of a process deriving from our being embodied in the world. Landscape is embodied cognition produced by our subjectivity, which, in turn, constantly hybridises the relationship between inside and outside. The key point, therefore, is to grasp and problematise the interaction between landscape and mindscape. However, this relationship would not be complete without also taking (...) into account the fact that we are integrated in an environment and analysing the fact that we live in an acted environment: our actions are decisive for understanding the environment beginning from the very perception we have of it. Indeed, this perception it itself a true founding act. The specific nature of the walkscape thus allows us to take this dynamic aspect of our relationship with the environment into account before grasping the last fundamental element for achieving a complete understanding of the problem: the currently ongoing transformation that brings us to be immersed not only in natural environments, but also in new digital environments. Taken together, therefore, the concepts of landscape, mindscape and walkscape allow us to clarify the theoretical implications of our being part of an integrated system together with the environment, be it natural or digital. (shrink)

In this essay, I do not want to focus on performativity as such and understand it as an aesthetic expression; instead, I would like to illustrate how performativity takes on the role consequential to an aesthetic experience. Specifically, I want to highlight how aesthetic experience takes place in the spatial contexts of the city. In this regard, I want to define the aesthetic-practical-sensory relationship of the soma, understood as a paradigm of a living body, that is, a body that moves (...) and acts in space, by declining three historical moments that tell the story. I want to define three historical moments from the early twentieth century to the present through the soma-city relationship: 1) The first moment is inscribed in the emergence of the Baudelairian concept of the flâneur, a symbolic figure who introduces a relationship with the city characterized by a disenchanted gaze and a slow, wandering movement picked up, especially by Walter Benjamin in the Paris Passages; 2) The second moment is that of Situationism, in which Guy Debord introduces the concept of dérive, understood as an approach to the city marked by the experiential and emotional relationship; 3) The third and most recent moment concerns Richard Shusterman's embodiment of the somaesthetic exercise, in which the Avatar of the Man in Gold, enters into a relationship with the city, aspiring to reconnect urban spheres and not to a pure somaesthetic experience of the city. The last point to be made is that these three historical and aesthetic experience-based moments of the body in the city are marked by the body moving in space. In the case of the flâneur, the body wanders in an unresolved manner without a precise destination; in the case of the drift, the body is propelled by the many sensations and expressions of the city that are expressed through walking (urban Walkscapes); finally, in the case of the Man in Gold, there is a movement totally absorbed in the experience of places. (shrink)