好古園: A Manifesto

02/11/2012

The Japanese Garden is a botanic structure designed to encourage a specific experience for the garden visitor. The specific experience designed for the garden visitor is for the garden visitor to gain no specific experience from the garden

[there is no objectivity here.]

Over centuries the garden maintains a parallel: it is an unchanging design existing within a continuously altering landscape

[thoughtscape.]

There is object; there is space: there is fragmentation.

No objective use or interpretation summarizes the garden: there is fragmentation.

A dispersal of infinite passive frames wait to be viewed or not to be viewed.

Over centuries the garden will allow subjective contextualization and active interpretation

[we are independent walkers here.]

Then a Japanese garden should be approached differently to other gardens: a Japanese garden should be acknowledged as a potential space for active participation. The viewer must seek out what it may offer her, and only her. She must read herself in the fluttering ferns, the restless ripples, and the spaces between them. She should acknowledge this space as potential for discovery. She must accept that space shall always exist. She must take her own instinctive route, she must direct herself. Perhaps, even discard the map.

Once outside the initial site performance, the viewer’s experiences which are gained whilst they are within the garden cannot be re-experienced.

To attempt to catch those experiences through documentation will only offer re-interpretation, not re-experience

[the breeze makes nothing still.]

To separate fragments of experience from others is a healthy past-time. If frozen by documentation however, the fragment – now framed outside of its original context – is restricted within form: it has become unchangeable. Over periods of time, documents may replace original interpretation, and memories will be overridden. Documents create closed conclusions.

Instead, let us re-interpret and re-visit those flexible fragments which belong to Memory. Instead let us further the potential to become a continuous reflexive subject outside of those initial experiences.Seasons change, and natural substance must grow no no no pre-design can control or predict a garden’s evolution [the breeze makes nothing still]

a Japanese garden is a poem of infinite interpretative possibilities written in a language which evinces those fictions ‘absolute truth’ and ‘completion’ and supplies potential

subjective relevance for those who seekit

Readily accepting given structures without honouring their potential to the self only creates stale memories and documents what we may describe as proof of occurrences

occur

re

nces are not experience            no map is courageous

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