Do you think this would clear memories, if only temporary? I think this black canvas effect would turn participants into scoping their thoughts towards memories.. I wonder if you attack it from the other end of the spectrum with an interior filled with nothing but confusing images, with no apparent connotations of the past rather a show of fast moving images of crazy abstractions, whether it would prevoke new thinking and ideas rather than the past?
I don’t know….however…
I don’t think memories are necessarily from the past or do only belong to the past. Memories are moments of intense emotional projection; these projections take place in the present and do indeed relate to moments in the past however re-addressed and re-formulated. Memories as such enable a process of repositioning and reflection on ‘the self’ in time and space.
I guess what I am writing about is how these very specific spaces such as basements and attics perform on a particular level in relation to immemorial. Both spaces embody absence not in part due to ‘the stowing away of things’ yet when visited transmit a particular quality of ‘intensive-presence’. I am interested in how these spaces for absence can guide people in a process of re-positioning ‘the self’ in time and space. I am intrigued by these interior spatial performances triggered by the minds inhabiting these spaces and ask myself how I could design other spaces with the intensity of basements and attics…
I think what you describe as pictorial landscapes, with no apparent connotations could indeed provide a certain absence to nurture thinking …
What do you want to think about?
I believe a space, such as the one presented here, would tuck you away and leave you alone to attract cobwebs. It is a lethargic and tender experience, an emotion of grief and sadness, ‘dwelling’ on what was or whats to come. Memories must be there to associate with, for the space to take control. Daydream(1) is most definately a point in time, a point of seclusion, but not secluded from memories. It is dark, the opposite is light. But to really provoke new thoughts, you would have to take positive steps towards a white light with images and experiences along the way.
I don’t think the darkness of basements caries a necessary negative spatial connotation, nor does the lightness of the attic dictate positiveness in any way, I believe. It is obvious we do tend to use a metaphorical vocabulary that feeds this duality between good and bad. However, the moments of absence and immemorial, I think, accommodates a state of ‘connect-ness’ rather than a state of seclusion (or this would be what I am interested in). The sadness and grief is one of the possible states of contemplation on a wide spectrum of emotional opportunities. A lot of the spaces we dwell in have an immense dependency on the now; a state of immediate relevance yet inevitably ephemeral; shops, bars, flats that come furnished; spaces that grow with shallow roots in a dry earthy landscape of spatial turnover. The space in-between immemorial and absence is a space that wants to connect a reflecting mind with space as concept…
4 responses so far ↓
1 charlotte // Sep 29, 2009 at 6:59 am
Do you think this would clear memories, if only temporary? I think this black canvas effect would turn participants into scoping their thoughts towards memories.. I wonder if you attack it from the other end of the spectrum with an interior filled with nothing but confusing images, with no apparent connotations of the past rather a show of fast moving images of crazy abstractions, whether it would prevoke new thinking and ideas rather than the past?
2 ephraim // Sep 29, 2009 at 8:11 am
I don’t know….however…
I don’t think memories are necessarily from the past or do only belong to the past. Memories are moments of intense emotional projection; these projections take place in the present and do indeed relate to moments in the past however re-addressed and re-formulated. Memories as such enable a process of repositioning and reflection on ‘the self’ in time and space.
I guess what I am writing about is how these very specific spaces such as basements and attics perform on a particular level in relation to immemorial. Both spaces embody absence not in part due to ‘the stowing away of things’ yet when visited transmit a particular quality of ‘intensive-presence’. I am interested in how these spaces for absence can guide people in a process of re-positioning ‘the self’ in time and space. I am intrigued by these interior spatial performances triggered by the minds inhabiting these spaces and ask myself how I could design other spaces with the intensity of basements and attics…
I think what you describe as pictorial landscapes, with no apparent connotations could indeed provide a certain absence to nurture thinking …
What do you want to think about?
3 Midnight Sunshine // Oct 7, 2009 at 6:22 pm
I believe a space, such as the one presented here, would tuck you away and leave you alone to attract cobwebs. It is a lethargic and tender experience, an emotion of grief and sadness, ‘dwelling’ on what was or whats to come. Memories must be there to associate with, for the space to take control. Daydream(1) is most definately a point in time, a point of seclusion, but not secluded from memories. It is dark, the opposite is light. But to really provoke new thoughts, you would have to take positive steps towards a white light with images and experiences along the way.
4 ephraim // Oct 25, 2009 at 4:54 am
I don’t think the darkness of basements caries a necessary negative spatial connotation, nor does the lightness of the attic dictate positiveness in any way, I believe. It is obvious we do tend to use a metaphorical vocabulary that feeds this duality between good and bad. However, the moments of absence and immemorial, I think, accommodates a state of ‘connect-ness’ rather than a state of seclusion (or this would be what I am interested in). The sadness and grief is one of the possible states of contemplation on a wide spectrum of emotional opportunities. A lot of the spaces we dwell in have an immense dependency on the now; a state of immediate relevance yet inevitably ephemeral; shops, bars, flats that come furnished; spaces that grow with shallow roots in a dry earthy landscape of spatial turnover. The space in-between immemorial and absence is a space that wants to connect a reflecting mind with space as concept…
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