Voices of Reverie: A Conversation of Creative Becoming
joseph coulter
Voices of Reverie: A Conversation of Creative Becoming
As a piece of writing that extends the ‘frames of thinking’ presented through the reflective reading journals, this inquiry speculates at the potential of ‘reverie’ to open an unconscious space of becoming.Where reverie carries the maker into a discourse with the enigmatic syntax of an illusive interior being, there is an underlying resonance that facilitates the freedom and movements of creative growth.There is however a tension at play, a force of focus. A compulsion to abide to the voices of ego that drown out the tacit and peripheral advances of a haptic unconsciousness. The essay concerns how can we begin to find the edges of creativity through ‘improvisatory conversations’ with the voices of our inner being and gain momentum towards a way of moving on. It will propose ‘reverie’ as a way to suspend the conscious projection of thought towards an end, and instead open into a dimension of tacit knowledge to begin to understand the nature of how we come to perceive it.
joseph coulter
Going back. Back to a moment of serene being, in a writing where I am able to feel the heat of the sun on my skin and the breeze rolling across my chest.Who am I and where do I go in these moments of reverie? I am at the desk, yet I can feel the sand beneath my feet. Who do I have to be to go back? Or indeed to go forward? To animate lines of proposition that fall across the page, run my fingers through the mortar between the brick.To take up that place of within, inside myself. Just there between the line and the brick.
In play. Consequence gone. Just feeling it; and then it fits.
Reverie, through origin and by definition, runs together a state of becoming lost in ones thoughts with a deliriousness of stepping back; outside of oneself.1 Just beyond the shadows of consciousness we find ourselves opening into new dimensions of being. Serene moments of that seemly occur outside of time, from the depths of our perceptive sensualities and undeterred by the direction of intentionally. If by way of psychoanalyst and writer Thomas H. Ogden, “reverie is a principle form of representation of the unconscious (largely intersubjective) experience”,2 then is it in reverie that we make contact with the movements of our sensory awareness? A dreamlike state of absentmindedness where we encounter experience? In reverie, the slippage of one experience into another opens forwards into an intersubjective space of resonance. An aperture that one can listen through, in which this ‘listening’, for French philosopher Jean-Luc Nancy, there is a shift from the control of consciousness, as “an intentional line of sight, to a resonant subject, an intensive spacing of a rebound that does not end in any return to self without immediately relaunching, as an echo.” 3
6
It is these echos of resonance and the potentiality that they hold hidden under the cover of consciousness that this paper will explore.With continued reference to Ogden, minded both as ‘creative’ and ‘analyst’, it will ask how best “to achieve a state of mind in which [one] might gain access to the continuous unconscious conversion with himself.” 4 Between consciousness and the voice of my own reverie as a conversational tool for creative becoming, I will make use of improvisatory free writing as a medium to gather the shape and likeness of ‘reverous’ thought to question if and how comparable practice could function productively in the design process and the consequences for the becoming of the maker.To explore the ambiguity of the origin of the states of creative reverie we occupy, and question where it is we go, and who we are in these moments; who it is best to be in order to become?
Joseph Coulter
Voices of Reverie: A Conversation of Creative Becoming
Notes; 1.
2. 3. 4.
The ODE defines ‘reverie’ as “a moment or period of being lost, esp. pleasantly, in one’s thoughts; a daydream” that has early 17th century, old French origins from the word ‘rever’, ‘be delirious’, of unknown ultimate origin. Oxford English Dictionary. ”reverie, n.”. OED Online. March 2019. Oxford English Dictionary. ”reverie, n.”. OED Online. March 2019. Oxford University Press. http://www.oed.com/view/ Entry/164771?isAdvanced=false&result=1&rskey=uuUkeJ& (accessed April 16, 2019). Thomas H. Ogden, Conversations on the Frontier of Dreaming (New Jersey: Jason Aronson, 2001), p. 38. Jean-Luc Nancy, Listening, trans. Charlotte Mandell (New York: Forham University Press, 2007), p. 21. Ogden, Conversations, p. 5.
7
Blank. A stillness forced over me as I stare into sheets of whiteness
An abundance of lead, but the empty and endless flecks in the paper and pixels on the screen intimidate me this time. All the space, but none to play with. No energy, no room for excitement. A desire to control the next step of wonder and get to the end.To force a wandering towards something, anything, that can move me on.This desire unsteadies me and the emptiness grows.
It grows around me. Envelops me. More and more fragile, as I become less of me.
The pressure that disturbs me holds me at a standstill, without direction or purpose, there is no frame for me to attend to, no gap for me to lend my desire to the world.
Frozen. Just blank, on the page and somewhere on the inside of me.
Voices of Reverie: A Conversation of Creative Becoming
From the willing towards a set of prescribed conditions grows the despair about the distance between the focus of ideas presumed in the mind and its likeness that we attempt to project on the surfaces of the world.The incessant desire to reach an ‘end’ and a fixation on finality closes down space for creativity to grow and leaves us further away from any means of knowing. In a suspension of predisposition, yes, there seems to be an endless stream of possibility ahead, but how can we begin to find its edges, tread a path of improvisation and gain momentum towards a way of moving on? Introspective journalist, author and psychoanalyst Marion Milner, writes with a comparable fascination not only on the potential of the unconscious as a therapeutic resource, but also on her own creative “rumblings and amateurish beginner’s efforts to draw and paint”.5 She expresses a similar disscontempt with the tension associated with drawing a creative blank in ‘On Not Being Able to Paint’, where she writes of an ‘unknowingness’; the uncertainty necessary in order to to pertain meaning from creative movement. She describes the capacity of the individual to “bear the chaos and uncertainty about what [is] emerging” 6 in their mind’s eye as the underlying challenge to working ‘unknowingly’.
12
Joseph Coulter
This emphasis on the unknown as a source of creative becoming starts to hint at reverie and a state of absentmindedness as a beginning for a way of thinking beyond consciousness. A searching towards meaning from a ‘Tacit Dimension’7 termed by Michael Polanyi that is based on the fact principle that “we can know more than we can tell”, “a bridge between the higher creative powers of man and the bodily processes which are prominent in the operations of perception.” 8
By taking reverie as a way to suppress conscious thought and take up an occupation in a more ‘tacit dimension’, there is a potential for us to engage our negative capabilities to gain access to an intuitive sense of creativity by means of our perpetual, existential knowledge of being in the world.
Notes; 5. 6. 7. 8.
Marion Milner, On Not Being Able to Paint (London: Heinemann Educational, 1971), p. xiii. Milner, On Not Being Able to Paint, p. 76. Polanyi’s ‘The Tacit Dimension’ builds on the the assumption that “we can know more than we can tell.” He states not only that there is knowledge that cannot be adequately articulated in through conscious communications, but also, that, fundamentally, all knowledge is rooted in tacit knowledge. Michael Polanyi, The Tacit Dimension (Gloucester: Peter Smith, 1983), p. 7.
13
There is paper here. Some blank, some dark, some drawn on, some marked. A surface of potential, for thought to be traced, mapped and followed. With my head mind suspended in the clouds of the paper, the space of the now no longer wills towards or demands answers,
I find myself,
entering into an openness where I have an energy to try things; to hang things together and see how they fall. I often draw out these shapes of becoming and follow my pencil as it dances with the lines across the page, pulling me close to something resonant. Resonant, yet out of sight. Hidden on the borders of consciousness.Today though, I am inclined to fold it. Take the drawing in my hands and press new meaning across its surface, toying with the folds and opening new dimensions. The is no intention behind these movements, rather the essence of the movement is shaped by the intuition of reverie; the world and the edges of thought that are folded into it.
Between here and there, now-here, dwelling in the improvisations of the folds, their depths and their hold. Not every fold fits, but it seems not to matter‌
Just as quickly, I feel my knees brush the underside of the desk and I return to the directing tones of consciousness. There is progress. Shape in a maquettes, but where will they take me next?
16
Joseph Coulter
Voices of Reverie: A Conversation of Creative Becoming
Just as I am making use of ‘writing’ in this inquiry as a means to exercise an unconscious state of reverie,‘drawing’ and other measures of shaping material with our hands, can also serve to guide conversations of creative becoming. As ‘acts’ of creativity, they hold the potential to situate frames of reference, the beginnings of an inquiry.They open up a space for speculation for things to work themselves out as they move along. In this sense, can we understand reverie as a way to suspend the conscious projection of thought towards an end, and instead open into dimension of improvisation? An emancipation of the imagination which anthropologist Tim Ingold conceives as ‘Thinking through Making’;9 one that slips the clutches of control and writes on towards an understanding of itself. To exercise the autonomy of reverie and engage in a creativity that addresses the realm of design is a ideology that Finnish architectural thinker Juhani Pallasmaa takes on further towards the first notions of the ‘conversation’: “a quick give and take”, which Milner also describes to be in operation in her ‘free drawing’ practice “between the line and thought”.10 “Instead of dictating a thought”, writes Pallasmaa, “the thinking process turns into an act of waiting, listening, collaboration and dialogue that may take one to places and continents which one has never visited before, or whose existence has been unknown prior to having been guided there by the work of one’s own hand and imagination”.11
Notes; 9. 10. 11.
In ‘Making: Anthropology, Archaeology, Art and Architecture’, Ingold’s philosophy of ‘thinking through making’ situates design and making, not as a “visible shadows” of “mental events”, but as “a processes of thinking, not the projection of thought”. Milner, Marion, “The Framed Gap” in The Suppressed Madness of Sane Men: Forty-Four Years of Exploring Psychoanalysis (New York: Methuen), 1987, p. 80. Juhani Pallasmaa, The Thinking Hand: Existential and Embodied Wisdom in Architecture (Chichester: Wiley, 2009), p. 111.
17
These ‘places’ of reverie that Pallasmaa describes, hold open a dialogical space that is ‘framed’ between the rhythms of making and a ‘listening’ that we can recognise through reference back to Jean-Luc Nancy. Here, there is “a sense […] that is impossible to understand, an unsignifiable sense but one that, perhaps lets itself…be listened to”.12 Dissolved in the motions that exist in the space between, a space of reverie that leads on as much as it is led. We can then return to Ingold’s ‘thinking through making’ that exercises thought by means of the tacit movements of conversation that guide us in reverie, as a form of reverous improvisation that is in motion. This is “to have our thoughts transcribed in movement” 13 as Ingold states. “Rather the thinking is movement.” 14 A sonorous interplay that resonates with our self-awareness, “alternately sewing the line into the mind and the mind into the line in a suturing action that grows even tighter as the [motion] proceeds.” 15 Our minds race to follow the movements that twist and turn, folding back on themselves with new likeness and sound. In their happening; the now-here, that speaks to us outside and beyond time, one becomes lost in the intensity of the chase and the reverie thickens. Milner describes this maze of unconscious thinking as an “activity in which awareness of self and awareness of the object are somehow fused” and how eventually “one emerges to separateness again to find that there is some new entity on the paper.” 16
18
In this way, one has become an active participant of an improvisation that characterises creativity by way of its processes to arrive back to a consciousness where one might hope to make sense of such reverous encounters. Nonetheless, as Amanda Ravetz established in ‘SippingWater’,17 an intuitive ‘free drawing’ exercise aimed to channel creative reverie over a course of eight weeks: “reverie is resistant to control”.18 Rather, with reference back to Ogden, it needs to given suitable time and space “to accrue meaning”,19 without the individual “feeling pressured to make immediate use of [it]”.20 However ‘urgent’ the situation may feel, the designer/maker must feel as though they have time on their side: time to play; time to dream; time to stray elsewhere. That there is no immediate need to account for the ‘value’ of each encounter, for the retrospective discoveries through reverie are almost always unanticipated.21
Joseph Coulter
Voices of Reverie: A Conversation of Creative Becoming
Notes; 12. 13. 14. 15. 16. 17.
18. 19. 20. 21.
Nancy, Listening, p. 19. Tim Ingold, Making: Anthropology, Archaeology, Art and Architecture (Oxford: Routledge, 2013), p. 98. Ingold, Making, p. 98. Ibid, p. 128. Milner, Marion, “The Framed Gap”, p. 80. Following workshops with artists Marina Abramović and Bronwyn Platten, Amanda Ravetz wrote a score that involved sipping water slowly and drawing intuitive for half an hour each week over an eight-week period. The exercise presented in ‘Sipping Water’ explored how act of drawing, drawing for its own sake could induce a space of reverie and included interviews with participants and reflective notes made after working with the score. Amanda Ravetz, “Sipping Water: Reverie and Improvisation”, Critical Studies in Improvisation 8, 2 (2012), p. 5. Thomas H. Ogden, Reverie and Interpretation: Sensing Something Human (London: Karnac, 1997), p. 161. Ogden, Reverie and Interpretation, p. 161. In ‘Reverie and Interpretation’ and his work as a psychoanalyst, Thomas H. Ogden suggest that “the analyst’s use of his reveries requires tolerance of the experience of being adrift. The fact that the “current” of reverie is carrying the analyst anywhere that is of any value at all to the analytic process is usually a retrospective discovery and is almost always unanticipated.The state of being adrift cannot be rushed to closure”.
19
I embody this new voice that whispers from without within. Embody it as it releases control and is undone from ego. It speaks to me colourfully with a poetry that hinges on ambiguity and requires a desire to follow it: to listen to the conversation deeply, to enter into the reverie of inner being, of body, to truly relinquish control and to open up to this otherness. The intersubjective movement of this inner vocal range creates a distance from the conscious desires that weigh on my shoulders.They are now drowned out in the happenings of process. In place, the wandering voice enables a flux, a change that can re-position horizons to create new frames of reference that move on in their becoming. In our becoming, as I move on with them.
In conversation, In creative reverie.
Where I have become attuned to reverie in ‘acts’ of creativity, be it the fragmentary free-writing in the discussion of this essay, or the drawing out of new ideas through sketching in the studio, I find myself; my unconsciousness taking on new voices that animate the movement of my imagination as it moves ahead in the present tense of its happening. It is a voice I recognise as my own, but one that carries no conscious desire to direct me on to anything in particular. Rather, without prejudice, it delights in the tangibility of its playfulness and leads my ‘imagining ear’ into new visceral realms of possibility.
The conversations in which we engage with this voice as a nimble and indirect mode of creative communication therefore create a distance from ego that reveals itself to show the tangible shapes of its mobility and all of its feeling. In reverie, one is given the space to play with voices of otherness to alter a perceived fixity of identity and put oneself at a distance from consciousness. In this distance, to quote Lisa Robertson in ‘Time in the Codex’, “perception disperses identity” 24 in an escape, a movement towards a latent potentiality of unknowing, rather than an explicit prescription of conscious awareness.
Thomas Ogden has written much on the ‘Conversations at the Frontier of Dreaming’ in relation to the intersubjective constructions that come into being in the reverous moments of his therapeutic relationships. In ‘Reverie and Interpretation’ he writes of a play on language in conversations that are alive, and ask “something of the listener in the process of making something for himself.” 22
‘Street Haunting:A London Adventure’, by Virginia Woolf, is a colourful narrative essay on walking in which she depicts the distance that reverie can open up from the centricity of the thinking ego as placing our self awareness…
He continues, and brings in reference to American poet Robert Frost, identifying that “in being alive and present in one’s language, in having “one’s speaking tone of voice somehow … entangled in the words,” the speaker asks that an aspect of himself be recognised “by the ear of the [listener’s] imagination”.23 In this sense, we can begin to understand the potential that reverie has to strip back ones identity from this voice, to speak from a body of existential knowledge: a perceptual biography and all its sensibilities.
22
“…far enough to give oneself the illusion that one is not tethered to a single mind, but can put on briefly for a few minutes the bodies and minds of others. One could become a washerwoman, a publican, a street singer. And what greater delight and wonder can there be than to leave the straight lines of personality and deviate into those footpaths that lead beneath brambles and thick tree trunks into the heart of the forest where live those wild beasts, our fellow men?” 25
Joseph Coulter
Voices of Reverie: A Conversation of Creative Becoming
Woolf reminds us that it “is true: to escape is the greatest of pleasures” 26 and we seem to be entering into a ‘blurring of art and life’, where reverie crosses the borders of becoming. Here, there is an interdependent growth of the becoming of the maker as an individual and ones affirmation of their existence as a sensible being in the world and the becoming of the creative motion in the design process.There is a play with likeness and the metaphor of ‘being’ the unconscious: with what we cannot grasp directly, but that which we can show to ourselves through the inhabitation of voices of reverie in conversation with creativity.
Notes; 22. 23. 24. 25. 26.
Ogden, Reverie and Interpretation, p. 13. Ibid, p. 13-14. Lisa Robertson, Nilling (Toronto: Bookthug, 2012), p. 16. Virginia Woolf, “Street Haunting: A London Adventure” in The Death of the Moth, and other essays (London: Harcourt Brace Jovanich, 1974), p. 35. Woolf, “Street Haunting”, p. 35.
23
I meander through the woods. Follow the path between the trees, the air clear with the smell of fresh pine. So too the cedar, of the walls, as I inhabit the line. The lining of the walls, that I caress in my mind, with corners, edges and depths so fine. Here, doorways open. From long pebble beaches into new spaces of mine. The light pours in and continues to shine through thoughts, on, to what I never knew I could find. In these moments there are slippages in time. Space to animate these encounters, show me a way to see their likeness, a meaning, and ask why? Can entering into the freedom to write and draw, follow the rhythm of reverie and carry unexpected discovery? Bring colour and tonality to the journey, the way; a process of an enduring, creative, becoming.
The coming to know, of works we shape, and unfold with our hands, as we come to know ourselves opening on to new questions. Creating new frames: hazy imprecise perceptions ‌ that move on. ...On, to the next moment or movement where we find ourselves.
Knowing. Never ending,
unfinished.
But going on, just growing.
Voices of Reverie: A Conversation of Creative Becoming
If we have established that conversations in reverie lead us on to creative discovery, how is it that the nature of of these conversations differ to those we force upon ourselves in consciousness? What textures do they hold that allow us to feel our way through to new spaces of knowing? And how does reverie facilitate such action? Through my own experience of creative reverie, I have found the range of the vocabulary and the form language that I engage in conversation to be particularly enigmatic.This is notably apparent in the activity of improvisatory free-writing, that is thick with metaphor and surfaces without any logical structure or arrangement; though a similar poetry exists in the embodied images, which the conversations I have with sketches and drawings unfold. There is a descriptive nature to the tones that arise. An unconscious composition of phrases of likeness give ambiguous qualities to the subject of speculation. Ogden further describes our wandering unconscious conversations as having a “capacity to transform reverie (already a metaphoric expression of unconscious experience) into more usable forms: that is, into more verbally symbolic forms that can be considered, reflected upon, and linked […] to other thoughts, feelings, and sensations.” 27 Perhaps then, this is what Chris French alludes to in ‘On Drawing On’, in relation to the uncertainty of drawing, as a “metaphorical shadow”.28 A shadow that reverie casts over the unconscious conversations of our creative improvisations that facilitates their reading. “One that invites
26
Joseph Coulter
us to speculate as to the nature of the object that produces it” 29 in a way that allows us to see the indirect nature of the metaphor and its ambiguity as part of the unknown. An unknown that holds something of a tacit ‘otherness’ and places itself in a space for interpretation: creating a frame of reference that “comes in advance of understanding”, “precedes knowledge” and opens itself up for further inquiry.30 Jan Zwicky further explores the role of the metaphor and its multiplicity in experience through a transcendence of analytical and phenomenological philosophy in ‘Wisdom and Metaphor’. In a playful style of writing, she invites the reader to enter into a frame that is
assembled across the spread of the page with a pairing of short texts: a left-handed text that presents a collection of aphorisms written by Zwicky and a right-handed text that is exercised to illustrate or extent the first through the voice of another.Within this carefully composed frame of reference the reader is encouraged to ‘experience’ metaphor.To make a semantic leap from one passage to another in order to pertain new meaning and to read into, to ‘make’, with reference back to Ingold’s ‘Thinking through Making’, the unwritten connection between the two.
Notes; 27. 28.
29. 30.
Ogden, Conversations, p. 42. In the inaugural issue of Drawing On, the journal of architectural by design research, and through Professor Nat Chard’s “Drawing Uncertainty” (an inquiry of the indeterminate conditions in architecture through the construction of drawing instruments), French is describing the encounter of a ‘metaphorical shadow’ that exists untethered from its ‘material’ twin: the drawing. “A shadow that registers the presence of something unseen or unknown, a haunting shadow that invites us to speculate as to the nature of the object that produces it”. Chris French, “Introduction: On Drawing On”, Drawing On: Journal of Architecture Research by Design, 1, 1 (2015): 11.Michael Polanyi, The Tacit Dimension (Gloucester: Peter Smith, 1983), p. 7. French, “On Drawing On”, p. 11.
27
Zwicky describes metaphor itself as “a species of understanding, a form of seeing-as” that has ‘flex’.31 Can we, as both designers and beings in and of the world, begin to understand creative reverie and the conversation of metaphor, to inhabit, to dwell in the in-between and make leaps of imagination in new ways of seeing the world? Can we listen to the unconscious voices of our sentient bodies and use improvisatory creative practice as a way to trace these conversations?
If one thing seems to be certain, it is that to dream, to enter into a creative institution of reverie is to open up to new possibilities of being; a ‘knowing from the inside’ that refuses to seek closure,33 but rather delights in the openness of a poetic dialogue with unconsciousness.
Throughout ‘Wisdom and Metaphor’ Zwicky creates a space between things, a ‘tacit dimension’ to relate back to Polanyi, to encourage a visceral animation to hang things together; to initiate the movement of becoming, of a speculation towards new knowledge. Perhaps it is that reverie can be accepted as a similar motive agency for creativity to resonate with perception in a space of becoming. If we endeavour to engage with a multiplicity of voice, and escape the conscious projection of identity onto our thought, maybe, reverie will allow the fullness of the way things gesture towards us to be caught up in the motions of ‘fluxus’ 32 writings, drawings and talkings.
28
Joseph Coulter
Voices of Reverie: A Conversation of Creative Becoming
Notes; 31. 32.
33.
Jan Zwicky, Wisdom and Metaphor (Edmonton & Calgary: Brush Education, 2014), p. 6. The Latin word ‘Fluxus’, which in English translates to a ‘flowing out’ was the name of an international, interdisciplinary community of creatives that was Founded in 1960 by the Lithuanian/American artist George Maciunas. Fluxus began as a small but international network of artists, composers, designers and poets, and was characterised through a shared attitude to promote the artistic process over the finished product. Fluxus had no single unifying style. Artists used a range of media and processes adopting a ‘do-it-yourself’ attitude to creative activity, often staging random performances and using whatever materials were at hand to make art. - https:// www.tate.org.uk/art/art-terms/f/fluxus In this sense I use the word ‘fluxus’ as an adjective to express the nature of ‘writing’, ‘drawing’ and ‘talking’ that emerges with similar origins. Ingold, Making, p. 11.
29
30
Joseph Coulter
Voices of Reverie: A Conversation of Creative Becoming
Bibliography; Arendt, Hannah. The Life of the Mind. New York: Harcourt Inc. 1977. Bachelard, Gaston. The Poetics of Space. Translated by Maria Jolas. Boston: Beacon Press, 1994. Beddari, Carina Elisabeth. The Present is Unfinished: A Conversation, Audiatur - Festival for Contemporary Poetry 2014, Bergen, Norway. http://www.audiatur.no/festival/wp- content/uploads/2014/03/10-Lisa-Robertson.pdf Böhme, Gernot. Atmospheric Architectures:The Aesthetics of Felt Space. Translated by A. -Chr. Engels-Schwarzpaul. London: Bloomsbury Publishing Plc, 2017. Benjamin, Walter. Illuminations. Translated by Harry Zorn. London: Pimlico, 1999. Benjamin, Walter. One Way Street and Other Writings. Translated by J.A. Underwood. London: Penguin Books Ltd, 2009. Casey, Edward S. Getting Back Into Place. Bloomington: Indiana University Press, 1993. Casey, Edward S. The World at a Glance. Bloomington: Indiana University Press, 2007. Douglas, Anne. “Altering a Fixed Identity: Thinking Through Improvisation”, Critical Studies in Improvisation 8, 2 (2012). https://doi.org/10.21083/csieci.v8i2.2122. Feld, Steven. “Waterfalls of Song: An Acoustemology of Place Resounding in Bosavi, Papua New Guinea” in Senses of Place, edited by Steven Feld & Keith H. Basso, 91-135. Suffolk: Boydell & Brewer, Limited, 1999. Flusser,Vilém. Gestures. Translated by Nancy Ann Roth. Minneapolis: University of Minneapolis, 2014. French, Chris. “Introduction: On Drawing On”, Drawing On: Journal of Architecture Research by Design, 1, 1 (2015): 7-17. http://www.drawingon.org/uploads/issues/IS01(1).pdf Graves, Jane. “Conversations Heard and Unheard: Creativity in the Studio and in Writing”, Journal of Writing in Creative Practice, 1, 1 (2007): 13-18. https://doi.org/10.1386/jwcp.1.1.13_1. Heidegger, Martin. Discourse on Thinking.Translated by John M. Anderson & E. Hans Freund. New York: Harper Row, 1996. Heidegger, Martin. Poetry, Language, Thought. Translated by Albert Hofstadter. New York: Harper & Row, 1971. Ingold, Tim and Elizabeth Hallam. “Creativity and Cultural Improvisation: An Introduction” in Creativity and Cultural Improvisation edited by Elizabeth Hallam & Tim Ingold, 1-24. Oxford: ASA Monographs, Berg, 2007. Ingold, Tim. “Entrepreneur and Protagonist: Two Faces of a Political Career”, Journal of Peace Research, 11, 3 (1974), 179-188. https://doi.org/10.1177%2F002234337401100302. Ingold, Tim. Making: Anthropology, Archaeology, Art and Architecture. Oxford: Routledge, 2013. Ingold, Tim. The Perception of the Environment: Essays on Livelihood, Dwelling and Skill. Oxford: Routledge, 2011. Kant, Immanuel. Critique of Pure Reason. Translated by John Miller Dow Meiklejohn. London: Henry G. Bohn, 1855. Kaprow, John. “The Education of the Un-Artist, Part II” in Essays on the Blurring of Art and Life edited by Jeff Kelley, 110-126. Berkeley: University of California Press, 1993. Merleau-Ponty, Maurice. The Visible and The Invisible. Translated by Alphonso Lingis. Evanston: Northwestern University Press, 1968.
31
32
Joseph Coulter
Voices of Reverie: A Conversation of Creative Becoming
Mareis, Claudia. “The Epistemology of the Unspoken: On the Concept of Tacit Knowledge in Contemporary Design Research”, Design Issues 28.2 (2012), 61-71. Milner, Marion. “The Framed Gap” in The Suppressed Madness of Sane Men: Forty-Four Years of Exploring Psychoanalysis. New York: Methuen, 1987. Milner, Marion. On Not Being Able to Paint. London: Heinemann Educational, 1971. Nancy, Jean-Luc. Listening. Translated by Charlotte Mandell. New York: Forham University Press, 2007. Ogden, Thomas H. Conversations at the Frontier of Dreaming. New Jersey: Jason Aronson, 2001. Ogden, Thomas H. Reverie and Interpretation: Sensing Something Human. London: Karnac, 1997. O’Hara, Frank. Lunch Poems. California: City Lights Books, 1964. O’Hara, Frank. Selected Poems. Edited by Donal Allen. Manchester: Carcanet Press, 2005. O’Hara, Frank. “Walking”, Poetry 113, 5 (1969), 333. Oxford English Dictionary. ”reverie, n.”. OED Online. March 2019. Oxford University Press. http://www.oed. com/view/Entry/164771?isAdvanced=false&result=1&rskey=uuUkeJ& (accessed April 16, 2019). Pallasmaa, Juhani. “The Place of Man.” in Encounters 1: Architectural Essays, edited by Peter MacKeith, 71-85. Helsinki: Rakennustieto Publishing, 2012. Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Chichester: Wiley, 2012. Pallasmaa, Juhani. The Thinking Hand: Existential and Embodied Wisdom in Architecture. Chichester: Wiley, 2009 Polanyi, Michael. The Tacit Dimension. Gloucester: Peter Smith, 1983. Proust, Marcel. In Search of Lost of Time: I Swann’s Way. Translated by C.K. Scott Moncrieff & Terence Kilmartin. London: Vintage, 2002. Quasha, George. “Axial Lecture on Self-Orientation”. Filmed performance April 30, 2010 at Barnard College, New York. Video, 25.41. Ravetz, Amanda, Anne Douglas, and Kathleen Coessens. “Improvisational Attitudes: Reflections from Art and Life on Certainty, Failure, and Doubt”, Critical Studies in Improvisation 8, 2 (2012). https://doi.org/10.21083/ csieci.v8i2.2727. Ravetz, Amanda. “On Reverie, Collaboration, and Recovery” in Collaborative Anthropologies 10, 1-2 (2107-18) 45-66. https://doi.org/10.1353/cla.2017.0002. Ravetz,Amanda. “Sipping Water: Reverie and Improvisation”, Critical Studies in Improvisation 8, 2 (2012). https:// doi.org/10.21083/csieci.v8i2.2139. Revely-Calder, Cal. “Frank O’Hara in Transit”, Journal of American Studies 52, 3 (2018), 716-737. Robertson, Lisa. Thinking Space. New York: Organism for Poetic Research, 2013. Robertson, Lisa. Nilling. Toronto: Bookthug, 2012. Solnit, Rebecca. Wanderlust: A History of Walking. New York: Penguin Books, 2000. Woolf, Virginia. “Street Haunting: A London Adventure” in The Death of the Moth, and other essays. London: Harcourt Brace Jovanich, 1974.
33