Lines are omnipresent in our everyday experience and language. They reflect and influence the spatial and temporal structures of our world view. Taking Tim Ingold’s cultural history of the line as a starting-point, this book understands lines as expressions that allow insights into cultural theoretical phenomena and thus go beyond their mere form. The essays will investigate this premise from various disciplines (architecture, art, cartography, film, literature and philosophy).

Lines are omnipresent in our everyday experience and language. They reflect and influence the spatial and temporal structures of our world view. Taking Tim Ingold’s cultural history of the line as a starting-point, this book understands lines as expressions that allow insights into cultural theoretical phenomena and thus go beyond their mere form. The essays will investigate this premise from various disciplines (architecture, art, cartography, film, literature and philosophy).

This book traces artists’ theories of constructive space in the first half of the twentieth century. Drawing on these concepts and recent theories on space, it develops a methodology termed ‘Spatial Art History’ that conceives of artworks as physical spatio-temporal things, which produce the social, to overcome the reductive understanding of art as a mere mirror or facilitator of society.

Lines are omnipresent in our everyday experience and language. They reflect and influence the spatial and temporal structures of our world view. Taking Tim Ingold’s cultural history of the line as a starting-point, this book understands lines as expressions that allow insights into cultural theoretical phenomena and thus go beyond their mere form. The essays will investigate this premise from various disciplines (architecture, art, cartography, film, literature and philosophy).

Lines are omnipresent in our everyday experience and language. They reflect and influence the spatial and temporal structures of our world view. Taking Tim Ingold’s cultural history of the line as a starting-point, this book understands lines as expressions that allow insights into cultural theoretical phenomena and thus go beyond their mere form. The essays will investigate this premise from various disciplines (architecture, art, cartography, film, literature and philosophy).

This book traces artists’ theories of constructive space in the first half of the twentieth century. Drawing on these concepts and recent theories on space, it develops a methodology termed ‘Spatial Art History’ that conceives of artworks as physical spatio-temporal things, which produce the social, to overcome the reductive understanding of art as a mere mirror or facilitator of society.