What is secure for some is confining for others. What's dangerous for some is curious for others. Evolution works both ways, cats and dogs.
Larry
---- Mary Tegel <[log in to unmask]> wrote:
> Hi, Folks
>
> Second try
> from Mary
>
> hands-on impresario
> Tegel Design + Planning
>
> Begin forwarded
> > Date: April 4, 2009 8:03:57 AM PDT
> >
> > Subject: Re: [BP] Evolutionary Psychology & Landscape Art
> >
>
> > G O and the other usual suspects:
>
>
> > Prospect + Refuge: Interesting theory
> > applied to places designed and built for human activity: eg churches
> > and the science places others have mentioned. What makes it more
> > interesting is to consider how place/space is mediated. I think of
> > boundaries, edges, ciirculation with ingress and egress. And I think
> > about variations in power are expressed that control use of space
> > and the politics involved-- tacit or explicit controls. Who claims
> > or builds what space for what use and who gets to be there and how
> > they behave. Good food for thought.
> >
> > Apply all this to the housing bubble
> > burst-- lots of pondering fodder.
> >
> > And my cat has it all working for her: even if she could
> > conceptualize how she as a kept pet gets some of her goodies from
> > me, she still contrives to get her bed on a table by the window and
> > seems to understand she's got a good refuge behind the glass and
> > above the reach of Jack the dog. She is an adept ingress and egress
> > controller: How does she get us to open the door, again and again?
> > Whereas the dog is a lesser in cahoots with us: he has to sit before
> > hecan go through. He is more of an expression of human, especially
> > modern human, ambivalence about refuge and prospect. And he's savvy
> > to the politics and actions of control. Now, ducks?
> >
> > More later.
> >
> > ---Mary
> > Tegel Design + Planning
> >
> > On Apr 4, 2009, at 7:23 AM, Gabriel Orgrease
> > <[log in to unmask]> wrote:
> >
> >> Larry,
> >>> Interesting idea. I'm forwarding this to a friend of mine, John
> >>> Agnew...
> >> good morning... interesting Mr. Agnew... I like his 450 million
> >> year old Ordovician marine fossils in the backyard. Will spend some
> >> time browsing.
> >>> He did the cover for my book.
> >>>
> >> got it
> >>> A. Huxley in Doors of Perception mentions cathedrals and stain
> >>> glass as man made psychedelics that transport the mind into a
> >>> religious frame of mind. It may be that these soaring spaces
> >>> convey a mixture of safety and risk (vastness) as do large spaces
> >>> in caves. I had a similar feeling in the rocket assembly plant at
> >>> Cape Kennedy back when they would let you go there.
> >>>
> >> Long time since I read that book. Thank you for the reminder. It is
> >> difficult for anyone to not have a feeling of something when they
> >> visit a sacred place. And it is this sense of presence in space and
> >> the stimulation of the senses that I feel is important to the art
> >> of architecture. The story of the silver gate of St. Sophia of
> >> Kiev, and the play of eastern light through the windows behind the
> >> iconostasis and how they shine through the gate provides an aura of
> >> the supplicant communing directly with the light of wisdom of the
> >> divine. Then ad in censers of incense and chants mumbled prayers
> >> and the echo of sound from the surrounding masonry. Difficult not
> >> to be transfixed and/or feel transcendent.
> >>
> >> I had a similar feeling when as a boy I walked with my brother and
> >> stepfather through the donut tunnel of the synchrotron at Cornell.
> >> I get the same eerie feelings when I visit the reactor up the road
> >> from us at Brookhaven Labs.
> >>> Another thing I notice in art that I enjoy is a mixture chaos and
> >>> order. Too chaotic = not understandable. Too ordered = boring.
> >> I agree on the pleasure of the mix. This discussion can be come at
> >> from a whole slew of directions. In writing I enjoy the sequential
> >> nature of the mind of the reader (my mind in reading also) to have
> >> to jump from word to word, thought to thought. If the jumps are too
> >> close together, too obvious, then the writing feels slow, if the
> >> jumps are too far apart then the reader cannot assimilate a sense
> >> of meaning or flow -- and it is chaos that occurs [and why I
> >> suspect that I tend to detest Pynchon and a whole lot of his
> >> derivatives]. But there is also a pleasure for a reader in the
> >> challenge to make a series of successful jumps. It is similar to
> >> moving pictures in that respect. We can show each frame of a movie
> >> very slowly, or we can speed them up beyond real time, but there is
> >> only a small range of slow or fast timing in which we can hope to
> >> maintain the interest of the viewer, or the reader. And though we
> >> want the viewer to be responsive to the timing, we do not want them
> >> necessarily to be conscious of it as an artifice. I reflect on this
> >> when reading older literature in a time when readers had less media
> >> to stimulate the senses and writers would go much slower, would
> >> take longer to get to where they were going, I think in part that
> >> these writers resonated with their readers being in a mode to read
> >> slowly. When we pick them up with our internet fueled reading
> >> habits they seem to go on forever to get nowhere, or at least where
> >> they get to we are so worn out that we are not sure where we had
> >> wandered. A bit how we have discussions re: the comparison of
> >> television with radio, how with a radio drama the mode of
> >> experience is to sit back, shut off all the other senses but to
> >> focus on our hearing, and to recreate the scene in our mind's eye.
> >>
> >> Later,
> >> ][<en
> >>
> >> --
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