...if there is just a single constant in dreams, it is the rejection of stagnation, or the contempt for the reductive idleness of the faculties that stimulate a change of direction or sense. We can read the traditional Japanese house as an optimised (and freely-expressed) negation of our fixed system of construction beyond the aesthetic variants that we want to introduce. It would be no less worthy to think of the thousand-year-old home as being orientated like a faithful materialisation - in a state of vigilance - of the alternating dream stages. An inhabited form of sculpture? Yes, as long as what we understand by sculpture is a certain glandular excretion of thought and by inhabited its metaphoric faculty projects it towards the space generating recognition. The best sculpture is always a Japanese house: mobility of action and thought, stagnation in vigilance, and active jealousy in the look ...




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