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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