By Tim Ingold

To stay, each being needs to placed out a line, and in lifestyles those strains tangle with each other. This e-book is a examine of the lifetime of strains. Following on from Tim Ingold's groundbreaking paintings Lines: a short History, it bargains a totally unique sequence of meditations on existence, floor, climate, strolling, mind's eye and what it ability to be human.

In the 1st half, Ingold argues global of lifestyles is woven from knots, and never outfitted from blocks as mostly concept. He indicates how the main of knotting underwrites either the way in which issues subscribe to with each other, in partitions, structures and our bodies, and the composition of the floor and the data we discover there.

In the second one half, Ingold argues that to review dwelling traces, we should also research the elements. to counterpoint a linealogy that asks what's universal to strolling, weaving, staring at, making a song, storytelling and writing, he develops a meteorology that seeks the typical denominator of breath, time, temper, sound, reminiscence, color and the sky. This denominator is the atmosphere.

In the 3rd half, Ingold contains the road into the area of human existence. He indicates that for all times to proceed, the issues we do needs to be framed in the lives we endure. In constantly answering to each other, those lives enact a precept of correspondence that's essentially social.

This compelling quantity brings our brooding about the cloth international refreshingly again to existence. whereas anchored in anthropology, the e-book levels broadly over an interdisciplinary terrain that comes with philosophy, geography, sociology, artwork and structure.

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See how high I stand, straight up in the air. You, ground, are infrastructure; I am superstructure. I am over and above you; you are beneath me. ’ To which the ground responds: ‘You may think you are finished, but indeed, you are much mistaken. For whence do you think the materials have come from which you are made – the concrete, the steel, the glass? And do you think they will last forever in the forms in which they are presently cast? These materials have come from the earth, and it is to the earth that they will eventually return.

With the earth below and the sky above, and supported on the ground, the Gibsonian perceiver is placed in the midst of the phenomenal world rather than banished to its exterior surface. He is, in that sense, an inhabitant. He has air to breathe, and a platform to stand on. Yet an open environment, comprising the ground surface alone, would not in itself be habitable. Arguing this point, Gibson compares the ground to the floor of a room. In an empty, unfurnished room one could stand, walk or even run on the floor, but do little else.

In tectonics, by contrast, linear constituents are fitted into a frame that is held together by joints or bindings. One might think, for example, of the frame of a boat that has still to be covered with planks or skins, or the beams of a roof that has still to be thatched, slated or tiled. For Semper in his day, and now for us, the key question is about the balance – or the relative priority – of stereotomics and tectonics in the making or building of things. In tectonics, as we saw in the foregoing chapter, the knot or the joint is the root principle of construction.

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