poetics of space

(1958) by gaston bachelard – the poetics of space.. translated from french.. bachelard oikos law et al

oikos (the economy our souls crave).. ‘i should say: the house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace.’ – gaston bachelard, the poetics of space

wow.. don’t even have a page for him [https://en.wikipedia.org/wiki/Gaston_Bachelard]:

Gaston Bachelard (/bæʃəˈlɑːr/; French: [baʃlaʁ]; 27 June 1884 – 16 October 1962) was a French philosopher. He made contributions in the fields of poetics and the philosophy of science. To the latter, he introduced the concepts of epistemological obstacle and epistemological break (obstacle épistémologique and rupture épistémologique). He influenced many subsequent French philosophers, among them Michel Foucault, Louis Althusser, Dominique Lecourt and Jacques Derrida, as well as the sociologists Pierre Bourdieu and Bruno Latour.

For Bachelard, the scientific object should be constructed and therefore different from the positivist sciences; in other words, information is in continuous construction. Empiricism and rationalism are not regarded as dualism or opposition but complementary, therefore studies of a priori and a posteriori, or in other words reason and dialectic, are part of scientific research.

In addition to epistemology, Bachelard’s work deals with many other topics, including poetry, dreams, psychoanalysis, and the imagination. The Psychoanalysis of Fire (1938) and The Poetics of Space (1958) are among the most popular of his works: Jean-Paul Sartre cites the former and Bachelard’s Water and Dreams in his Being and Nothingness (1943), and the latter had a wide reception in architectural theory circles, and continues to be influential in literary theory and creative writing. In philosophy, this nocturnal side of his work is developed by his student Gilbert Durand.

finally getting around to reading it.. while re-reading colin ward’s ch 5 of child in the city.. found 279 page pdf [https://sites.evergreen.edu/wp-content/uploads/sites/88/2015/05/Gaston-Bachelard-the-Poetics-of-Space.pdf]



foreward to the 1994 edition by john r stilgoe

in the house bachelard discovers a metaphor of humanness

no other writer closes so accurately, so deftly w the meanings of domestic space.. bachelard admits that every house is first a geometrical object of planes and right angles.. but asks his reader to ponder how such rectilinearity so welcomes human complexity, idiosyncrasy, how the house adapts to is inhabitants.. ‘a house that has been experienced is not an inert box.. inhabited space transcends geometrical space’


if the house is the first universe for its young children, the first cosmos, how does its space shape all subsequent knowledge of other space, of any larger cosmos? is that house ‘a group of organic habits’ or even something deeper, the shelter of the imagination itself?.. t

bachelard finds the bits/pieces of evidence he weaves into his argument that the house is a *nest for dreaming, a shelter for imagining.. his insistence that people need houses in order to dream, in order to imagine, remains one of the most unnerving, most convincing arguments in western philosophy.. t gales, hurricanes, and downpours haunt the poetics of space, all vicissitudes that make the simplest of simple huts shine in strength of sheltering.. storm makes sense of shelter, and if the shelter is sounds, the shelter makes the surrounding storm good, enjoyable, recreational, something that bachelard uses to open his understanding of house and universe, of intimacy and immensity

*huge.. econ our souls crave..


out of the house spin worlds w/in worlds, the personal cosmoses bachelard describes perhaps more acutely than any other writer concerned w space.. t

resonations with rooms in the be you house – and museum of care

bachelard writes of hearing by imagination, of filtering, of distorting sounds, of lying awake in his city apt and hearing in the roar of paris the rote of the sea, of hearing what is and what is not..t

*quiet enough ness..

in struggling to look ‘thru the thousand windows of fancy’ bachelard elevates language, pushes adjectives and nouns to far off limits, perhaps to voluptuous heights, certainly to intimacy elsewhere unknown.. t

idiosyncratic jargon ness.. lanier beyond words law.. rumi words law.. et al.. vs.. language as control/enclosure.. et al


it is a book that makes its readers dissatisfied w much contemp structure and landscape, for it demonstrates to its readers that space can be poetry.. t

every reader of it will never again see ordinary spaces in ordinary ways.. instead the reader will see w the soul of the eye, the glint of gaston bachelard.. t

john r stilgoe.. harvard uni


foreward to the 1964 edition by etienne gilson

an unusual man w an unusual career and a still more unusual mind, gaston bachelard was so modes that probably few of his contemps will remember him as a young man when he was slowly working his way form small jobs in public admin up to a chair of philosophy in the sorbonne.. the bachelard they will remember is the last one, a debonair patriarch, w a marked provincial accent, dearly loved by his students to whom he was so generously devoted, but chiefly known to his neighbors as an old man fond of choosing his own cut of meat at the market or of buying his own fish..

i wish i could make clear how his provincial origins and his familiarity w the things of the earth affected his intellectual life and influenced the course of his philosophical reflections. owing to his courageous efforts, bachelard finally succeeded in giving himself a uni ed, got all the uni degrees one can get and ended as a uni prof; yet, unlike most of us, at least in france, he never allowed himself to become molded by the traditional ways of thinking to which unis unavoidably begin by submitting their students.. his intellectual superiority was such that he could not fail to succeed in all his academic ventures. we all loved him, admired him and envied him a little, because we felt he was a free mind, unfettered by any conventions.. either in his choice of the problems he wanted to handle or in his way of handling them.. t


what i want to make clear is that as a uni prof his whole career was founded upon his philosophical critique of sci knowledge and his conception of a free type of rationalism, quite diff from the abstract mode of thinking which the world usually designates, and wholly bent upon the art of using reason as an instrument to achieve an always closer approach to concrete reality..

having specialized in the philosophy of sci, he was likely to write a dozen more books on the same subject.. but things were not to be that way.. bachelard fired his first warning shot when he unexpectedly published a book curiously entitled the psychoanal of fire.. i distinctly remember my first reaction to it.. it was: what are they going to say? who, they? well, we, all of us , the colleagues.. after appointing a man to teach the philosophy of sci and seeing him successfully do so for a number of years, we don’t like to learn that he has suddenly turned his interest to a psychoanal of the most unorthodox sort, .. t since what then was being psychoanalyzed was not even people.. but an element..

more volumes in same vein were to follow.. water and dreams, air and revery, the earth and the reveries of the will, the earth and the reveries of rest, in which bachelard was resolutely turning from the universe of reason and sci to that of imagination and poetry.. everything in them was new and i feel quite certain that their ultimate import has not yet been fully realized..t perhaps they never will be, for what bachelard calls imagination is a most secret power that is as much of a cosmic force as a psychological faculty..


in other words, he was then turning form the philosophy of sci to the philosophy of art and to esthetics

this could not be done w/o extreme care, esp on the part of a mind for so many years intent on the intricate, but always precise, moves of the sci mind.. from the very beginning, as will be seen in the first lines of this work, bachelard realized that he would have to forget all his acquired knowledge, all the philosophical habits contracted during years of sci reflection, if he wanted fruitfully to approach the problems raised by the poetic imagination.. t

detox ing intellect ness et al


i only wanted to mark the striking originality of a man so deeply rooted in the soil of everyday life and in such intimate relation w the concrete realities of nature, that after carefully scrutinizing the methods whereby man achieves sci cognition, he yielded to an irresistible urge personally to communicate w the forces that create it.. the only field where he could hope to observe them at play was poetry..t hence the series of writings in which gaston bachelard has applied the principles of his new method, and quite particularly this one, in which he finally brought it to perfection

etienne gilson aug 1963



a philosopher who has evolved his entire thinking from the fundamental themes of the philosophy of sci and followed the main lien of the active, growing rationalism of contemp sci as closely as he could, *must forget his learning and break w all his habits of philosophical research if he wants to study the problems posed by the poetic imagination.. for here the cultural past doesn’t count..t the long day in day out effort of putting together and constructing his thoughts is ineffectual.. one must be receptive, receptive to the image **at the moment it appears: if there be a philosophy of poetry, it must appear and re appear thru a significant verse, in total adherence to an isolated image; to be exact in the very ecstasy of the newness of the image..

*so too.. if wanting to address problem deep enough.. to get to a legit free world.. research ness and history ness.. all irrelevant s.. all cancerous distractions.. all of non legit data (like from whales in sea world)

**imagine if we listened to the itch-in-8b-souls 1st thing everyday & used that data to connect us (tech as it could be.. ai as augmenting interconnectedness as nonjudgmental expo labeling)


we shall return to this question of communion thru brief, isolated, rapid actions.. t

infinitesimal structures approaching the limit of structureless\ness and/or vice versa .. aka: ginorm/small ness


in order to clarity the problem of the poetic image philosophically, we shall have to have recourse to a phenomenology of the imagination. by this should be understood a study of the phenom of the poetic image when it emerges into the consciousness as a direct product of the heart, soul and being of man, apprehended in his actuality

sounds like itch-in-the-soul ness.. already on each heart ness.. the little prince – see with your heart.. et al

the ‘prudent’ attitude itself is a refusal to obey the immediate dynamics of the image.. i have come to realize how difficult it is to break away form this ‘prudence’.. *to say that one has left certain intellectual habits behind is easy enough, but how is it to be achieved?..t for a rationalist, this constitutes a minor daily crisis, a sort of split in one’s thinking which, even though its object be partial.. a mere image.. **has none the less great psychic repercussions.. t however, this minor cultural crisis, this crisis on the simple level of a new image, contains the entire paradox of a phenomenology of the imagination, which is: how can an image, at times very unusual, appear to be a concentration of the entire psyche? how.. ***w no prep.. can this singular, short lived event constituted by the appearance of an unusual poetic image, react on other minds and in other hearts, despite all the barriers of common sense, all the ****disciplined schools of thought, content in their immobility?

*need a global detox/re\set.. because it has to be all of us for it to legit happen.. so.. need tech as it could be – ai as nonjudgmental expo labeling)

**yeah.. warning ness.. costello screen\service law.. again.. why it has to be all of us.. everyone in sync.. for it to happen w/o damage.. for it to happen at all

***if it’s deep enough that 8bn souls already crave/have it.. prep et al.. is what keeps blocking us from it..

****supposed to’s of school/work et al.. any form of m\a\p


the image, in its simplicity, has no need of scholarship. it is the property of a naive consciousness; in its expression, it is youthful language. . the poet, in the novelty of his images, is always the origin of language.. to specify exactly what a phenomenology of the image can be, to specify that the image comes before thought, we should have to say that poetry, rather than being a phenomenology of the mind, is a phenomenology of the soul.. t we should then have to collect documentation on the subject of the dreaming consciousness..

so much here.. ie: idiosyncratic jargon ness..

phenomenology: the science of phenomena as distinct from that of the nature of being. • an approach that concentrates on the study of consciousness and the objects of direct experience.


the language of contemp french philosophy.. and even more so psychology.. hardly uses the dual meaning of the words soul and mind.. as a result, they are both somewhat deaf to certain themes that are very numerous in german philosophy, in which the distinction between mind and soul is so clear.. the word ‘soul’ is an immortal word.. in certain poems it cannot be effaced, for it is a word born of our breath..


the soul.. possesses an inner light .. not a reflection of a light from the outside world.. the oeuvre (work of art) must redeem an impassioned soul.. a consciousness associated w the soul is more relaxed, less internationalized than of the mind.. forces are manifested in powers that do not pass thru the circuits of knowledge.. the mind is able to relax, but in poetic revery the soul keeps watch, w no tension, calmed and active.. for a simple poetic image.. there is no project; a flicker of the soul is all that is needed.. t

imagine if we listened to the itch-in-8b-souls 1st thing everyday & used that data to connect us (tech as it could be.. ai as augmenting interconnectedness as nonjudgmental expo labeling)


the poetic image places us at the origin of the speaking being

one would not be able to meditate in a zone that preceded language

so perhaps let’s let go of meditation ness as well.. either that our let go of language ness.. for idio jargon ness.. et al.. rumi words law.. lanier beyond words law.. et al


*to speak well is part of living well.. the poetic image is an emergence from language, it is always a little above the language of signification.. by living the poems we read, we have then the salutary experience of emerging.. these acts of emergence are repeated; **poetry puts language in a state of emergence, in which life becomes manifest thru its vivacity.. these linguistic impulses, which stand out from the ordinary rank of pragmatic language, are ***miniatures of the vital impulse a micro-bergsonism that abandoned the thesis of language-as-instrument in favor of the thesis of language-as-reality would find in poetry numerous documents on the intense life of language.. t

*yeah.. i don’t think so

unless more like **idiosyncratic jargon ness than what we know/practice in sea world as language as control/enclosure.. aka: whalespeak et al

like ***this – imagine if we listened to the itch-in-8b-souls 1st thing everyday & used that data to connect us (tech as it could be.. ai as augmenting interconnectedness as nonjudgmental expo labeling).. and this – infinitesimal structures approaching the limit of structureless\ness and/or vice versa .. aka: ginorm/small ness


thus, along w considerations on the life of words, as it appears in the evolution of language across the centuries, *the poetic image, as a mathematician would say, presents us w a sort of differential of this evolution.. a great verse can have a great influence on the soul of a language.. it awakens images that has been effaced, at the same time it confirms the unforeseeable nature of speech.. and if we render speech unforeseeable, is this not an apprenticeship to freedom?..t what delight the poetic imagination takes in making game of censors.. time was when the poetic arts codified the licenses to be permitted.. contemp poetry, however, has intro’d freedom in the very body of the language.. as a result, poetry appears as a phenom of freedom

*yeah that.. as the  ginorm/small ness of idiosyncratic jargon ness

here we are in the presence of a minuscule phenomenon of the shimmering consciousness..


j b pontalis presents michel leiris as a ‘lonely prospector in the galleries of words’.. which describes extremely well this fibered space traversed by the simple impetus of words that have been experienced. the atomism of conceptual language demands reasons for fixation, forces of centralization. but the verse always has a movement, the image flows into the line of the verse, carrying the imagination along w it.. **as though the imagination created a nerve fiber.. very clearly, the poetic image furnished one of the simplest experiences of language that has been lived.. and ***if, as i propose to do, it is considered as an origin of consciousness, it points to a phenomenology

*that deep

**to me.. imagination (itch-in-the-soul et al) is the nerve fiber..

***to me.. the poetic image is an expression.. not an origin.. to me.. origin is deep inside.. and creates the expressions..

j h van den berg writes: ‘poets and painters are born phenomenologist’ and noting that things ‘speak’ to us and that, as a result of this fact, if we give this language its full value, we have a contact w things, van den berg adds: ‘we are continually living a solution of problems that reflection cannot hope to solve’..

to me.. yeah.. if legit free.. not about solving problems anyway


the new being is happy man


sublimation (modify into more socially acceptable) in poetry towers above the psychology of the mundanely unhappy souls. for it is a fact taht poetry possesses a felicity of its own.. however great the tragedy it may be called upon to illustrate..

pierre-jean jouve has said ‘poetry constantly surpasses its origins and because it suffers more deeply in ecstasy or in sorrow, it retains greater freedom’


in the region of ‘the pure form of language’ the psychoanalysts’ causes do not allow us to predict the poetic image in its newness.. they are at the very most, opps for liberation.. and in the poetic age in which we live, it is in this that poetry is specifically ‘surprising’.. its images are therefore unpredictable.. most literary critics are insufficiently aware of this unpredictability, which is precisely what upsets the plans of the usual psychological explanations.. but the poet states clearly: ‘poetry, in its present endeavors, can only correspond to attentive thought that is enamored of something unknown and essentially receptive to becoming’.. t

graeber unpredictability/surprise law.. graeber can’t know law.. et al


jean lescure: ‘knowing must therefore be accompanied by an equal capacity to forget knowing.. non-knowing is not a form of ignorance but a difficult transcendence of knowledge. this is the price that must be paid for an oeuvre to be, at all times, a sort of pure beginning, which makes its creation an exercise in freedom’ .. in poetry, non-knowing is a primal condition; .. the entire life of the image is in its dazzling splendor, in the fact that an image is a transcending of all the premises of sensibility.. t

usefully ignorant.. graeber can’t know law.. intellect ness.. et al.. lanier beyond words law et al


it becomes evident then that a man’s work stands out from life to such an extent that life cannot explain it.. art then is an increase of life, a sort of competition of surprises that stimulates our consciousness..t and keeps it from becoming somnolent (sleepy)

rheingold (mom) art law: my mom (art teacher) didn’t teach technique so much as she taught permission. ie: not so much about the art  – but the conversation you have with yourself while you’re making/creating art

self-talk as data.. idiosyncratic jargon et al

lapicque: ‘i expect my painting to give me as much that is unexpected, although of another kind, as the actual race i witnessed gave me.. not for a second can there be any question of reproducing exactly a spectacle that is already in the past.. but i have to relive it entirely, in a manner that is new and, this time, from the standpoint of painting.. by doing this, i create for myself the possibility of a fresh impact

imagine if we ness

lescure: ‘an artist does not create the way he lives, he lives the way he creates’


word ‘image’ surrounded w confusion.. the image is everything except a direct product of the imagination.. this production remains, therefore, an act of lesser freedom.. that has no relation to the great free acts stressed by bergsonian philosophy.. t

norton productivity law and art – being human et al

i propose to consider the imagination as major power of human nature.. put end to comparisons of images w memories..

imagination separates us from past as well as form reality.. it faces the future.. to the function of reality.. wise in experience of the past.. should be added a function of unreality, equally positive.. any weakness in the function of unreality will hamper the productive psyche.. if we cannot imagine, we cannot foresee..


we are offered a veritable cure of rhythmo analysis thru the poem, which interweaves real and unreal and gives dynamism to language by means of the dual activity os signification and poetry.. in poetry, the commitment of the imagining being is such that it is no longer merely the subject of the verb ‘to adapt oneself’.. actual conditions are no longer determinant.. w poetry, the imagination takes its place on the margin, exactly where the function of unreality comes to charm or to disturb.. always to awaken.. t

again to self-talk as data.. and imagine if we ness via rheingold (mom) art law et al

art (by day/light) and sleep (by night/dark) as global re\set.. to fittingness (undisturbed ecosystem)

the sleeping being lost in its automatisms.. the most insidious of these automatisms, the automatism of language, ceases to function when we enter into the domain of pure sublimation.. t (modify to higher).. seen from this height of pure sublimation, reproductive imagination ceases to be of much importance.. jean-paul richter: ‘reproductive imagination is the prose of productive imagination’

to language as control/enclosure et al

in this philosophical intro.. doubtless to long.. i have summarized certain gen themes i should like to put to the test in the work that follows.. the images i want to examine are the quite simple images of felicitous (well chosen, suited) space.. in this orientation, these investigations would deserve to be called topophilia.. they seek to determine the human value of the sorts of space that may be grasped, that may be defended against adverse forces, the space we love..t for diverse reasons, and w the differences entailed by poetic shadings, this is eulogized (praised highly) space.. attached to its protective value, which can be a positive one, are also imagined values, which soon become dominant.. space that has been seized upon by the imagination cannot remain indifferent space subject to the measures and estimates of the surveyor.. it has been lived in, not in it positivity, but w all the partiality of the imagination.. t particularly, it nearly always exercises and attraction.. for it concentrates being w/in limits that protect.. in the realm of images, *the play between the exterior and intimacy is not a balanced one.. on the other hand, hostile space is hardly mentioned in these pages.. the space of hatred and combat can only be studied in the context of impassioned subject matter and apocalyptic images. for the present, we shall consider the images that attract.. and w regard to images, it soon becomes clear that to attract and to repulse do not give contrary experiences.. the terms are contrary.. when we study electricity or magnetism, we can speak symmetrically of repulsion and attraction.. all that is needed is a change of algebraic signs.. but images do not adapt themselves very well to quiet ideas, or above all, to definitive ideas.. the imagination is ceaselessly imagining and enriching itself w new images.. it is this wealth of imagined being that i should like to explore

*maté trump law et al


here this is a rapid account of the chapters that compose this book.

first of all.. as is proper in a study of images of intimacy, we shall pose the problem of the poetics of the house.. the questions abound: how can secret rooms, rooms that have disappeared, become abodes for an unforgettable past.. where and how does repose (state of sleep or tranquility) find esp conducive situations? how is it that at times a provisional refuge or an occasional shelter is endowed in our intimate day dreaming w virtues that have no objective foundation.. w the house image we are in possession of a veritable principle of psych integration.. descriptive psych depth psych psychoanal and phenomenology could constitute.. w the house.. the corpus of doctrines that i have designated by the name of topo-analysis.. on whatever theoretical horizon we examine it, the house image would appear to have become the topography of our intimate being.. t

art (by day/light) and sleep (by night/dark) as global re\set.. to fittingness (undisturbed ecosystem)


in order to give an idea of how complex is the task of the psychologist who studies the depths of the human soul, cg jung asks his readers to consider the following comparison: ‘we have to describe and to explain a building the upper story of which was erected in 19th cent.. ground floor 16th cent, masonry reconstructed from dwelling tower of 11th cent.. cellar and under a filled -in cave.. floor glacial fauna .. that would be a sort of picture of our mental structure’.. naturally, jung was well aware of the limitations of this comparison.. but from the very fact that it may be so easily developed, there is ground for taking the house as a tool for analysis of the human soul.. w the help of this tool, can we not find w/in ourselves, while dreaming in our own modest homes.. the consolations of the cave? are the towers of our souls razed for all time? are we to remain, to quote nerval’s famous line, beings who ‘towers have been destroyed’.. not only our memories, but the things we have forgotten are ‘housed’.. our soul is an abode.. and by remembering ‘houses’ and ‘rooms’ we learn to ‘abide’ w/in ourselves.. t now everything becomes clear, the house images move in both directions: the are in us as much as we are in them, and the play is so varied that two long chapters are needed to outline the implication of house images

cage home law.. unauthorized home less ness.. home less ness.. home ness.. iwan baan ness et al.. year 2 – the be you house et al..

after these two chapters on the houses of man, i studied a series of images which may be considered the houses of things: drawers, chests and wardrobes.. what psychology lies behind their locks and keys.. they bear w/in themselves a kind of esthetics of hidden things.. to pave the way now for a phenomenology of what is hidden, on prelim remark will suffice: an empty drawer is unimaginable.. it can only be thought of.. and for us, who must describe what we imagine before what we know.. what we dream before what we verify.. all wardrobes are full

batra hide in public law.. fix vs not hidden.. nothing hidden et al..


at times when we believe we are studying something, we are only being receptive to a kind of day dreaming. the two chapters that i devoted to nests and shells, the two refuges of vertebrates and invertebrates.. bear witness to an activity of the imagination which is hardly curbed by the reality of objects.. during my length meditation upon the imagination of the four elements, i re-lived countless aerial or aquatic day dreams, according to whether i followed the poets into the nest in the tree, or into the sort of animal cave that is constituted by a shell.. sometimes, even when i touch things, i still dream of an element

after having followed the day dreams of inhabiting these uninhabitable places, i returned to images that, in order for us to live them, require us to become very small, as in nests and shells.. indeed, in our houses we have nooks and corners in which we like to curl up comfortably.. to curl up belongs to the phenomenology of the verb to inhabit, and only those who have learned to do so can inhabit w intensity.. in this respect, we have w/in ourselves and entire assortment of images and recollections that we would not readily disclose..t no doubt, a psychoanalyst , who desired to systematize these images of comforting retreat, could furnish numerous documents.. all i had at my disposal were literary ones.. i thus wrote a short chapter on ‘nook and corner’ and was surprised myself to see that important writers gave literary dignity to these psychological documents..

infinitesimal structures – ginorm/small ness

after all these chapters devoted to intimate space, i wanted to see what the dialectics of large and small offered for poetics of space, how, in exterior space, the imagination benefited from the relativity of size, w/o the help of ideas and, as it were, quite naturally. i have put the dialectics of small and large under the signs of miniature and immensity,..t but these two chapters are not as antithetical as might be supposed. in both cases, small and large are not to be seized in their objectivity, since, in this present work, i only deal w them as the two poles of a projection of images. in other of my books, particularly w regard to immensity, i have tried to delineate the poet’s meditations before the more imposing spectacles of nature.. here, it is a matter of participating more intimately in the movement of the image. for instance, i shall have to prove in following certain poems that the impression of immensity is in us, and not necessarily related to an object

infinitesimal structures approaching the limit of structureless\ness and/or vice versa .. aka: ginorm/small ness



1 – the house. from cellar to garret. the significance of the hut

the house, quite obviously, is a privileged entity for phenomenological study of the intimate values of inside space, provided, of course, that we take it in both its unity and its complexity and endeavor to integrate all the special valued in one fundamental value..

infinitesimal structures approaching the limit of structureless\ness and/or vice versa .. aka: ginorm/small ness

transcending our memories of all the houses in which we have found shelter, above and beyond al the houses we have dreamed we lived in, can we isolate an intimate, concrete essence that would be a justification of the uncommon value of all of our images of protected intimacy?.. this then is the main problem..

just needs to be a space that facils (protects) missing pieces/maté basic needs.. mostly missing piece #1 – authenticity – pascal quiet law.. quiet in room.. et al.. so that brown belonging law is in play.. for in the city.. as the day ness (perhaps: be you in the house for us in the city).. though with you on the house thing as we did in year 2 – the be you house


not a question of describing houses.. or enumerating features for which they are comfortable.. on contrary.. we must go beyond the problems of description.. in order to attain to the primary virtues, those that reveal an attachment that is native in some way to the primary function of inhabiting.. in every dwelling, even the richest, the first task of the phenomenologist tis to find the original shell

imagine a turtle ness et al

we should therefore have to say how we inhabit our vital space, in accord w all the dialectics of life.. how we take root, day after day, in a ‘corner of the world’

has to be sans any form of m\a\p.. ie: ‘have to say ness’.. is a form of m\a\p

for our house is our corner of the world.. our fist universe.. if we look at it intimately .. the humblest dwelling has beauty.. a primitiveness which belongs to all.. rich and poor alike, if they are willing to dream..

dream.. ness et al.. bachelard oikos law et al

but our adult life is so dispossessed of the essential benefits.. its anthropocosmic ties have become so slack.. that we do onto feel their first attachments in the universe of the house..

aka: all in sea world.. so.. hari present in society law et al


we comfort ourselves by reliving memories of protection.. by recalling these memories, we add to our store of dreams; we are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost

thus by approaching the house images w care not to break up the solidarity of memory and imagination.. we may hope to make others feel all the psychological elasticity of an image that moves us at an unimaginable depth..

if i were asked to name the chief benefit of the house, i should say: the house shelters daydreaming the house protects the dreamer, the house allows one to dream in peace.. t

bachelard oikos law

thought and experience are not the only things that sanction human values.. the values that belong to daydreaming mark humnaity in its depts..

rather.. sustain whales ness value..


before he is ‘cast into the world’.. *man is laid in the cradle of the house.. and always in our daydreams, the house is a large cradle..

*not yet tried