SPACES BETWEEN WORDS

 

Architecture which is distilled, oblique. 

Architecture when, in your 'once upon a time's, you, the students of

inconvenient knowledge, might have turned to the two reflected men and said:

from each vast, collapsing heart, be sure to take meaning but never message, and live! 

Live in the spaces between your words. 

 

snake - roche

PERCEPTION IS SYNAESTHETIC

This means that there does not exist any primary isolation between the different senses. The isolation is secondary. We perceive and we may with some difficulty decide thatone part of the perception is based upon the optic impressions. The synaesthetia is therefore a normal situation. The isolated sensation is the product of an analysis. In the scheme of the body, tactile, kinaedthetic and optic impulses can only be separated from each other by artificial methods.
What we have studied is the change in the unity of the postural model of the body by change in the sensation of the tactile and optic sphere. The nervous system acts as a unit accoding to the total situation. The unit of perception is the object which presents itself through the senses and through all the senses. Perception is synaesthetic.
(Schilder 1978: 38-39)
From Elizabeth Grosz's Volatile Bodies.

Albert North Whitehead: Concepts of Actual Occasions

Events create times and space. Whitehead foregrounds the eventness of perception. Events of perceptions are always brought about through prehensions, the pulling out of expression from the durational plane of experience. When a becoming-event is pulled out, the activity of perception is experienced. The perdension creates the parameters for the taking-form of space-time in the context of discrete experience.

relationscapes - on bodies, thoughts, and movement through space

What moves as a body, returns as the movement of thought
-Deleuze

Reading Erin Manning's Relationscapes.

Manning sets out to bridge the gap between thinking/speaking and doing/creating, and in doing so, to challenge the active/passive model of speaker/listener or artist/spectator. One of the major projects on which the book is based, Housing the Body - Dressing the Environment, unpacks the gap between thinking and doing through aligning with Henri Bergson's definition of Embodied Cognition. According to this critical theory, the relation between perception in all its modes is one of reciprocal read-and-return. Manning writes that 'the cross genesis of action and perception opens into thought.' In other words, every perception: a thinking action. Every act: the perception of thought. Furthermore, this relation can be modified via the environment. Architecture not only houses the body, buit also creates modes of embodied experience and thought.
The questions Manning poses range from how does thought work? where does creation begin? what constitutes novelty and what might a politics of movement do to the ultimate question of how can thinking through movement alter the force of thought?