I Structures of Interior Design

The Traditional Environment

The arrangement of furniture offers a faithful image of the familial and social structures of a period. The typical bourgeois interior is patriarchal; its foundation is the dining-room/bedroom combination. Although it is diversified with respect to function, the furniture is highly integrated, centring around the sideboard or the bed in the middle of the room. There is a tendency to accumulate, to fill and close off the space. The emphasis is on unifunctionality, immovability, imposing presence and hierarchical labelling. Each room has a strictly defined role corresponding to one or another of the various functions of the family unit, and each ultimately refers to a view which conceives of the individual as a balanced assemblage of distinct faculties. The pieces of furniture confront one another, jostle one another, and implicate one another in a unity that is not so much spatial as moral in character. They are ranged about an axis which ensures a regular chronology of actions; thanks to this permanent symbolization, the family is always present to itself. Within this private space each piece of furniture in turn, and each room, internalizes its own particular function and takes on the symbolic dignity pertaining to it -- then the whole house puts the finishing touch to this integration of interpersonal relationships within the semi-hermetic family group.
[p. 16]

All this constitutes an organism whose structure is the patriarchal relationship founded on tradition and authority, and whose heart is the complex affective relationship that binds all the family members together. Such a family home is a specific space which takes little account of any objective decorative requirements, because the primary function of furniture and objects here is to personify human relationships, to fill the space that they share between them, and to be inhabited by a soul. [9] The real dimension they occupy is captive to the moral dimension which it is their job to signify. They have as little autonomy in this space as the various family members enjoy in society. Human beings and objects are indeed bound together in a collusion in which the objects take on a certain density, an emotional value -- what might be called a `presence' . What gives the houses of our childhood such depth and resonance in memory is clearly this complex structure of interiority, and the objects within it serve for us as boundary markers of the symbolic configuration known as home. The caesura between inside and outside, and their formal opposition, which falls under the social sign of property and the psychological sign of the immanence of the family, make this traditional space into a closed transcendence. In their anthropomorphism the objects that furnish it become household gods, spatial incarnations of the emotional bonds and the permanence of the family group. These gods enjoyed a gentle immortality until the advent of a modern generation which has cast them aside, dispersed them -- even, on occasion, reinstated them in an up-to-date nostalgia for whatever is old. As often with gods, furniture too thus gets a second chance to exist, and passes from a naive utility into a cultural baroque.

The dining-room/bedroom pattern -- an arrangement of movable property closely bound up with the house as immovable property -- continues to be widely pitched by advertisers to a vast public. Department stores such as Lévitan and Galeries Barbès still titillate the collective taste with evocations of `decorative` ensembles -- despite the fact that contours are now `stylized', despite the fact that decoration is out of favour. This furniture still sells, not because it is cheaper but because it embodies the official certainties of the group and enjoys the sanction of
[p. 17]
the bourgeoisie. A further reason is that such monumental furniture (sideboard, bed or wardrobe) and its arrangement echo the persistence of traditional family structures across broad social strata of modern society.

The Modern Object Liberated in Its Function

The style of furniture changes as the individual's relationships to family and society change. Corner divans and beds, coffee tables, shelving -- a plethora of new elements are now supplanting the traditional range of furniture. The organization of space changes, too, as beds become day-beds and sideboards and wardrobes give way to built-in storage. Things fold and unfold, are concealed, appear only when needed. Naturally such innovations are not due to free experiment: for the most part the greater mobility, flexibility and convenience they afford are the result of an involuntary adaptation to a shortage of space -- a case of necessity being the mother of invention. Whereas the old-fashioned dining-room was heavily freighted with moral convention, `modern' interiors, in their ingeniousness, often give the impression of being mere functional expedients. Their `absence of style' is in the first place an absence of room, and maximum functionality is a solution of last resort whose outcome is that the dwelling-place, though remaining closed to the outside, loses its internal organization. Such a restructuring of space and the objects in it, unaccompanied by any reconversion, must in the first instance be considered an impoverishment.

The modern set of furniture, serially produced, is thus apparently destructured yet not restructured, nothing having replaced the expressive power of the old symbolic order. There is progress, nevertheless: between the individual and these objects, which are now more supple in their uses and have ceased to exercise or symbolize moral constraint, there is a much more liberal relationship, and in particular the individual is no longer strictly defined through them relative to his family. [10] Their mobility and multifunctionality allow him to organize them more
[p. 18]
freely, and this reflects a greater openness in his social relationships. This, however, is only a partial liberation. So far as the serial object is concerned, in the absence of any restructuring of space, this `functional' development is merely an emancipation, not (to go back to the old Marxian distinction) a liberation proper, for it implies liberation from the function of the object only, not from the object itself. Consider a nondescript, light, foldable table or a bed without legs, frame or canopy -- an absolute cipher of a bed, one might say: all such objects, with their `pure' outlines, no longer resemble even what they are; they have been stripped down to their most primitive essence as mere apparatus and, as it were, definitively secularized. What has been liberated in them -- and what, in being liberated, has liberated something in man (or rather, perhaps, what man, in liberating himself, has liberated in them) -- is their function. The function is no longer obscured by the moral theatricality of the old furniture; it is emancipated now from ritual, from ceremonial, from the entire ideology which used to make our surroundings into an opaque mirror of a reified human structure. Today, at last, these objects emerge absolutely clear about the purposes they serve. They are thus indeed free as functional objects -- that is, they have the freedom to function, and (certainly so far as serial objects are concerned) that is practically the only freedom they have. [11]

Now, just so long as the object is liberated only in its function, man equally is liberated only as user of that object. This too is progress, though not a decisive turningpoint. A bed is a bed, a chair is a chair, and there is no relationship between them so long as each serves only the function it is supposed to serve. And without such a relationship there can be no space, for space exists only when it is opened up, animated, invested with rhythm and expanded by a correlation between objects and a transcendence of their functions in this new structure. In a way space is the object's true freedom, whereas its function is merely its formal freedom. The
[p. 19]
bourgeois dining-room was structured, but its structure was closed. The functional environment is more open, freer, but it is destructured, fragmented into its various functions. Somewhere between the two, in the gap between integrated psychological space and fragmented functional space, serial objects have their being, witnesses to both the one and the other -- sometimes within a single interior.

The Model Interior

Modular Components

This elusive space, which is no longer either a confined externality nor an interior refuge, this freedom, this `style' which is indecipherable in the serial object because it is subordinated to that object's function, may nevertheless be encountered in model interiors, which embody a new emerging structure and a significant evolution. [12]

Leafing through such glossy magazines as Maison Française or Mobilier et Décoration [Furniture and Decoration], [13] one cannot fail to notice two alternating themes. The first reaches for the sublime, presenting houses beyond compare: old eighteenth-century mansions, miraculously well-equipped villas, Italian gardens heated by infra-red rays and populated by Etruscan statuettes -- in short, the world of the unique, leaving the reader no alternative (so far as sociological generalization is concerned, at any rate) but contemplation without hope. Aristocratic models such as these, by virtue of their absolute value, are what underpin the second theme, that of modern interior decoration and furnishing. The objects and furniture proposed here, though they are high in `status' value, do impinge on sociological reality: they are not dream creations without commercial significance but, rather, models in the proper sense of the word. We are no longer in
[p. 20]
a world of pure art, but in a world which (potentially, at least) is of interest to the whole of society.

These models of the home-furnishing avant-garde are organized around the basic distinction between COMPONENTS and SEATING; the practical imperative they obey is that of INTERIOR DESIGN, or syntagmatic calculation, to which may be contrasted, as seats are to components, the general concept of ATMOSPHERE.

TECMA: Extensible and interlocking components. Can be transformed or enlarged. Harmonious -- they create a perfectly matching set of furniture. Functional -- they answer all the needs of modern living. And they meet all your furnishing requirements -- bookshelves, bar, radio, cupboards, wardrobe, desk space, cabinets, dresser, drawers, display unit, file storage, hideaway table...

TECMA is available in oiled teak or finished mahogany.

OSCAR: Put your OSCAR environment together with your own hands! Exciting! Unprecedented!

The OSCAR furniturama is a set of specially pre-cut components. Discover the fun of designing a miniature three-dimensional model of your furniture, in colour and just the right size to handle! You can build your model and change it around to your heart's content -- all in the comfort of your own home!

Then, with perfect confidence, order your original and personal OSCAR furniture -- soon to be the pride of your household!

MONOPOLY: Every MONOPOLY ensemble is your personality's best friend. A high-quality cabinetwork system, in teak or makoré. Jointing and assembling leave no traces. Four-sided components can be put together in an infinite variety of ways -- an infinite variety of genuine furniture adapted to your own particular tastes, size requirements and needs.

These are multi-combinable single-block components. You're sure to want them so that you too can give your home that refined atmosphere you've been dreaming about.
[p. 21]

These examples reveal how the functional object is being transcended by a new kind of practical organization, Symbolic values, and along with them use values, are being supplanted by organizational values. The substance and form of the old furniture have been abandoned for good, in favour of an extremely free interplay of functions. These objects are no longer endowed with a `soul', nor do they invade us with their symbolic presence: the relationship has become an objective one, founded on disposition and play. The value this relationship takes on is no longer of an instinctive or a psychological but, rather, of a tactical kind. What such objects embody is no longer the secret of a unique relationship but, rather, differences, and moves in a game. The former radical closure has disappeared, in parallel with a distinct change in social and interpersonal structures.

Walls and Daylight

The rooms and the house themselves now transcend the traditional dividing-line of the wall, which formerly made them into spaces of refuge. Rooms open into one another, everything communicates, and space is broken up into angles, diffuse areas and mobile sectors. Rooms, in short, have been liberalized. Windows are no longer imposed upon the free influx of air and light -- a light which used to come from outside and settle upon objects, illuminating them as though from within. Now there are quite simply no windows, and a freely intervening light has become a universal function of the existence of things. In the same way objects have lost the substantiality which was their basis, the form which enclosed them whereby man made them part of his self-image: it is now space which plays freely between them, and becomes the universal function of their relationships and their `values'.

Lighting

Many significant features of this general evolution might be pointed out. The tendency for light sources to be made invisible is a case in point. `A recessed ceiling conceals perimeter neon fixtures for general diffuse lighting.' `Uniform lighting is ensured by neon tubes concealed in various places: the full length of the recessed
[p. 22]
ceiling above the curtains, behind and all along the top rim of the built-in units, beneath the upper row of cupboards, etc.' Everything suggests that the source of light continues to be evocative of the origin of all things: even though it no longer illuminates the family circle from the ceiling, even though it has been dispersed and made manifold, it is apparently still the sign of a privileged intimacy, still able to invest things with unique value, to create shadows and invent presences. Small wonder that a system founded on the objective manipulation of simple and homogeneous elements should strive to eliminate this last sign of internal radiance, of the symbolic envelopment of things by look or desire.

Mirrors and Portraits

Another symptomatic change is the disappearance of looking-glasses and mirrors. A psycho-sociology of the mirror is overdue, especially in the wake of so much metaphysics. The traditional peasant milieu had no mirrors, perhaps even feared them as somewhat eerie. The bourgeois interior, by contrast, and what remains of that interior in present-day serially produced furniture, has mirrors in profusion, hung on the walls and incorporated into wardrobes, sideboards, cabinets or panelling. As a source of light, the mirror enjoys a special place in the room. This is the basis of the ideological role it has played, everywhere in the domestic world of the well-to-do, as redundancy, superfluity, reflection: the mirror is an opulent object which affords the self-indulgent bourgeois individual the opportunity to exercise his privilege -- to reproduce his own image and revel in his possessions. In a more general sense we may say that the mirror is a symbolic object which not only reflects the characteristics of the individual but also echoes in its expansion the historical expansion of individual consciousness. It thus carries the stamp of approval of an entire social order: it is no coincidence that the century of Louis XIV is epitomized by the Hall of Mirrors at Versailles, nor that, in more recent times, the spread of mirrors in apartments coincided with the spread of the triumphal Pharisaism of bourgeois consciousness, from Napoleon III to Art Nouveau. But things have changed. There is no place in the functional ensemble for reflection for its own sake. The mirror still exists, but its most appropriate place is in the
[p. 23]
bathroom, unframed. There, dedicated to the fastidious care of the appearance that social intercourse demands, it is liberated from the graces and glories of domestic subjectivity. By the same token other objects are in turn liberated from mirrors; hence, they are no longer tempted to exist in a closed circuit with their own images. For mirrors close off space, presuppose a wall, refer back to the centre of the room. The more mirrors there are, the more glorious is the intimacy of the room, albeit more turned in upon itself. The current proliferation of openings and transparent partitions clearly represents a diametrically opposed approach. (Furthermore, all the tricks that mirrors make possible run counter to the current demand for a frank use of materials.) A chain has definitely been broken, and there is a real logic to the modern approach when it eliminates not only central or over-visible light sources but also the mirrors that used to reflect them; by thus eschewing any focus on or return to a central point, it frees space of the converging squint which gave bourgeois décor -- much like bourgeois consciousness in general -- such a cross-eyed view of itself. [14]

Something else, too, has disappeared in tandem with mirrors: the family portrait, the wedding photograph in the bedroom, the full-length or half-length portrait of the master of the house in the drawing-room, the framed close-ups of the children almost everywhere. All these, constituting a sort of diachronic mirror of the family, disappear along with mirrors themselves when a certain level of modernity is reached (although this has not happened as yet on any wide scale). Even works of art, whether originals or reproductions, no longer have a part to play as an absolute value, but merely in a combining mode. The success of prints as decoration in contrast to framed pictures is in part to be explained by their lower absolute value, and hence greater value in association. No object, any more than lights and mirrors, must be allowed to regain too intense a focus.
[p. 24]

Clocks and Time

Another illusion forsworn by the modern interior is the illusion of time. An essential object has vanished: the clock. It is worth recalling that although the centre of the peasant room is the fire and fireplace, the clock is nevertheless a majestic and living element therein. In the bourgeois or petty-bourgeois interior it takes the form of the clock that so often crowns the marble mantelpiece, itself usually dominated by a mirror above -- the whole ensemble constituting the most extraordinary symbolic résumé of bourgeois domesticity. The clock is to time as the mirror is to space. Just as the relationship to the reflected image institutes a closure and a kind of introjection of space, so the clock stands paradoxically for the permanence and introjection of time. Country clocks are among the most soughtafter of objects, precisely because they capture time and strip it of surprises within the intimacy of a piece of furniture. There is nothing in the world more reassuring. The measuring of time produces anxiety when it serves to assign us to social tasks, but it makes us feel safe when it substantializes time and cuts it into slices like an object of consumption. Everybody knows from experience how intimate a ticking clock can make a place feel; the reason is that the clock's sound assimilates the place to the inside of our own body. The clock is a mechanical heart that reassures us about our own heart. It is precisely this process of infusion or assimilation of the substance of time, this presence of duration, which is rejected, just like all other returns to inwardness, by a modern order based on externality, spatiality and objective relationships.

Towards a Sociology of Interior Design?

It is the whole world of Stimmung that has disappeared, the world of `natural' harmony between movements of the emotions and the presence of things: an internalized atmosphere as opposed to the externalized atmosphere of modern `interiors'. Today, value resides neither in appropriation nor in intimacy but in information, in inventiveness, in control, in a continual openness to objective messages -- in short, in the syntagmatic calculation which is, strictly speaking, the foundation of the discourse of the modern home-dweller.
[p. 25]

The entire conception of decoration has changed too. Traditional good taste, which decided what was beautiful on the basis of secret affinities, no longer has any part here. That taste constituted a poetic discourse, an evocation of self-contained objects that responded to one another; today objects do not respond to one another, they communicate -- they have no individual presence but merely, at best, an overall coherence attained by virtue of their simplification as components of a code and the way their relationships are calculated. An unrestricted combinatorial system enables man to use them as the elements of his structural discourse.

Advertising widely promotes this new conception of decoration: `Create a livable and well-organized three-room flat in 30 square metres!'; `Multiply your flat by four!' More generally, it always talks of interior decorating in terms of problems and solutions, and it is here, rather than in `good taste', that the current direction of decoration is to be found: it is no longer a matter of setting up a theatre of objects or creating an ambience, but of solving a problem, devising the subtlest possible response to a complicated set of conditions, mobilizing a space.

In the case of serial objects, the possibilities of this functional discourse are reduced. Objects and furniture of this kind are dispersed elements whose syntactic links are not evident; to the degree that they are arranged in a calculated way, the organizing principle is penury, and the objects appear impoverished in their abstraction. This is a necessary abstraction, however, for it provides the basis, at the level of the model, for the homogeneity of the elements in functional interaction. First of all man must stop mixing himself up with things and investing them with his own image; he will then be able, beyond the utility they have for him, to project onto them his game plan, his calculations, his discourse, and invest these manoeuvres themselves with the sense of a message to others, and a message to oneself. By the time this point is reached the mode of existence of `ambient' objects will have changed completely, and a sociology of furnishing will perforce have given way to a sociology of interior design. [15]
[p. 26]

Both the images and the discourse of advertising attest to this development: the discourse, by placing the subject directly on the stage as actor and manager, in both the indicative and the imperative moods; the images, to the contrary, by leaving the subject out, for his presence would, in a way, be an anachronism. The subject is himself the order he puts into things, and this order excludes redundancy: man has simply to remove himself from the picture. His presence has accomplished its task. What man now creates is a space, not a décor, and whereas the figure of the master of the house was a normal part -- indeed, the clearest connotation -- of the traditional décor, a signature is thoroughly alien to any `functional' space.

Man the Interior Designer

We are beginning to see what the new model of the home-dweller looks like: `man the interior designer' is neither an owner nor a mere user -- rather, he is an active engineer of atmosphere. Space is at his disposal like a kind of distributed system, and by controlling this space he holds sway over all possible reciprocal relations between the objects therein, and hence over all the roles they are capable of assuming. (It follows that he must also be `functional' himself: he and the space in question must be homogeneous if his messages of design are to leave him and return to him successfully.) What matters to him is neither possession nor enjoyment but responsibility, in the strict sense which implies that it is at all times possible for him to determine `responses'. His praxis is exclusively external. This modern home-dweller does not `consume' his objects. (Here again, `taste' no longer has the slightest part to play, for in both its meanings it refers us back to self-contained objects whose form contains an `edible' substance, so to speak, which
[p. 27]
makes them susceptible of internalization.) Instead of consuming objects, he dominates, controls and orders them. He discovers himself in the manipulation and tactical equilibration of a system.

There is clearly something abstract about this model of the `functional' homedweller. Advertising would like us to believe that modern man no longer fundamentally needs his objects, that all he has to do now is operate among them as an intelligent technician of communications. Our environment however, is a directly experienced mode of existence, and it is very abstract indeed to apply to it computational and informational models borrowed from the purely technical realm. Furthermore, this objectivizing approach is accompanied by a cascade of ambiguous phraseology -- `to your own taste', `to your own measurements', `personalization', `the atmosphere will be yours alone', and so forth -- which appears to contradict that approach but in fact covers for it. The objective game which man the interior designer is invited to play is invariably taken over by the double-dealing of advertising. Yet the game's very logic conveys with it the image of a general strategy of human relations, the image of a human project, of a modus vivendi for the technical age -- a genuine change of civilization whose impact may be discerned even in everyday life.

Consider the object for a moment: the object as humble and receptive supporting actor, as a sort of psychological slave or confidant -- the object as directly experienced in traditional daily life and illustrated throughout the history of Western art down to our own day. This object was the reflection of a total order, bound up with a well-defined conception of decor and perspective, substance and form. According to this conception, the form is an absolute dividing-line between inside and outside. Form is a rigid container, and within it is substance. Beyond their practical function, therefore, objects -- and specifically objects of furniture -- have a primordial function as vessels, a function that belongs to the register of the imaginary. [16] This explains their psychological receptiveness. They are the
[p. 28]
reflection of a whole view of the world according to which each being is a `vessel of inwardness' and relations between beings are transcendent correlations of substances; thus the house itself is the symbolic equivalent of the human body, whose potent organic schema is later generalized into an ideal design for the integration of social structures. All this makes up a complete mode of life whose basic ordering principle is Nature as the original substance from which value is derived. In creating or manufacturing objects, man makes himself, through the imposition of a form (i. e. through culture), into the transubstantiator of nature. It is the passing down of substances from age to age, from form to form, which supplies the archetype of creativity, namely creation ab utero and the whole poetic and metaphorical symbolic system that goes with it. [17] So, with meaning and value deriving from the hereditary transmission of substances under the jurisdiction of form, the world is experienced as given (as it always is in the unconscious and in childhood), and the task is to reveal and perpetuate it. So too, with the form perfectly circumscribing the object, a portion of nature is included therein, just as in the case of the human body: the object on this view is essentially anthropomorphic. Man is thus bound to the objects around him by the same visceral intimacy, mutatis mutandis, that binds him to the organs of his own body, and `ownership' of the object always tends virtually towards the appropriation of its substance by oral annexation and `assimilation'.

What we glimpse today in modern interiors is the coming end of this order of Nature; what is appearing on the horizon, beyond the break-up of form, beyond the dissolution of the formal boundary between inside and outside and of the whole dialectic of being and appearance relating to that boundary, is a qualitatively new kind of relationship, a new kind of objective responsibility. As directly experienced, the project of a technological society implies putting the very idea of genesis into question and omitting all the origins, received meanings and `essences' of which our old pieces of furniture remained concrete symbols; it implies practical computation and conceptualization on the basis of a total abstraction, the
[p. 29]
notion of a world no longer given but instead produced -- mastered, manipulated, inventoried, controlled: a world, in short, that has to be constructed. [18]

Although it is different in kind from the traditional procreative order, this modern order nevertheless also depends on a basic symbolic system. Whereas the earlier civilization, founded on the natural order of substances, may be said to have been underpinned by oral structures, the modern order of production, calculation and functionality must be viewed as a phallic order linked to the enterprise whose goal is the supersession and transformation of the given and the opening up of new objective structures; but it is at the same time a faecal order founded on an abstraction or quintessence meant to inform a homogeneous material world, on the measuring off and division of material reality, on a great anal aggressiveness sublimated into play, discourse, ordering, classifying and placement.

The organizing of things, even when in the context of technical enterprise it has every appearance of being objective, always remains a powerful springboard for projection and cathexis. The best evidence of this is the obsessiveness that lies behind so many organizational projects and (of most relevance to our present discussion) behind the will to design. Everything has to intercommunicate, everything has to be functional -- no more secrets, no more mysteries, everything is organized, therefore everything is clear. This is not the old slogan of the house-proud: a place for everything and everything in its place. That obsession was moral, today's is functional -- and explicable in terms of the faecal function, which requires absolute conductivity in all internal organs. Here we have the basis for a character profile of technical civilization: if hypochondria is an obsession with the circulation of substances and the functioning of the primary organs, we might well describe modern man, the cybernetician, as a mental hypochondriac, as someone obsessed with the perfect circulation of messages.

I: Structures of Interior Design

Note from page 16: 1. They may also have taste and style -- or not, as the case may be.

Note from page 17: 2. We cannot help but wonder, however, whether he is not henceforward strictly defined through them relative to society at large. On this point, see `Models and Series' below.

Note from page 18: 3. Similarly, the bourgeois and industrial revolution gradually freed the individual from his involvement with religion, morality and family. He thus acceded to a freedom in law as an individual, but also to an actual freedom as labour-power -- that is, the freedom to sell himself as labour-power. This parallel has nothing coincidental about it, for there is a profound correlation here: both the serially produced `functional' object and the social individual are liberated in their `functional' objectification, not in their singularity or in their totality as object or person.

Note from page 19: 4. In other words, these things happen at a privileged level. And there is a sociological and a social problem with the fact that a restricted group should have the concrete freedom to present itself, through its objects and furniture, as a model in the eyes of an entire society. This problem will be addressed later, however -- see `Models and Series' below.

Note from page 19: 5. A glossy magazine devoted to mass-produced products is unthinkable, the only appropriate form here being a catalogue.

Note from page 23: 6. The mirror occasionally makes a comeback, but it does so in a baroque cultural mode, as a secondary object -- a romantic looking-glass, say, or an antique or bull's-eye mirror. The function is no longer the same (and will be addressed below apropos of antiques in general).

Note from page 25: 7. Roland Barthes describes this new stage as it affects cars:
...the uniformity of models seems to belie the very idea of technical performance, so `normal' driving becomes the only possible field in which phantasies of power and invention can be invested. The car thus transfers its phantasied power to a specific set of practices. Since we can no longer tinker with the object itself, we are reduced to tinkering with the way it is driven... it is no longer the car's forms and functions that call forth human dreams but, rather, its handling, and before long, perhaps, we shall be writing not a mythology of the automobile but a mythology of driving. (`La voiture, projection de l'ego', Réaltiés, no. 213, October 1963)

Note from page 27: 8. A law of dimension also seems to come into play, however, at the level of symbolic organization: any object above a certain size, even one with phallic significance (car, rocket), becomes a receptacle, vessel or womb, while any below a particular size becomes penile, even if it is a bowl or a knick-knack.

Note from page 28: 9. Intellectual and artistic production, traditionally seen in terms of gifts, inspiration or genius, has never really been anything more than an echo of this archetype.

Note from page 29: 10. As a matter of fact this model of praxis emerges clearly only when a high technical level has been attained, or in the context of very advanced everyday objects, such as tape recorders, cars or household appliances, whose dials, dashboards or control panels bespeak the degree of mastery and coordination required to operate them. It should be noted that everyday life is still very largely governed by the traditional forms of praxis.