abstract. Mind takes place in the world, and that matters. We are bodies among bodies, and, no matter what we think, what we do is a matter of where. And thinking about where is a problem for architecture. Richard Luecke's pithy summary of Aristotle's Politics was that we go to the city to live but stay to live the good life. The interplay of going and staying takes up a critical theme of Aristotle's work. To understand the world, he said, we must understand both motion and stasis -not the going alone but the staying that takes place in the middle of it. Luecke took up William James's figure of perchings in the flight of a bird and put it to work in thinking about cities. The city is a perch for the winged thing we are. To understand our flight, we must also attend to our perching. Aristotle speaks of the city as a place to go and a place to stay, but he also speaks of it as a koinonia turned toward good. That marks it as being human. Aristotle directs our attention to the necessity of the city (we go to live) and to its good (we stay to live the good life). But the staying, the dwelling, is understood within a structure of action: the good is that toward which all things aim. Dwelling, still, we turn. Which qualifies the going, because we are political animals. Going to the city to live, we go nowhere other than where we are. The city is the form of human presence. Marx had Hegel in mind when he went to work on the work of religion, which he saw as being architectonic in the way Aristotle seems to have seen politics being.
KeywordsIt is no wonder he devoted considerable time to outing him -out of his mind into the world, with good reason. He was, you know, there already: a particular mind is no place for a maker of general theories. There is no place for a mind to be but in the world, where the theory and its maker must be as well. Marx turned his attention (and called the attention of anyone within earshot who might be inclined to listen) to the absurdity of making mansions (to borrow an image from Kierkegaard), then squatting in gatehouses when it is time to move in, being on edge after making a scene thinking oneself outside. It is not the posture but the appearance of abstract being outside the world that catches his eye and inspires his critical judgement. In the act, he says, in the world acting. Which calls our attention not only to the world acting but -more specifically -to the world acting in the presence of humanity.