Archived entries for representation

The body has a dimension. Through motion it polarizes external reality and becomes our instrument of meaning; its experience is therefore “geo-metrical.”

The creation of order in a mutable and finite world is the ultimate purpose of man’s thought and actions. There was probably never human perception outside a framework of categories; the ideal and the real, the general and the specific, are “given” in perception, constituting the intentional realm that is the realm of existence. Perception is our primary form of knowing and does not exist apart from the a priori of the body’s structure and its engagement in the world. This “owned body,” as Merleau-Ponty would say, is the locus of all formulations about the world; it not only occupies space and time but consists of spatiality and temporality. The body has a dimension. Through motion it polarizes external reality and becomes our instrument of meaning; its experience is therefore “geo-metrical.” The extension of this “geometry of experience,” in Husserl’s phrase, beyond the body’s (and the mind’s) spatiality constitutes the thrust of architectural design, the creation of an order resonant with the body’s own.

From the introduction to ARCHITECTURE AND THE CRISIS OF MODERN SCIENCE, by Alberto Pérez Gómez

The idea of notation implies, if not demands, performance. Virtually any form of writing is a kind of notation and any form of reading is a type of performance.

The idea of notation implies, if not demands, performance. Virtually any form of writing is a kind of notation and any form of reading is a type of performance. Poetry is an intensely physical art, one that activates several senses at once. In aural societies poetry has traditionally been accompanied by facial movement, gesture, manipulation of symbolic objects, the drawing and painting of figures, the wearing of costumes, etc. — all of which, in a tribal context, are read. Poetry still is a physical art using multiple senses: the body as a whole equals or sometimes replaces the voice in performance art, and even silent readers turn pages, move their heads, their eyes, the roots of their tongues if not their tongues and lips, and so forth.

NOTATION AND THE ART OF READING by Karl Young.



Copyright © 2004–2009. All rights reserved.

RSS Feed. This blog is proudly powered by Wordpress and uses Modern Clix, a theme by Rodrigo Galindez.