Exploring Architecture In Islamic Cultures Expressions Of

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My italics)6 ‘Making this disappearance into . . absence . . impossible’ is the tendency underpinning all our strategies of presence, and the linearity, visuality, temporality that they imply. Perhaps we can then take Blanchot’s insight as an introduction to a shift in cognition that allows us to see originality in terms other than those of presence – to see the necessary gap or différance in any establishment of origin – to see the absence of presence with neither affirmation nor negation.

This, it seems, is the question posed by Frédéric Migayrou. For it seems somehow a lineage which opens opportunity, which disperses as it gathers; most vividly (for me) it causes us to hesitate an instant with a vision of the past at the instant that it offers insight to the future . . It’s the opening that is intoxicating: not the simple (AF)filiation. ), can be infinitely reconfigured, indefinitely: it invites, almost, at the site of its very announcement of ‘reactivity’, a creative joy: a state of lightPossibly one senses a deeper doubt (than this immanent critique): a more informed anxiety as pre-text or context to this ‘Bloc’: a malaise or difficulty of expression.

Hystera Irigaray translates not only as cave but also as womb, which here seems a suitably poignant ambiguity in our discourse on origins: a cave-womb-writing as a fluid and cyclical process: a ‘condition of origin’ as a non-physical model of différance, of the process of originality. Not so much ‘an architecture’ as a model of a possibility of architecture, but in processural rather than physical terms: architecture’s unseen or unseeing next psychology, its current differential status . . Or simply a decora(c)tive circuit which oscillates between centre and margin, between decoration and structure, tracing a displaced psychology; an endlessly displaced creative locus, and/as liquification of determinism.

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