This is a transcript of the text used in the artworks Ambiance and Ambiantspace. I have elaborated and contextualized each sentence to reflect upon its meanings. The sentences are to provoke an ongoing discussion concerned with defining spatial understandings. My practice since arriving in Australia has used text to give a conceptual framework to inherent meanings within the images.

Ambiant

 

1. 1. Ideologies do not produce space; rather, they are in space, and of it.

 

The production of space through the development of boundaries creates the very process where beliefs are formed. These differences are then in the very fabric of the left over space, the residual space.

 

1. 2. It is the subconscious residual space that ideologies exist within, not the conscious.

 

The residual space is not aware of its acceptance of this role as a receptacle for ideologies; they are imbued with a discourse by default. The default residual space is unaware of its role in this responsibility to harbour the memories and memorabilia of the social; like the stone in the museum showcase has no ideas of its significance.

 

1. 3. Sensory space exists within a part of the ideological residual space.

 

The residual space captures the senses of the various states that pass by or penetrate these gaps. The gaps take the sensorial and store it in its own database waiting for it to be revealed for the data to be visualised.

 

1. 4. It dramatises, mirrors, references, displays; more than the discourse.

 

This space then, which is imbued with its own temporal memoirs, can represent them back to the viewer as if they were a reflection. The viewer sees the residual space, which they have walked past, as sharing a moment in time. The space references the small band that exists between each film frame, which simulates movement in film. This small unconscious state of blackness that is essential with film has the same reference as the space between words in a sentence.

 

1. 5. The spaces exist in a constant flux of meanings frozen at one point in time by the gaze.

 

The gaze has the ability to freeze this moment in time as though referencing a still photograph of a 60^th sec. The space is captured in a frozen state to be viewed time and time again. This to be seen for nuances, the small seemingly insignificant detail that upon further reflection is the essence of what the space could signify.

 

1. 6. The constant potential for meaning as the space becomes a product, only to dissolve back to ambiance.

 

As the space defines and redefines itself, there is a constant change in its state as a product. The product then can gain multiple meanings over time and because of this it falls back into being a neutral signifier. The ambiant state of the residual space then can potentiality never be actualized as a state in its own right.

 

1. 7. The space of play is constructed through the play with space.

 

There is a backward and forward motion of the space between concept and form, product and waste. This space allows the seer to subconsciously play with the space, to see the space as a form that can induce a sense of play.

 

1. 8. The seer experiences the spatial joy and the space holds that joy in its ineluctable circularity.

 

The space as a container for imbued memories can experience the spatial joy of its own ambiguity. This residual space that exists as an after thought would find satisfaction in what appears to be its own unavoidable repetition.

 

1. 9. Spatial ambiance is something to be felt, something to see in terms of potential, it is the stuff of dreams.

 

This space being in a state of ambiant revelry can see itself as having potential. It has no history, no ties, it is has the emptiness at the heart of creativity, the blank canvas.

 

1. 10. The felicitous space has its place in the construction of various ideologies.

 

This unconscious space, which is intriguing and exciting, creates a state of ambiance. This state is abstract by its nature, so it is this space that then is the basis for all experiential change. This space that is not dealing with the known becomes the ideal vehicle by which new ideas can form.

 

 

Archi

 

1. 1. Does anyone appropriate the residual space?

 

The residual space that is left out of the social equations is not available for appropriation, unless by the homeless, the cabling, the power supplies and the social waste.

 

1. 2. Residual spaces are withdrawn from nature only to be kept empty as a way of symbolising a transcendent reality at once absent and present.

 

The space allows the viewer to slip between two realities, one being the present and the other being the disembodied viewer. This viewer is caught as though in watching a film, a transcendent reality neither being part of nor playing a part.

 

1. 3. Space is a result of social structures created and defined by them.

 

This space is created out of the social structures and defined by them; it is only relevant when the social structures are not independent of one another. In this case of autonomous structures the residual space has to define at what point it adopts one or the others social concerns.

 

1. 4. The construction of spaces that contain, control and encapsulate.

 

These spaces, which cannot be defined, are caught between two areas, have the power to control, based on their unique position. This position is of an outsider who has been empowered by default though the surrounding structures.

 

1. 5. The built residual space is contorted and reflective of isolation.

 

The residual gaps are not designed, they are leftovers. They reflect to the viewer all that it means to be placed on the fringe, to be isolated in society by their inability to consume.

 

1. 6. Small spaces, which are left without context, try and define their own existence; cry out for attention.

 

The residual spaces, which cry out for attention when none can be given, have no reason to cry out; it is only by the gaze that they exist. The only way that residual spaces can find meaning is through others.

 

1. 7. The large spaces filled with multitudes of meanings collapse with the self-conscious insecurity of meeting a gaze.

 

The viewer who sees the space becomes for that moment its author, but as another’s gaze creates a simultaneous narrative the space comes into conflict, unable to be appropriated.

 

1. 8. Each space exhausts the next as though the premise of being was only justified by the context the space found itself in.

 

Through a labyrinth of residual spaces a space, like a pause in an utterance, can only be of value to the utterance. The pause itself makes no real sense except to reveal its own sound of silence.

 

1. 9. The space does not laugh or cry, it is the container of both; it allows both, it privileges both.

 

Spatial emotion is charged in this space where the reflected isolation allows for the expression of feelings. The viewer sees their sadness within the forgotten space and imbues this space with the privilege of their own history.

 

10. Abstract space is a place of fear that is compromised through the security of the home

 

The residual space is abstract and when it is not given meaning its abstractness becomes threatening. It is one where the abstract space as emptiness is confronted by the security of the concept of the home.

 

Banality

 

1. 1. Defining abstraction through the continual reconstruction of residual space.

 

The residual space is an abstract space waiting to be colonised by the gaze. Its purpose is not to define anything other than to allow the mind of the viewer to take the abstraction and through fear form a meaning. The meaning replaces fear, which allows the abstraction to become contained and understood.

 

1. 2. To look at a banal space as abstract is to give it the effect of representation.

 

This space when seen for its abstract qualities is not allowed to exist other than as a signifier. The abstraction is given a name, therefore making it a located space.

 

1. 3. The mirror effect of banality gives the viewer what is seen and what is seeing. In-between these two things is clarity.

 

This mirror effect where the space reflects back to the seer their own gaze allows them to become memorised. The space sees the seer, the seer sees the space; the gap between them is where the clarity is. The seer controlled by the narcissism of the gaze becomes unable to see. The clarity of the space between is therefore not there to be seen but maybe to be felt.

 

1. 4. The banal space is one which symbolises nothing.

 

This space is one which denies definition; it does not allow the seer to gain any familiarity. It continually deflects any notion of meaning and becomes a black hole, sucking identification into it.

 

1. 5. It has no signs or symbols of hierarchy, it has no function.

 

The banal residual space loses an ability to function, it cannot communicate beyond its core. It has no ability to relate to the world around it.

 

1. 6. In every residual space there is a point of maximum tension.

 

These banal residual spaces have developed beyond recognition, beyond a point of context. This indefinable point is at the interface between illusion and reality. The tension that surrounds this point is one that has no value, it exists only as a construct of another age.

 

1. 7. On recognition the gaps envelop the seers, transporting them into the voids.

 

The space that exists despite the seers is, when once recognized, a space of meditation. Like a Rothko it transports the seers into a voids, confronting them with their own sense of loss.

 

1. 8. The residual space need not re-affirm the independence and singularity of its existence.

 

The desire for space to be given an identity and then for that identity to be re-affirmed is part of the dilemma. The space when given recognition is immediately loaded with other meanings. The space itself should not need to carry these burdens or be required to re-affirm anything but its own existence.

 

1. 9. Are the residual spaces the boundary between reality and appearance?

 

The residual space augments reality by making the question one that exists in the residual space domain. The space draws on its own history and the abstract space.

 

10. The lag time space is constructed to claim no social existence. It becomes a strange fetish.

 

This (lag time space relates to the space between as a delay) space that has no social existence is one that generates multi-narratives. These narratives in turn develop cult status leading towards fetishisation.

 

Body

 

1. 1. The body is an organism for the subconscious manipulation of space.

 

The body when confronted with limited vision becomes subconsciously more aware of the space that surrounds it. The seer senses the spaces that surround them, as to their immanent threat or status.

 

1. 2. Distorting the difference of attitude by its presence.

 

The body’s negative space outlined by its very presence, is then distorted by the context of that space. The space dictates to the body as the body tries to assert itself within the presence of that space.

 

1. 3. The space of the body is mediated and transformed by technologies.

 

As technologies develop, the body as a functioning entity is brought into question, it is used whilst thinking that it is the user. The space of the body is mediated by the technologies.

 

1. 4. Skin as a metaphor for the screen becomes the layer between two consciousnesses.

 

In Lacan we have the pyramid of vision which is predicated on a screen, this screen then becomes a layer between perception and consciousness. The idea is of another space that exists between layers, a hybrid space where some thing as yet unseen may emerge.

 

1. 5. The body penetrates the space, the space then becomes a prisoner of its context.

 

As the body moves through space it at first explores it and then becomes familiar. This familiarity creates the spatial prison in which so much of our spatial awareness is entrapped.

 

1. 6. The body can’t articulate the space, the space can only articulate the body.

 

The body in an attempt to dominate the space it takes up is suppressed by that space. The spatial context dominates the seer which in turn categorises the seen as being made of that space not for that space.

 

1. 7. The space of physical consciousness exists within the microscopic construction of the environment.

 

The space of the living is to be defined by the space it takes up. The organism is entrapped and supported by its spatial environment, it is defined by it and works for it.

 

1. 8. To recognise the construction of complex narratives by the juxtaposed body.

 

Bodies that are juxtaposed in space are creating a negative space that carries complex narratives. Each encounter suggests a new negative space that is charged with expectation.

 

1. 9. The reflection of the body is transmitted through space working as an agent; disrupting, displacing, never defining.

 

The body in the street is seen in reflections, transphysical, cut up by abstractions, teleported by surveillance cameras. In this context the reflection becomes an agent for the body, as it acts out its part, taking on meanings as the abstractions combine and grow.

 

1. 10. The end point is untouched, the body is never revealed, its space eroded like the faded reflection.

 

The body is never revealed in that it is always the seer or the seen in the Cartesian space. It is always seen as the ‘other’ and, in that, its residual image fades as the memory fades.

 

Dysfunctional

 

1. 1. To define meaning through immersion and confrontation.

 

If meaning is to be found in the virtual it is through immersion of the sensorial bodies’ confrontation of its spatiality. It is this discovery that will allow the body to reconfigure its spatial identity.

 

1. 2. The interval space containing residual objects is not an object itself.

 

The spaces at the intersections of building become containers of residual objects. The object does not define the space; it does not make the space an object. The in-between space is only relevant as the surreal stage of De Chirico, the ironing board of Breton.

 

1. 3. The temporal breaks still define social relationships.

 

The residual architectural spaces still make social contexts through their scale, their dysfunctionality. They define social roles and relationships by working from an innocence of neutrality.

 

1. 4. Space is a preconditioned state, a state of the subconsciousness.

 

The residual space is one that has all that is required to be deconstructed but through its social insignificance fails. The residual space relies on the subconsciousness to let its significance to the seer come to the fore. It lays in wait to plant a seed, to become a spatial incubator of new hybridised concepts.

 

1. 5. The space between bodies – between objects – is the area of consequence for the real.

 

The objects are reflections of the seer; they reflect the narcissism of perception. The space between the objects contains the real, it has no ulterior motive.

 

1. 6. Can space define binaries or is it the defining body that privileges them?

 

The space exposes the defining body and in so doing it gives the body a context that separates it from other bodies. The spatial context is not imbued in the body but forms an ongoing series of relationships.

 

1. 7. The space between right and wrong, good and evil, empty and full.

 

This is the in-between space where the subject/object dichotomy can be played out. These created spaces allow the dichotomy to take place without taking sides or making a judgment.

 

1. 8. If the residual space and the residual objects combine, then through this paradox comes meaning.

 

Through the paradox of juxtaposition comes meaning which has associated with it all the problems that are generated by binaries. The gaze captures the objects positioned in the meaningless residual space.

 

1. 9. The limitation of the physical body’s understanding of space is neither fluid nor immersive.

 

The physical body reacts to and is reacted to by the space it takes up. The body is a reality that the space can only reveal.

 

1. 10. The dominant space is the space of the dictator.

 

This space, dominates its surroundings by drawing the gaze towards it so the gaze is fixated on the subject of space. This space denies the other spaces any rights through their invisibility

 

 

Fear

 

1. 1. Spatial fear comes from the misapprehension of the dominant aspects within the sensory.

 

Within the residual space are all the aspects of fear which we have come to associate with the horror movie. The neutral residual space embodies the fear of the seer transported into the space by a pre-composed condition.

 

1. 2. The seer stalks the space which in turn stalks the seer.

 

The seer’s gaze stalks the space that comes under his/her gaze, has the gaze reflected back. The space in turn stalks the seer, acting as if in critical judgment.

 

1. 3. The residual space provides places to hide things out of view; seemingly unseen, these spaces offer no threat to the passer-by.

 

In the residual spaces are found evidence of the seers as they leave pieces placed within the space as though it were a container of rubbish. The seer recognises the context of the space as having some significance by this act of denigration.

 

1. 4. The spectacle of spatial banality.

 

This unseen abused space is one that is a spectacle of the banality. The space harbours attitudes which are not seen but inhabit space to create a feeling that the space behind you is occupied and you are being watched.

 

1. 5. These residual spaces are the place for a collision of nightmares and circumstances.

 

As the agoraphobia is engendered through the constructs of imagined spaces, the residual space holds these fears as an essence. The seer is caught in a surreal display of conflicting and contrasting narratives of fear.

 

 

1. 6. The corruption of these spaces can only be found in their invisibility.

 

Having the security to know that what happens in a space is beyond law, ethics and religion. The residual spaces are still unseen, like the underworld. The corruption within the residual space is much deeper. This corruption is at the heart of spatiality where your space is not your own and your spatial understanding is a mirror.

 

1. 7. To articulate the spatiality of the mind.

 

To make a clear spatial understanding we need to communicate it, to represent it. But physical space is the imposition of mind on space or a mediation between a conscious and subconscious comprehension.

 

1. 8. Fear is mapped in the residual spaces; places I will go and places I will not.

 

Fear, when the seer is situated within the residual space, is one where an intelligence comes into play; the body senses the space and makes a connection to its safety or its dangers. The senses will judge the space you are in. They understand as though they were in complete darkness.

 

1. 9. Within every constructed space there resides unconscious spaces that contain fear.

 

New residual spaces, the products of contemporary constructions, are not without their containers of fear. It is not temporality that creates embedded fears; it is within the process of design itself that fear exists.

 

1. 10. These spaces seem endlessly terrifying, empty except for anxiety.

 

There is an endlessness, which these spaces seem to be able to conjure as though time were caught in an infinite loop. As the awareness of the inhumanity of space comes through a denial of death, to leave anxiety.

 

Intimate

 

1. 1. Residual spaces are dual spaces, multiple spaces, immersive spaces.

 

The residual space has many configurations as the subconscious constructs through its non-intentionality of form. There are numerous tautologies, repetitions and ironies by which the space controls intimacy and denies it.

 

1. 2. The space defines formal sets of possibilities of seeing and saying.

 

In its ambiguous state the space cannot make an obligation to whoever is the seer. The space in this context of being intimate is always defining an interpretation of a perceived innate understanding of the world.

 

1. 3. The context for each space is available at different times for different cultures.

 

Here the multiplicity of residual spaces, form spatial contexts that are interwoven and waiting to be unpicked by the seer.

 

1. 4. The gaps will be left to tell of the disintegration of historical city spaces.

 

The intimate gaps, which are identifiable, define an unwritten social history. It is these inconspicuous spaces holding meanings that need to be unpacked to discover what have been the social values.

 

1. 5. The society creates these spaces as dialectical interfaces, displaying social values.

 

The seer who identifies with the space forms a protective interface, which is at one time proud and at the same moment territorial.   There is no middle ground for the identified seer to take a stand back from an untenable position.

 

1. 6. An empty space – one that is primordial – waiting to obtain a proof of its existence.

 

The empty space which does not have the identity bestowed on it by the seer does not have the sense of being owned. It takes the status of an orphan and waits as though it needs some external recognition to find a sense of being.

 

1. 7. These spaces which the imagination seeks to alter, to appropriate and consume.

 

When the seer imagines a space, which it can appropriate and consume, that space takes the seer into a fanciful construct. This construct is beyond the realm of the fetish; it is the fantasy of all children’s tales put into one location.

 

1. 8. The gaps are zones of reflections that display the gulf between our bodies and consciousness.

 

We see through the vacuum of a residual space an awareness of our bodies as the inhibitors of the space. We also see ourselves as a reflection of the space we see. There is no stillness within this dichotomy; the space reveals this to us like a loud flashing banner selling something we don’t want or need.

 

1. 9. The space we exist in is a construct of our ignorance; it defines nothing and is fluid.

 

As one seer leaves the defined space the other seer enters and the space fluidly morphs to the next seer’s understanding of what it could be. It can change back to its state of not being as it can change like a chameleon to be the space of the seer.

 

1. 10. The spaces of unseen magic and sorcery are cursed and blessed.

 

Once the seer is entranced by the space the seer is controlled by the power of space. This power is one that can transmediate the world around and at the same time be cursed. The spell cannot be broken and the seer can no longer see a reality, only an illusion put in place by fear.

 

Junction

 

1. 1. The city residual spaces are not as intentional as that of writing, literature or music.

 

The city residual space is where the intentionality is put into question as to what the space might mean. The residual space was constructed, but its raison d’etre is something that is continually a source that inspires but is not recognized as the work itself.

 

1. 2. The dilemma comes when seeing is taken for life itself.

 

This dilemma exists when seeing is isolated from the whole. Seeing becomes a fragment of the body isolated from the whole body. Sight should be part of the whole of the bodily senses, not privileged over the other senses. As sight becomes the main decoder of data it leaves the other senses behind adrift of their function.

 

1. 3. To weave these spaces back into the patterns of daily life.

 

To bring sight back to the other senses we need to weave the spaces back into daily life as a metaphor for the reinstatement of the other senses. These patterns can create the rupture through their repetition that is needed to make the changes of perception necessary.

 

1. 4. Gaps = social facts.

 

As Wittgenstein would have said, gaps are ‘the totality of facts, not things’.

 

1. 5. The indecent visibility is the complicity of the spectator.

 

Here the space, when witnessed by the seer, brings together the recognition of the existence of that space with the gaze. The seer becomes conscious of the space as the seer is seen. The seer becomes complicit in the act of making the invisible space visible through the gaze and therefore becomes a custodian of the space, as their witnessing of the event is seen.

 

1. 6. These spaces reflect the gap between consciousness and perception.

 

The gap is where there is the potential for the other to exist; where imagination can have free expression. It allows for a colonisation of a new kind of spatial understanding between the body and the sum of its parts.

 

1. 7. Defining a better society is to see the gaps as spaces in which to dismantle the walls between us.

 

These walls are policed by the fear of not knowing, now wanting to know. These spaces can be the place of change, the liquid place of the chance.

 

1. 8. The pleasures of these spaces are their ability to talk beyond their naturalness.

 

The spaces, like Karl Marx’s table can conjure ideas beyond the wildest dreams. Its material is wood, it has been made with machines and labor but from this object comes the potentiality to speak.

 

1. 9. We participate in the left-over spaces with unconfident statements.

 

The left-over spaces make us feel self-conscious. Aware of being in our surroundings we feel unnatural. We want to join in but our words and body language give us away. We want the other that makes us feel secure. We do not want the residual. It is as though we stand out in this mess of self-consciousness.

 

1. 10. We are at the junction of reinventing ourselves beyond perspectival constraints.

 

There is change needed and we are part of that change process. It is not seen yet but it is believed to be there. It is the difference between knowing and not knowing. There might only be a split second between the two or there might a situation where one can’t see even when we are in front of the thing.

 

 

Pattern

 

1. 1. Some spaces are known, some unknown, most misunderstood.

 

Some spaces are familiar to use to the point where we are oblivious to their meanings, but still within that area might be unknown nooks and crannies. Of all the spaces the most significant thing seems to be that most are completely misunderstood. There is no way of necessarily knowing all the spaces but there is the potential to allow space to have significance

 

1. 2. Space as a transitional object has two senses, two positions; as the seer and as the seen.

 

The space that forms a pattern around the act of perception rebounds in an infinite loop. It is never stationary, it is always racing between these two positions. Caught in this endless search for meaning it creates its own destruction.

 

1. 3. Space is a non-object, which through its own privileged position becomes an object.

 

In the object/subject relationship we see the space which we have come to identify as the object. The object of desire exists within the space between, the space itself holds the desire and that desire is one of form of this space which becomes physical.

 

1. 4. The space as non-object and the space as object all bear the emptiness of resemblance.

 

Here we find the misunderstanding of space. Space appears to be indistinguishable from other spaces. We see the space between objects as being the same space repeated over again. The emptiness is created through this repeated recognition where we presume sameness through the privileging of the gaze over our other senses.

 

1. 5. Transitional space only forms one function, although its context articulates it as multifunctional.

 

This singular function of transitional space is contradicted by its context, which tries to lock it to a particular place. The multifunctional context is one where technology procures the transitional space to become transphysical space.

 

1. 6. Can these social spaces be defined in terms of the projection of an ideology into a neutral space?

 

The social space determines the neutral space; the ideology is forced upon the space in the form of the spectacle. It incorporates the space as part of its spectacle thereby embedding it within its own rhetoric; the rhetoric of power.

 

1. 7. The rupture places the seer at the point of tension, confrontation and change.

 

Through the repetition of the seer experiencing the same space comes a point of tension that can create the rupture of the gaze. The space can then become experiential where the seer can understand the space without sight. This would be like experiencing the space for the first time in the dead of night.

 

1. 8. The space as a window for revealing the external whilst reflecting the internal.

 

The perspectival space that we view is seen as being like looking through a transparent window. As this metaphor stands we see the glass of the window as reflecting the seer. At this point the seer is a part of what is seen even though the seer might not be recognizable except at night when the inside is lit against the dark and you see yourself staring into space.

 

1. 9. The patterned space transports the seers outside themselves; seeing a substitution for systems.

 

The architectural patterned space places the seer in a substitute system. This spatial system is part of a code; it is linked to a program where we see the repetition as daily life. We see the spaces as being controlling agents of the everyday. The pattern is our life and the pattern is confronted by the space.

 

1. 10. The patterned space develops a rupture through its repetition.

 

When we witness the control of the patterned space there is only one avenue open and that is one of confrontation. We are taken to the limits of our spatial boundaries in an attempt to reposition ourselves to create a new awareness of space.

 

 

Shape

 

1. 1. The parallel world of this shaped space is one in which to nest; to dream.

 

The architectural residual space, which is left out of the conscious equation, is there to be shaped and reformed by the individual’s gaze. This space is one we have created to feel safe within, to allow our dreams to grow, to take shape and finally form.

 

1. 2. The models of these unconscious spaces are to be examined and defined for what they are.

 

When unconscious spaces are found they hold a key to defining a spatial understanding that is predicated through absence. In defining the subconscious space we are examining the space between thoughts, between their very substance; a space that ideas exist within.

 

1. 3. In the shape of the space comes the form from which our epistemology develops.

 

The subconscious spaces are formed as a by-product of an act. These spaces bind together holding the act in place. It should be that our epistemology looks at these spaces which bind the fabric of our knowledge together.

 

1. 4. The space is not defined by its appearance but by its unfamiliarity.

 

It is the unfamiliarity of these spaces which draw us into this inquiry. The spaces have a voice and speak, creating a presence of awkwardness for the seer.

 

1. 5. These shapes are the places where we can hesitate between realities.

 

The residual space is one that exists between two permanent acts. These acts give the appearance of being symbols of reality, and then the space that exists between them can allow for a transition from one reality to another.

 

1. 6. The recognition of these spaces allows for an extension of daily life.

 

When these spaces are recognized we can accommodate them and make them part of our daily life. The shape of the space in turn shapes the way we live. The passive act of recognition needs to turn to the act of discernment where the shape of the space develops a dialogue with the seer.

 

1. 7. There will always be shapes hiding the nature of things within the residual space.

 

The shapes of space can become symbols that hide from us the true meaning of that space. Some spaces get mythologised not for what they are but for what they have come to represent. This representation hides what could be their true meaning.

 

1. 8. The space is one of trust not interfering with the seers, but supporting them.

 

The space has a natural sense of innocence where it trusts without discernment the seer’s gaze. The space does not sense the possible violation of that gaze. The space stands as a clear mental picture of truth.

 

1. 9. Working with the shape of the space as though it were the object itself.

 

The shape of the space becomes a form that can be worked with like the non-materiality of the digital. It becomes a code that has its own materiality and therefore can be reshaped as though it were an object. It had metamorphosed between not being to being and back to a state of not being.

 

10. Was there a moment in time when the shape of the space was not a fiction but a fact?

 

The time might never have existed as the space surrounding the burning bush exists as a fact of belief. It was the space that could not be entered that revealed two states, a contradiction existing in this self appointed space.

 

Transparent

 

1. 1. Abstract space is a place of fear that is promised through the security of the home.

 

The space of the home is one that appears to be organized and secure in its knowledge of its role but is in fact an abstract fetishised space.

 

1. 2. Space decomposes when subjected to analysis.

 

This space, which is a home, when subjected to analysis, is stripped of all its meanings. The space becomes neutral; it waits to be inhabited with meanings. In this state the home becomes an abstract fetishised space.

 

1. 3. The residual space conforms approximately to the parent form that communicates with it.

 

The residual space that appears between two autonomous objects becomes a negative replica of both. The space takes on both forms and therefore defines a new form that is a composite, a hybrid form communicating internally and externally.

 

1. 4. The residual space maintains a holistic thread that runs through our existence.

 

The residual space is the connecting factor that binds the Cartesian space together. It becomes a space that links like the ocean surrounding islands. The islands become part of the whole by default.

 

1. 5. The space becomes the principal stake in a struggle for this reservoir of resources.

 

The space is the most important resource. Without it the objects do not exist in the same way as they did before. The space authenticates the objects. It gives them meaning by differentiating then.

 

1. 6. These spaces represent transitional periods of time that place past, present and future in the same arena.

 

These spaces, which are imbued with past, present and future are not only a series of objectifications. These spaces when lined together create a chronicle.

 

1. 7. Are these spaces, created by virtue of our experience, any less than those created in nature?

 

The spaces which we find in nature are no less important than those created through our own experience. We see residual spaces in nature as being part of an abstract mass of data that is separated from the human constructions.

 

1. 8. The gaps are socio-spatial contradictions that have no room for violence.

 

These socially constructed spaces create residual spaces that contradict their functions. We have spaces that, due to their constant state of defining roles, have no room for violence.

 

1. 9. The residual spaces are quantifiable and qualitative, they are measurable.

 

The residual space is in itself a quantifiable object that can be given a volumetric dimension. The dimension can then be given its own qualitative standard to prioritise it against itself.

 

1. 10. Between reform and revolution are the residual spaces.

 

The residual spaces stand at the very point of change between different futures. The residual spaces are the voices that speak to both constantly updating its position in relationship to always being at the point of indetermination.

 

Vacant

 

 

1. 1. The sounds transmitted by the residual space are remixed from gap to gap.

 

Within the residual space are sounds captured from the everyday. These sounds get absorbed, modified and mixed to become the ambiant sound. These sounds are then transmitted back out to larger residual spaces, which in turn reconstruct these sounds.

 

1. 2. The architectural spaces are not for consumption by the social.

 

The spaces, which we move through, cannot be consumed. They become part of our being only for the time we are in contact with them. We assume consumption by default as though we have privileged and then colonized the space by our presence.

 

1. 3. This space becomes the transitional space between the fabric and the being.

 

Here we find that the ubiquitous space that can be found between the clothes and the body is the first of the transitional spatial zones. These zones represent the changing spatial understanding of our body as it extends its sensory awareness.

 

1. 4. These vacant residual spaces develop social relevancy that becomes broader.

 

Empty spaces develop a social relevancy through occupation. In occupation we find that the social brings with it an order and a structure that will engage with a broader set of social parameters.

 

1. 5. Each residual space has a spatial strategy.

 

All the residual spaces have an effective strategy that is to lay in wait like a bowerbird, placing its wares out to attract. Once the space contains its occupant it has achieved its goal.

 

1. 6. The in-between spaces are the spaces of the mind.

 

The mind is the main occupier of residual space. It is a construct of the space and a constructor of spatial meaning for the space.

 

1. 7. Augmented spatial realities exist in the unconscious lag-time spaces.

 

The gaze as a residual component can augment the spaces. It takes on the meaning of what it envisions for that space within the space but that meaning is not the space.

 

1. 8. The residual spaces are augmented space with the potential to store the daily data.

 

In the residual spaces there is the potential to store and archive all sorts of data. This data can be stored and added to as the events unfold within the spaces. It is within these spaces that stored data needs to be retrieved so that it can benefit the social.

 

1. 9. The images of the in-between supplant the buildings themselves.

 

The images of the space between take over in the end and supplant the original space. The occupied becomes the occupier. As the space between has become the object of the gaze, it needs to be the object of sensory perception.

 

1. 10. These spaces are where substitutions occur, reason is replaced with irrationality.

 

In these spaces transference can be made. The space can then become the holder of all irrational thoughts that then has to be exorcised.  Meaning is replaced in the spaces, which has been transferred by the seer.