Memory and Architecture: Remembering through the Environment Body
ABSTRACT
In the cinematic sense of perceiving architecture, the environmental elements become way-finders for memorization. What one remembers through the senses makes up a perception of present. I am to investigate an architectural milieu which first conditions the remembering of things through the senses, and secondly which conditions the conscious perception of remembered things into the present world, regardless of its material nature.
Frances Yates - The Art of Memory (1966)
Memory is one of the 5 parts of Rhetoric.
1. memory 2. invention 3. delivery 4. style 5. arrangement.
DEFINITION:
rhetoric:
the art of effective or persuasive speech or writing, especially using figures of speech and other compositional techniques.
language designed to have an effective or persuasive affect on its audience; but is often regarded as lacking in sincerity or meaningful content. because it is usually not understood.
The nature of this technique, as I will expand, explains why the modern definition of rhetoric is cynical.
mnemonic:
device to remember using place and image.
The art of memory practiced by the orator was a technique practiced to enable one to improve memory, as to deliver long speeche from memory with unfailing accuracy.
Yates speaks of two roman figures and one anonymous one.
Cicero: Roman Philosopher and Rhetoric - 100 BC
Marcus Fabius Quintilianus: Roman Rhetoric - 35 AD
Anonymous.
Yates combines three descriptions of the Classical Mnemonic:
1) Cicero's: De oratore - places and images (loci and imagines)
2) Quintilian's: Institutioratoria
3) Anonymous: Ad C. Herennium libri IV
*paying careful attention to Yates chose of words:
Steps in the practice of the Art of Memory:
a)imprint on the memory a series of loci or places.
-act of visually imprinting, stamping, relocating it: a spatial action.
-typical place system used is an Architectural place - one spacious and varied - "the forecourt, the living room, bedrooms, and parlours, not omitting statues and other ornaments with which the rooms are decorated" (Yates).
b)imprint on the memory a series of images.
-place the images in imagination on the places which have been memorized in the building.
-each image is associated with a word, or series of words, in the speech to be memorized.
-the images are most memorable when they are weapons, (stained with blood for example), or abnormal in nature. (says Quintilian)
-upon recital of the speech, each word is remembered in turn, as one imagines walking through the sequence of places in the building, associated with each word.
"The method ensures that the points are remembered in the right order, since the order is fixef by the sequence of places in the building."
Cicero mentions that the inventor of this technique, Simonide, noted that 'sight is the strongest of the senses'. "consequently perceptions recieved by the ears or by reflexion can be most easily retained if they are also conveyed to our minds by the mediation of the eyes.
b) Ad Herennium, anonymous (man who wrote of it could not recall the inventors name, Greek sources)
two types of memory:
natural : born simultaneously with thought.
artifical: can be trained with practice
expands on Cicero and Quintilian.
-memory for "things" in speech (the subject matter)
-memory for "words" in a speech (as the language in which the subject matter is clothed)
this technique is used in the 16thC, etc. Giordano Bruno.
- memory for "things" , place the thing to be memorized on a locus in the memorized building. It must be a big building, and the locus must be in a sequence. So one can start with any locus, and move backwards and forwards from it, recalling the thing, associated with the locus, in proper order of sequence. The same set of loci is important because the same set of loci can be memorized for a different set of things in a speech.
about the locus:
To remember the sequence of speech in proper order, every 5th loci must be given a distinguishing spatial mark. (ex. "mark the fifth locus with a golden hand, and the tenth locus with an acquaitance named Decimus"). The spatial construction becomes more complex, like building a setting in a story.
Try to memories a sequence of locus in a non-busy place, as to not busy and clutter the mind.
"they must not be too brightly lighted for then the images placed on them will glitter and dazzle obscure the images; nor must they be too dark or the shadows will obscure the images." (Ad Herennium)
- intervals between loci should be 30 feet
-if the person memorizing does not know a lot of places, 'fictious places' can be used, as opposed to real places, in the ordinary method.
-architectural immaterial qualities are introduced like in a 'stage set'
about the images:
-images for things. (makes images to remind of a an argument, a notion, or a 'thing', used for a debate, or in philosophy discourse)
-images for words. (makes images to remind of every single word, used in reciting from a poem, for example)
*when choosing images and loci, chose abnormal, funny, or grotesque ones.
"When we see in every day life things that are petty, ordinary, and banal, we generally fail to remember them, because the mind is not being stirred by anything novel or marvellous. But if we see or hear something exceptionally base, dishonourable, unusual, great, unbelievable, or ridiculous, that we are likely to remember for a long time. incidents of our childhood we often remember best. A sunrise, the sun's course, a sunset, are marvellous to no one because they occur daily. But a solar eclipse is a source of wonder. Let art, then, imitate nature, find what she desires, and follow as she directs. " (Ad Herennium)
-set up image agents, to activate the images : ornament them, disfigure them, blood, soil, etc. comic effect.
"the things we eaily remember when they are real are commonly also remembered when they are figments."(Ad Herennium)
This reminds me of the categorisation of gendres in literature and film : drama, comedy, horror - defined by their extremities as marks on our memory.
set up a scene with all these things in the space, and the narrative of this sequence runs parallel with the narrative of the 'things' or 'words' to memorize.
this tells me a spatialized fabric is imaginationed, derived from the reality of the speech, but memorized using a completely different reality (that of the places in the memorized, imagined building).
The definition of rhetoric is perhaps cynical : (language designed to have an effective or persuasive affect on its audience; but is often regarded as lacking in sincerity or meaningful content), because it is unsincere in the very nature of how one memories it. The imagined spatialization of input for memory is different that the oral output for memory.
After years of practice, this technique, as a part of the 5 parts of rhetoric, becomes an art in itself: the Art of Memory. It travels through European tradition. After the industrial and technological revolution we have prosthesis to document event in physical form. (e.i. Photographs) Documentation is not, in its material artifact form, memory. Materially, artifact remains in constant form, one moment to the next. The true memory of artifact lies in the immaterial reality one forms of it. The physical reality of the artifact is translated to an imagined reality. This is practiced with the classical Art of Memory.
The pencil is the simpliest technology that allows us to translate events of one physical reality to an imagined reality, and back to a physical reality. The photograph takes a picture, but it is act of taking the picture, and the memory of being at the site taking the picture, which allows translation of the photograph from a physical reality to the imagined reality.
-----------------
The landscape architect, Luis Barragan, uses a modernized version of the classical Art of Memory, as a design tool in the process for planning and building the project : Jardines del Pedregal de San Angel. (the garden of the stony place).
landscape architect: Luis Barragan
project: Jardines del Pedregal de San Angel.
-Ancient Lava Fields south of Mexico City, 1945-1953
-865 acre residential subdivision
"garden of the stone place" : object + place = memory of the "thing" to be remembered (Cicero's De oratore)
-art of memory. associating a fantastical object with a site. the spatialisation of memory.
-names the thing: object + a site. places an object with the loci to form semiotic meaning.
-how we remember? act of taking the photo: framing something? using light? angle? lense type? shutter speed? when? who is taking the photo? how do we develop it? what do we do with the photo? layer it, enhance it? collage it, cut it? frame it? burn in?
for the Rhetoric, Cicero and Quintilian, there is a desire to remember things or words in a speech.
in Barragan, there is a desire to remember the gardens. The translation from physical "things" in the garden to imagined images put on imagined locus, Barragan reproduces the "things" them back into physical reality through photographs. The imagined things in the photographs are of a different reality, even thought the physical photograph appears to be of the imaginary and physical world alike.
Barragans photography is the spatialisation of the present. his style of photography is his technique of thinking about spatialisation.
New way of translating, and taking photographs:
the photographs:
The photos of the gardens first appeared in real estate advertisements for the residential development.
they served to speed the physical transformation of the site whose image they perserve.
The gardens were altered and destroyed in integrity, within years of its realisation. It is the photographs of the gardens that they are remembered by.
-in 1944 Barragan met and hired Armando Salas Portugal who previously exhibited photographs of Barragan's garden.
- Salas was to first make "objective" photos under different atmospoheric conditions
studied composition and lighting.
- second to make "abstract" subjective photos shot at close range, in black and white; with little information about the architecture as a whole and more about a vivid fragment of it; much like we do in the art of memory when remembering "things" or "words" in a speech.
materials:
walls: concrete or local stone
gates: rough-wood, thin iron
uneven stairs from hardened lava: geographic, organic
-rocks and trees
-water shoots
-impressions of garden: Salas constructs how he wants us to remember the gardens.
from the outside:
after constructing an imaginary reality of the gardens based on the photographs, when one visits the gardens, the imaginary reality becomes the physical reality, regardless of the physicality of the space. The imagined spatialisation constructed as memory becomes the reality of the physical experience of the gardens.
-photographs are marked with image agents like the Art of Memory Anonymous description,
(set up image agents, to activate the images : ornament them, disfigure them, blood, soil, etc. comic effect.):
-washed with strong light and crisp shadows, cropped forms
-striking oblique perspectives, bird's eye or worm's eye view, dramatic lighting and atmospheric condition
Photos are a device to consciously deconstruct loci, in order to make a structure of loci to remember. (inspired by lecture yesturday of A Taxonomy of the Imagination - Perry Kulper
"Past Knowing : Photography, Preservation, and Decay at the Gardens of El Pedregal." / Keith L. Eggener
Review: "Past Knowing : Photography, Preservation, and Decay at the Gardens of El Pedregal." / Keith L. Eggener, by Christopher Vernon.
-----------------------------------------------------
(re)SEARCH:
-the translation of one physical reality impression to an imagined reality. It is then recalled to the present, and reformed. It is an impression of the thing, but can never be the thing in original form because that in original form does not exist in this present.
-out of time-based human perception, only present exists. we are conscious of memories in this present. And are in constant transform, constant trans reality, in every sequential present. Unfolding like the frames of a film.Before any material documentation device (painting and photography in particular),
Bergson was discussing movement, perception and imagination in 1913.
Henri Bergson - Matter and Memory (1913)
"The senses, left to themselves, present us to the real movement, between two real halts, as a solid and undivided whole.
The division is the work of our imagination, of which indeed the office is to fix the moving images of our ordinary experience, like the instantaneous flash which illuminates a stormy landscape by night."
The way Bergson thinks of movement in the early 20thC, is analoguous to the way one thinks of photographs, and as a stream of photographs, stop-frame animation. The space between each frame in animation is "filled" in with our perception, so the images appear flowing continuously seamless.
(re)SEARCH:
If perception, in stop-frame animation, fills in the 'space' between each frame, these small fragments have a quality of spatiality. These fragments of space, as temporal as they could be, are still space; and allow each of us to see, or perceive the frames of reality differently. This means everyone's reality is different, although between these spaces in constructed perceptions, our worlds may appear to be the same. In our memories we house these loci; and 'mark' them, in the As Herrenium description of the Art of Memory, with peculiarly conditioned images important to us. The condition AKA architecture of the images we chose to remember, is what sets one's constructed perception apart from one's other. Which means, architecture has a direct influence on our memory and perception of spatiality.
re(SEARCH) of overall seminar discussion:
Where is the conscious housed? It's occupancy perhaps is a non-physical occupancy which cannot exist outside of the frame of perception and time/ its occupancy perhaps cannot exist without a perceptive construction of its miniscul, fragments of space between its frames of perception..like the filling in our perception manifests in the viewing of stop-frame animation?
references
Primary Sources:
• The Art of Memory / by Frances Yates ; Ark Press, 1966
• Matter and memory / by Henri Bergson ; cauth. by Nancy Margaret Paul and W. Scott Palmer [pseud.] (1913)
• "The Thing", Architecture from the Outside - Essays on Virtual and Real Space. / by Elizabeth Grosz, MIT Press Cambridge, Massachusetts London, England, 2001.
Secondary Sources:
• Memory and Architecture / Eleni Bastea, ed. ; University of New Mexico Press, 2004.
• "Past Knowing : Photography, Preservation, and Decay at the Gardens of El Pedregal." / Keith L. Eggener.
•Review: "Past Knowing : Photography, Preservation, and Decay at the Gardens of El Pedregal." / Keith L. Eggener, by Christopher Vernon.
Tuesday, February 2, 2010
Monday, February 1, 2010
Sinha Dance: the 'Performed' Reality of a 'Lived' Reality.
Benches. (1996).
Sinha Dance definition :
contemporary dance (mov'mt of torso, hips, leg, jumps, turns.) +
and indian mantra ("articulations" of the wrists, fingers and arms) =
Sinha Dance.
Summary of Piece:
THE CHOREOGRAPHY:
This choreography is based on the 'lived' meeting of two strangers on a bench in a park.
THE PIECE:
The dancers translate the gestural movement of two strangers meeting in the park into 'performed' movement. The bench in this dance is the common denominator between the two strangers. The two strangers' movement through their bodies is their form of communication with each other. The bench is also used as an extension of their bodies, for communication with each other. The story of their communication with each other is translated through this Sinha dance.
"Benches" is a reality which phenomenologically translates the human gestures that exist as another reality. "Benches" is a performative reality - a fantastical manifestation of the inner attitudes embedded in the body, projected through the bodily movement of life.
The meeting of two strangers in a park is real. The performed translation of the strangers' movement, in the piece "Benches" is also real, but a different real. The bodily movement of the strangers meeting in the park is different then the bodily movement of the dancers in the piece "Benches", even though both the meeting and the piece are about the two stranger's communication with each other. This is obvious.
What is also obvious is the 'performative' bench in "Benches" is not aesthetically dramatized the way the movement is. The bench in "Benches" is only modified to enhance the bodily movement, therefore it takes on a dual purpose; that to enhance the bodily movement in a 'performative' reality, and that to act as a common denominator between the two strangers in the 'lived' reality. This tells me that the bench exists only by the nature of its reality. The bench is a responsive environment in both realities: the 'performed' reality and the 'lived' reality. It also tells me that the translation from the 'lived' reality to the 'performed' reality is one dominated by a body in movement requiring an adaptable environment. The translation from realities lives in the movement of the body, not in the body in its material self. In the translation of 'lived' to 'performed', movement is variable, body is constant. The indication of a different reality is the shift in movement of body. The movement of the body, is one of transformation. This means bodies exist, untransformed, in one reality to another. E.i. In the 'lived' reality, the woman pretentiously blinks at the man reading a book on the bench. In the 'performed' reality the woman throws her body across the man reading a book. In both realities, the bench's purpose is constant, still adaptable to circumstance. The woman's body is constant. The man's body is constant. What changes is the bodily movement, of the woman, of the man and of the bench.
Bodily Movement and Realities
The body existing in a reality is defined by its movement, variable in nature. This leads me to emphazing the importance of movement, especially in the search of understanding architecture. Bodily movement, transformative in nature, has the power to exist in and define different realities.
When in movement, the body traces space. Rudolf Laban calls these tracings space-forms. Space-forms, as immaterial things, constantly transform, with the transformation of movement. Movement has infinite variation, and because movement traces space, space-forms have infinite variation.
So, bodily movement is a language. A living form of communication. Words in a language are made sense through sentenses. Space-forms are the sentenses in the words of movement. Laban studies this language, just as a mathematician studies numbers, and a linguist studies words.
Space-Forms
What is needed to perceive space-forms, is a memory. One needs a way of consciously knowing the happening moment before this present happening moment.
This 'memory' as we call it is used to perceive a sequence of still frames as animation. The mind 'fills in the space' between each still frame. Phenomenologically (without consciously realizing it) we see the sequence of still frames as a continual stream of movement. This unconscious phenomenon is perception. One's perception communicates to the conscious that it sees movement.
Similarly, when the body moves, ones perception communicates to the conscious that it sees space-forms. Does this mean, out of time-based human perception, bodily movement can only be still frames? I think it means bodily movement coexists with time-based human perception and is therefore coexistent with time. Laban explains that movement is space; and space does not exist without time, or perception.
Movement is space.
I am still trying to understand this. To find space-forms in the thermal dance I fragmented the piece into still frames. I froze time; I extracted myself out of the time frame of movement and saw things from the outside, in order to understand things in the inside. In doing so, however, what happens to that space (movement by Laban's word) 'filled' in by perception when I see things in motion? In between each still frame, there is a perception-fill-space. These fill spaces mean something. I sees the fill spaces as they do based on all types of things.
I make the bench. The bench must be made in the nature of its reality. For a performative reality, the bench is not make to dramatize the first lived reality, but is make to act, in addition, a function for the 'performative' body.
I do not aesthetize the environment as a material body in itself. The purpose of architecture is to environment the moving body in, out and of it. Architecture is of body and body is of architecture. When there is a reality shift, the architecture may or may not remain the same in form. But inherently, as the moving body translates the reality, the reality will change, independant from its initial physical form , dependant, completely, on the bodily movement defining it.
The environment I make will inspire a type of bodily movement. The movement by nature will be a manifestion of instinct, and inner attitude formed within one, based on the weave of heritage of the corporeal body (city), history housed in the singular body (citizen), and my influence in the project. There will exist two realities framed by my made environment: the lived reality and the performed reality. The realities will exist as separate entities, but at times will coher to each other until the lived environment is performative of the performed, and the performed is performative on the living-performated.
Sinha Dance definition :
contemporary dance (mov'mt of torso, hips, leg, jumps, turns.) +
and indian mantra ("articulations" of the wrists, fingers and arms) =
Sinha Dance.
Summary of Piece:
THE CHOREOGRAPHY:
This choreography is based on the 'lived' meeting of two strangers on a bench in a park.
THE PIECE:
The dancers translate the gestural movement of two strangers meeting in the park into 'performed' movement. The bench in this dance is the common denominator between the two strangers. The two strangers' movement through their bodies is their form of communication with each other. The bench is also used as an extension of their bodies, for communication with each other. The story of their communication with each other is translated through this Sinha dance.
"Benches" is a reality which phenomenologically translates the human gestures that exist as another reality. "Benches" is a performative reality - a fantastical manifestation of the inner attitudes embedded in the body, projected through the bodily movement of life.
The meeting of two strangers in a park is real. The performed translation of the strangers' movement, in the piece "Benches" is also real, but a different real. The bodily movement of the strangers meeting in the park is different then the bodily movement of the dancers in the piece "Benches", even though both the meeting and the piece are about the two stranger's communication with each other. This is obvious.
What is also obvious is the 'performative' bench in "Benches" is not aesthetically dramatized the way the movement is. The bench in "Benches" is only modified to enhance the bodily movement, therefore it takes on a dual purpose; that to enhance the bodily movement in a 'performative' reality, and that to act as a common denominator between the two strangers in the 'lived' reality. This tells me that the bench exists only by the nature of its reality. The bench is a responsive environment in both realities: the 'performed' reality and the 'lived' reality. It also tells me that the translation from the 'lived' reality to the 'performed' reality is one dominated by a body in movement requiring an adaptable environment. The translation from realities lives in the movement of the body, not in the body in its material self. In the translation of 'lived' to 'performed', movement is variable, body is constant. The indication of a different reality is the shift in movement of body. The movement of the body, is one of transformation. This means bodies exist, untransformed, in one reality to another. E.i. In the 'lived' reality, the woman pretentiously blinks at the man reading a book on the bench. In the 'performed' reality the woman throws her body across the man reading a book. In both realities, the bench's purpose is constant, still adaptable to circumstance. The woman's body is constant. The man's body is constant. What changes is the bodily movement, of the woman, of the man and of the bench.
Bodily Movement and Realities
The body existing in a reality is defined by its movement, variable in nature. This leads me to emphazing the importance of movement, especially in the search of understanding architecture. Bodily movement, transformative in nature, has the power to exist in and define different realities.
When in movement, the body traces space. Rudolf Laban calls these tracings space-forms. Space-forms, as immaterial things, constantly transform, with the transformation of movement. Movement has infinite variation, and because movement traces space, space-forms have infinite variation.
So, bodily movement is a language. A living form of communication. Words in a language are made sense through sentenses. Space-forms are the sentenses in the words of movement. Laban studies this language, just as a mathematician studies numbers, and a linguist studies words.
Space-Forms
What is needed to perceive space-forms, is a memory. One needs a way of consciously knowing the happening moment before this present happening moment.
This 'memory' as we call it is used to perceive a sequence of still frames as animation. The mind 'fills in the space' between each still frame. Phenomenologically (without consciously realizing it) we see the sequence of still frames as a continual stream of movement. This unconscious phenomenon is perception. One's perception communicates to the conscious that it sees movement.
Similarly, when the body moves, ones perception communicates to the conscious that it sees space-forms. Does this mean, out of time-based human perception, bodily movement can only be still frames? I think it means bodily movement coexists with time-based human perception and is therefore coexistent with time. Laban explains that movement is space; and space does not exist without time, or perception.
Movement is space.
I am still trying to understand this. To find space-forms in the thermal dance I fragmented the piece into still frames. I froze time; I extracted myself out of the time frame of movement and saw things from the outside, in order to understand things in the inside. In doing so, however, what happens to that space (movement by Laban's word) 'filled' in by perception when I see things in motion? In between each still frame, there is a perception-fill-space. These fill spaces mean something. I sees the fill spaces as they do based on all types of things.
I make the bench. The bench must be made in the nature of its reality. For a performative reality, the bench is not make to dramatize the first lived reality, but is make to act, in addition, a function for the 'performative' body.
I do not aesthetize the environment as a material body in itself. The purpose of architecture is to environment the moving body in, out and of it. Architecture is of body and body is of architecture. When there is a reality shift, the architecture may or may not remain the same in form. But inherently, as the moving body translates the reality, the reality will change, independant from its initial physical form , dependant, completely, on the bodily movement defining it.
The environment I make will inspire a type of bodily movement. The movement by nature will be a manifestion of instinct, and inner attitude formed within one, based on the weave of heritage of the corporeal body (city), history housed in the singular body (citizen), and my influence in the project. There will exist two realities framed by my made environment: the lived reality and the performed reality. The realities will exist as separate entities, but at times will coher to each other until the lived environment is performative of the performed, and the performed is performative on the living-performated.
Wednesday, January 27, 2010
Sensory Deprevation
Dustin.
sensation
tactile hallusination
alpha beta: brain waves which we experience life with.
pheta: lack of sensation
POPULAR MECHANICS, 1962
toke LSD and talked to Dolphins.
striped of 'outside' simulation.
arent used to lack of stimulation
leave what hallusinations happen in tank, and revisit next session.
tank- extends to the universe, not limited to the sensation of the limits of our body.
aristotle:
programming: what goes on in your mind
GANZFELD procedure: undifferentiated light source. causes hallusinations. amplifies neuro noise.
also torture device- used on war prisoners (bad hallusinations)
example : 'self program' with no sensation, one replaces the spot of sensation with programs, manifested from the inside ego. these images, hallucinations are used therapeutically to uncover inner struggles.
a man who kept a lot of keys goes into sensory deprevation:
has hallucinations of a room, which each room locked, and he has to open each room with his keys. each room is one of his inner problems.
each room embodies: 'meta programatic storage'
James Turell
city of Arhirit, 1976. walk into ganszelt.
references:
chris salter
robert irwin - coming out of sense deprivation - trains his mind to remember what it feels like when coming out of sense deprivation - paints this way.
light works, paints himself.
seeing is forgetting the way one sees.
paintings >>>>>> conditions of perceptions.
INTERnauts, instead of astronauts, exploring the inside.
philosphers that do drugs
Aldolf Hucksly
Simong Freud
sensation
tactile hallusination
alpha beta: brain waves which we experience life with.
pheta: lack of sensation
POPULAR MECHANICS, 1962
toke LSD and talked to Dolphins.
striped of 'outside' simulation.
arent used to lack of stimulation
leave what hallusinations happen in tank, and revisit next session.
tank- extends to the universe, not limited to the sensation of the limits of our body.
aristotle:
programming: what goes on in your mind
GANZFELD procedure: undifferentiated light source. causes hallusinations. amplifies neuro noise.
also torture device- used on war prisoners (bad hallusinations)
example : 'self program' with no sensation, one replaces the spot of sensation with programs, manifested from the inside ego. these images, hallucinations are used therapeutically to uncover inner struggles.
a man who kept a lot of keys goes into sensory deprevation:
has hallucinations of a room, which each room locked, and he has to open each room with his keys. each room is one of his inner problems.
each room embodies: 'meta programatic storage'
James Turell
city of Arhirit, 1976. walk into ganszelt.
references:
chris salter
robert irwin - coming out of sense deprivation - trains his mind to remember what it feels like when coming out of sense deprivation - paints this way.
light works, paints himself.
seeing is forgetting the way one sees.
paintings >>>>>> conditions of perceptions.
INTERnauts, instead of astronauts, exploring the inside.
philosphers that do drugs
Aldolf Hucksly
Simong Freud
Dream House
Shannon Weibe.
Carl Yung:
disagrees with Freud, human behavior cannot all be reduced to sexual theory.
Memories, dreams, reflections.
Dreamt of a Tower, and built a real tower of representation of his dream.
Additions of the house were not meant for physical need, but for psychological development of his thoughts.
Maternal hurth, oneless of the self.
Annex- concept of self, inwardly focused, objective view of nature of consciousness.
yoga room (!) - committment of self to spirit: link between psychology and religion.
Top addition - felt like he no longer 'needed' to hide.
path to individation and self-discovery.
secondar sources:
Vaughan Hart - Jung's Bollingen tower attempt to build a 'house of dreams' in which alchemical symbols have been seen to represent clues to its meaning, following his own analysis of such symbols in actual construcion.
Suzanna Lenard - the Tower: manifestion of underlying archetypal structure of the psyche
4 parts of a person:
sensation
intellect
feeling
intuition
Lucy Huskinson - Heidegger - design is not assembly of building components according to abstract geometric principles, it is a learning process of an individuation.
Gaston Bachelard
Oneiric House. cellar and attic/ we choice usually one of them. one dark, one light, so different from each other. how does this reflect on our ego.
Pjoter Muller - Jung's House
Tots Haur U R
Grego Schneider - Lives and works in this house. replicas of rooms, rooms inside rooms, etc.
artificial lights and ventilation system
additional references:
clare cooper marcus - house as a mirror of self
charles baudelaire - the double room 1 room, multiple meanings.
comments: house in a house in a house.
Jung - symbolic.
Schneider - phenomenological
Dustin.
sensation
tactile hallusination
alpha beta: brain waves which we experience life with.
pheta: lack of sensation
POPULAR MECHANICS, 1962
Carl Yung:
disagrees with Freud, human behavior cannot all be reduced to sexual theory.
Memories, dreams, reflections.
Dreamt of a Tower, and built a real tower of representation of his dream.
Additions of the house were not meant for physical need, but for psychological development of his thoughts.
Maternal hurth, oneless of the self.
Annex- concept of self, inwardly focused, objective view of nature of consciousness.
yoga room (!) - committment of self to spirit: link between psychology and religion.
Top addition - felt like he no longer 'needed' to hide.
path to individation and self-discovery.
secondar sources:
Vaughan Hart - Jung's Bollingen tower attempt to build a 'house of dreams' in which alchemical symbols have been seen to represent clues to its meaning, following his own analysis of such symbols in actual construcion.
Suzanna Lenard - the Tower: manifestion of underlying archetypal structure of the psyche
4 parts of a person:
sensation
intellect
feeling
intuition
Lucy Huskinson - Heidegger - design is not assembly of building components according to abstract geometric principles, it is a learning process of an individuation.
Gaston Bachelard
Oneiric House. cellar and attic/ we choice usually one of them. one dark, one light, so different from each other. how does this reflect on our ego.
Pjoter Muller - Jung's House
Tots Haur U R
Grego Schneider - Lives and works in this house. replicas of rooms, rooms inside rooms, etc.
artificial lights and ventilation system
additional references:
clare cooper marcus - house as a mirror of self
charles baudelaire - the double room 1 room, multiple meanings.
comments: house in a house in a house.
Jung - symbolic.
Schneider - phenomenological
Dustin.
sensation
tactile hallusination
alpha beta: brain waves which we experience life with.
pheta: lack of sensation
POPULAR MECHANICS, 1962
Monday, January 11, 2010
Awakening:
In which Proust, Valery, and Benjamin say much about the Disturbances at the End of Sleep
Heller-Roazen, Daniel, The Inner Touch, Archaeology of a Sensation, Zone Books MIT Press, 2007.
Chapter 7.
Awakening discusses the state where one is departing the sleeping world, and entering the waking world. At this state, ones orientation is determined by their present bodily position in the waking world, and their bodily position prior to their sleeping state.
the state which one is awaking is one which one becomes, new a waking being. This being is new each time one wakes. In the inner world, which Nada describes in the course outline, the blur between 'awake' and 'asleep', is a threshold where one is not composed yet as a waking inner body in the outer world. The geographical context of the outer body truly determines the inner body and outer body coherence in the state of waking.
The outer body is the constant, however in both the waking/sleep worlds.
Heller-Roazen, Daniel, The Inner Touch, Archaeology of a Sensation, Zone Books MIT Press, 2007.
Chapter 7.
Awakening discusses the state where one is departing the sleeping world, and entering the waking world. At this state, ones orientation is determined by their present bodily position in the waking world, and their bodily position prior to their sleeping state.
the state which one is awaking is one which one becomes, new a waking being. This being is new each time one wakes. In the inner world, which Nada describes in the course outline, the blur between 'awake' and 'asleep', is a threshold where one is not composed yet as a waking inner body in the outer world. The geographical context of the outer body truly determines the inner body and outer body coherence in the state of waking.
The outer body is the constant, however in both the waking/sleep worlds.
Subscribe to:
Posts (Atom)
