Why Luther is not Quite Protestant: The Logic of Faith in a Sacramental Promise

Pro Ecclesia, 14/4, Fall 2005

Argues that Luther's concept of the salvific power of the Gospel promise is based on a medieval Catholic concept of sacramental efficacy, because the Gospel is an outward word that gives what it signifies. This must be received by faith alone, but unlike later Protestantism it does not require "reflective faith," the belief that "I believe."

Openness and orthodoxy: Charles Taylor’s therapeutic ambitions in A Secular Age

BA Paper (revised), Philosophy, Katholieke Universiteit Leuven

This paper presents a close reading of A Secular Age (SA) intended to show how it may be read as a self-contained therapeutic project in Wittgenstein’s sense designed, in two stages, (1) to liberate the reader from the prejudicial and constraining effects of the standard story of secularization and offer ‘the immanent frame’ as a new ‘best account’ of our lived experience, then (2) to offer a complete redescription of the immanent frame, in broadly Christian theological language, intended to lead the reader into an ‘open space’ where the possibility of relating to spiritual sources may again appear as a live option. I argue that in pursuing this project Taylor espouses a broadly pragmatist, Jamesian, and even at a certain point fideistic conception of religious belief, and ends up defending a conception of the role of religion in public life which is more reminiscent of John Dewey’s ‘common faith’ or even Richard Rorty’s ‘romantic polytheism’ than of John Milbank’s radical orthodoxy (RO).

After outlining each stage of Taylor’s project in SA and calling attention to the practical and political implications which he himself identifies, I consider how these implications stand first in relation to Dewey’s and Rorty’s work, then to Milbank’s. I conclude that although Taylor’s work may indeed be ‘consistent’ in certain respects with work in RO, such consistency is not apparent in their respective conceptions of the role of religion in public life. One does well to think twice before attaching the label ‘radically orthodox’ to Taylor, at least in the partisan sense currently defended by Milbank. [35 pages]

An audio recording of a conference presentation based on an earlier version of this paper is available here:
http://www.spadeworker.com/2009/06/13/openness-and-orthodoxy/

The British Index 1641-1700

Draft only.

This is the "Beta" version of The British Index, an annotated list of all books and pamphlets censored in the British Isles and British North America 1641-1700.  The Index is in chronological order by the date on which the work was questioned or suppressed.

Primary sources consulted:  State Papers, Domestic, the Journals of the House of Commons and the House of Lords, the House of Lords’ archives, the Stationers’ Company Court Books, the Stationers’ Company Wardens’ Accounts, the Stationers’ Company Messengers’ Accounts (Box A in Stationers' Hall), the Historical Manuscripts Commission reports, Howell’s State Trials, the Proceedings of the Old Bailey, the Middlesex County Sessions’ Rolls, the Thurloe State Papers, other secretaries of states' papers housed at the British Library, the Registers of the English and Scottish Privy Councils, royal proclamations, as well as the writings of the censor Roger L’Estrange, messenger of the press Robert Stephens, dissident bookseller Francis Smith, and sundry others.

By my count, the number of works intended for print publication that the government deemed “suspect” was at least 2,600 titles and editions of them, excluding serials and periodicals.  The number of extant works published in Britain and the North American colonies during the same period is 90,607, so the percentage of suspect works was ~2.9%. 

I am still correcting and adding to the document; lacunae are marked with an asterisk.  Introduction forthcoming.  Please email me with comments or suggestions.

Please note that the Index can be searched by using the box at the bottom right.

Towards a Sacramental Understanding of Dextromethorphan

Journal of Alternative Spiritualities and New Age Studies 3 (2007): 80-96

Dextromethorphan (DXM) is an ingredient of some cough suppressants which, when consumed in large amounts, can have dissociative and psychedelic effects. Some people within the DXM-user community use DXM to facilitate what they perceive to be spiritual experiences. This paper argues that DXM can therefore be understood within the DXM-user community as a sacrament, and its use located within the neo-shamanic tradition.

Activism Unbound

borderlands Volume 8, no 3, December 2009

Book review - Carolyn D'Cruz, 'Identity Politics in Deconstruction: Calculating with the Incalculable', Ashgate 2008.

Anonymous authors, Nameless Heroes, Unknown Histories (A local overview of strategies and motifs of variable x

IN: IRWIN (ed.): East Art Map. London / Los Angeles: Afterall Publishing / MIT Press, 2006:163-74. ISBN-10:1-846380-05-7, ISBN-13:978-1-84638-005-1

Victims Symptom (French)

Victims Symptom Project, http://victims.labforculture.org, Lab for Culture, 2008

This text appears in several original languages of the web-site; aside English it has been translated into Spanish, French, German and Polish . Bosnian magazine Vizura has translated it in Serbian / Croatian and it also appeared in Russian in a reader, therefore being published in 7 languages in total.

Victims Symptom (German)

Victims Symptom project, http://victims.labforculture.org, Lab for Culture, 2008

This text appears in several original languages of the web-site; aside English it has been translated into Spanish, French, German and Polish . Bosnian magazine Vizura has translated it in Serbian / Croatian and it also appeared in Russian in a reader, therefore being published in 7 languages in total.

Cilicia Under French mandate: 1918-1921; Armenian Aspirations and Turkish Stratagems

As a result of the defeat of the Ottoman Empire in World War I, Cilicia, an Ottoman region in the southeastern corner of Asia Minor, was brought under French control from December 1918 until October 1921.  The initial months of occupation were marked by measures taken first by the British and then by the French to bring over 170,000 Armenian refugees back to their homes. The majority of repatriates were  Cilician Armenians, whom the Turks had forcibly deported to the Syrian Desert in 1915.

During the war, the Allied powers had repeatedly assured Armenians and other minorities of the empire that they were soon to be freed from the Turkish yoke. The French, at least during the initial stage of their occupation of Cilicia, tried to repopulate the region with Armenians. Encouraged by French support, Armenians hoped to create an autonomous Armenian entity in Cilicia.

Armenian Kurdish Relations in the Era of Kurdish National Movments:1830-1930

Pazmaveb, 1996

Kurdistan has always been a problem for European powers that have colonial zed and then instituted their mandates in the Middle East. Although constituting the 4th major ethnicity in the Middle East after the Arabs, Turks, and Iranians (Persians) the Kurds were always denied their rightfully owned independent country. With the American invasion in Iraq in 2003 and the major geopolitical shifts that the invasion brought to the area, an autonomous Kurdistan is now a reality. Turkey, Iran, Syria, and the Iraqi central government vehemently defy the idea of the creation of an independent Kurdistan. They are even against the creation of an autonomous Kurdish enclave in a federative Iraq.

Forcibly settled in some select communities in Western Turkey and several Middle Eastern countries, and partially concentrated in the eastern districts of Anatolia, there lives an atypical ethnic group whom Turks label as "Mountain Turks". Yet this unique ethnic group is totally unrelated to the Turks and possesses a distinct culture, history, and social background. Historical data collected during the last 2 centuries indicates that these people are the original inhabitants of southeastern Anatolia. History names them the Kurds and their homeland, Kurdistan.

The Absolution of His(S)tory: The Mythologization of the Past in Cuban Cinema

To be published in Leidschrift | Historisch Tijdschrift (University of Leiden), Special Issue on Myth and History in Film. [In progress].

In his famous defense speech at the trial for his attack on the Moncada barracks in 1953 Fidel Castro declared: “History will absolve me”. Since its inception in 1959, right after the triumph of the revolution, the Instituto Cubano de Artes e Industria Cinematográficos (ICAIC) has devoted most of its efforts to manufacture a version of the past that would indeed justify and “absolve” the new revolutionary order. I will contend in my essay that it was in fact mystified history, rather than ideology, the key legitimating force behind the Cuban revolution and that the film industry played a key role in this process. To that end, I will analyze the films produced in the late 1960s and early 1970s during the campaign “100 años de lucha por la liberación”: Lucía (Humberto Solás, 1968), La primera carga al machete (Manuel Octavio Gómez, 1969), La odisea del General José (Jorge Fraga, 1968), Un 28 de enero (Santiago Villafuerte, 1968), Hombres de mal tiempo (Alejandro Saderman, 1968), Médicos mambises (Santiago Villafuerte, 1968), 1868-1968 (Bernabé Hernández, 1970), and Páginas del Diario de José Martí (José Massip, 1971). In all these films the past is systematically cannibalized and turned into myth, serving as a major source of moral subsidy and conferring a sense of continuity to the Cuban revolution.

Political Madness: Juan de Orduña´s "Locura de amor" as a National Allegory

Published in Juana of Castile: History and Myth of the Mad Queen. Eds. María A. Gómez, Santiago Juan-Navarro, and Phyllis Zatlin. Lewisburg and London: Bucknell University Press, 2008.

The paper analyzes the political subtext underlying Orduña's film as a dramatization of the construction of the "New State" (the term used by Spanish dictator Francisco Franco to refer to the political system that emerged after the Spanish Civil War). The difficulties that Franco's regime encountered in formulating its own ideology led to searching the past, especially moments of crisis, for a mythology that would legitimize its nationalist "Crusade." Orduña's "Locura de amor" reflects the conflicts of a regime that tried to communicate an image of change abroad, while showing an autarchic pride in domestic politics. Produced simultaneously to the passage of the Law of Succession (1948), the film proposes a return to an authoritarian monarchy controlled by the military.

Intimate Objects and Medieval Sexuality

Published in CSW Update, the UCLA Center for the Study of Women newsletter, April 2009

A review of the UCLA Center for Medieval and Renaissance Studies/Ahmanson Foundation conference "Medieval Sexualities 2009," held in March of that year.

Establishing Modes of Learning: Old and New Hebrew Grammars in the 16th Century

Conference report: "Collectors' Knowledge - what is kept, what is discarded"

see also our webpage:

https://www.uzh.ch/ds/wiki/ssl-dir/Kept_-_Discarded/

and, upcoming, about collections in schools:

www.gazophylacium.ch

Unintended Metaphors

Unintended Metaphors
By Barie Fez-Barringten
www.bariefez-barringten.com
2,103  words on 10 pages

Consciously acknowledged or not, by both creators and users, the man- made built environment is a potential symbol which creators and users can either ignore or recognize; not only a symbol but a metaphor.

It is the intention of this monograph to validate, and, hopefully, encourage the intentional, controlled, and designed making of metaphors because building metaphors  are actual, real and consequential.  The matter of applying the technology and ideas to make such metaphors are abundant.  What is at question is the will and intention of using these resources. In other words, whether we intentionally make a metaphor or not, the building is a perceived metaphorically as a metaphor.

Even if a builder intentionally aims at not making a metaphor the building is still perceived as a metaphor.
Creators of the environment perceive the created work. In different ways and for different reasons. These differences are in the effort, time and intensity of involvement with the creation and subsequent use of the work.

The result of creator's efforts becomes a symbol and a metaphor, this phenomena is serious, important and with its consequences worthy of validating.  The creator, well-motivated or not, will be at the beginning with an idea and involved in the process of using technology to convert ideas into a reality.  The user, perceiving or not, is involved with the product of this process and for a much longer period of time., perhaps attaching to it  meaning, significance and importance often  different and unexpected by its author.

When by chance, the importance and consequences of the authors concerns are successfully imparted and manifested in the work and perceived by the users we can observe that this phenomena is rooted in the author's own sensitivity and concern about what his context means to him and his family. What importance is the built environment in his own life and how would its improvement, change, or modification affect him. It has been personal, cerebral, and willful. The architect chose to do it and followed his decision by a sustained effort.

Have architects ignored there right, authority and unwritten mandate by being careless about this creative goal.  The goal of making metaphors and symbols, and, if revived what would change? 
 
Would they be more uplifted and would their lives improve? Would the perception of there lives improve?
Unintended Metaphors
It is said that unlike the medical profession, what architects do has no affect on the physical life or death of his client.  He just uses an eraser, etc.
What about the social, psychological and, yes the spiritual life of users.
Metaphors architects make have a significant impact on both the users and the context in which their works are set.
This phenomenon is being exacerbated by computer aided designing and virtual reality. 
Computer aided design miniaturizes and abstracts the bounding and limiting characteristics of environments. Alternatively, it could be a metaphor maker’s tool just as a word processor and internet are to writer.

There was a time when architects could only be religious men vested with a known calling from the creator of all things to carry out his calling to provide buildings symbolizing god's message to man and later his blessings. They were kinds of prophets given a burden by God.  Today, both theists and atheists practice forming the environment.  Works are derived from user's program of requirements; technology; context; and concerns for their health, safety and welfare.
Yet the built environment and its works of architecture are uneven in quality and apparent maintenance and upkeep. 



Unintended Metaphors
"Idealism and the working metaphor"
(1.0, pg.24)Jean Piaget expresses psychology as an Idealist.  (1.0)Idealism is perhaps the oldest systematic philosophy in western culture, dating back at least as early as (pg.31)Plato (427 347 B.C.) in ancient Greece. Generally, idealists believe that ideas are the only true reality.  They hold that the material world is characterized by change, instability, and uncertainty, while some ideas are enduring.

If the architectural profession basis its practice on idealism with out a vision from God then even its few ideas will be fruitless and without benefit. A house built with out god has no foundation.  Without a vision a nation will perish.  God and not man is our true source.  It is god's truth, and not man's that will set us free.
Systematic philosophy is sophisms. that is man's efforts to replace what god has already given to us in his word.  The Holy Spirit is our true daily source of vision. God said, “come let us reason together". This god's invitation to every architect to let him and not the architect conjure his own idea, but to let go, and, let God.
Ozman, H.A., and Craver, S.M., "Philosophical foundations of education"






Unintended Metaphors
The 1metametaphor theorem is then idea ism.  John Locke (1632 1704) said that ideas are not innate as Plato maintained; rather, they came from experience, that is, sensation and reflection.  The very things of which man's metaphors are made.  As people are exposed to experiences, they are impressed on the mind.  These experiences are all imprinted on the mind through one or more of the five senses.  Once they are in the mind they can be related in a variety of ways through the use of reflection. 
We can acquire the idea of milk through the sense of taste; perfume through the sense of smell; velvet through the sense of touch; and green through sense of sight.  One can create ideas of green milk or perfumed velvet.  These are all mundane and profane.  Man not relying upon God, but upon his own and very limited life.  Alive with God we are urged to let God's full knowledge of all He has created be accessible to the architect.  With man God can create so much more than man.  As God judges the universe so He provides man the ability to judge, and with judgement the ability to know His will.
1. Meta: used with the discipline of the metaphor to designate a new but related discipline designed to deal critically the original metaphor.  It is more comprehensive and transcends the literary metaphor.
(1.0) Ozman, H.A., and Craver, S.M., "Philosophical foundations of education"
Locke believed that as people have more experience they have more ideas imprinted on the mind and more to relate.  More to exude, reify and translate.  These expressions we perceive and can apply as metaphors.  He believes that the only way we can verify the correctness of our ideas are in the world of experience.  Whereas the word of God gives us His peace, conviction of the holly spirit, and the word as the ultimate test. Does the creation conform to God's word:  is it fruitful, profitable, uplifting, encouraging, strong, safe, compatible and helpful to is context, neighbors and society; and, most importantly does it glorify God
"Information gathering" perceiving and reifying process.  Which solidifies and forms by juxtaposing the conditions, operations, ideals and goals (C.O.I.G.) of a project?  It is the synapse, transformation and interrelationships of these (C.O.I.G.) which creates the composition we call metaphor.  The content of the work of architecture is the experience with these program elements that are brought about by the (4.1) technique of creativity.  "Technique reveals what content itself cannot".  These are the remembered mental schema where a prior experience is accumulated nurtured and encouraged.












Unintended Metaphors
"Learn with Metaphors":
Architects learn to learn; and, learn to research, program, analyze, develop sources and resources, dimension, scale, volume, limits, boundaries, scope, depth, movement, context, etc where none existed before.  The maker of architectural metaphors sees in an "open-ended" seamless situation very specific parameters where the inexperienced fails.  It is in the phenomena of his 1a prior; holistic experience with (4.1) techniques of making that the individual with all the elements is able to take a new content into yet another metaphor.  A new metaphor which never did exist before yet is based upon every known experience of architects, his or heir’s profession, the school they attended the way they learned and knowledge they accumulated.  Each is unique yet well related by the commonality of the uniformity of the information, the
(4.1) Dodds, G., "On the place of architectural speculation"
1. A priori: from the former, deductive; relating to or derived by reasoning from self-evident propositions; presupposed by experience; being without examination or analysis.  Formed or conceived beforehand.  Presumptive as compared do a posteriori: from the latter, inductive, relating to or derived by reading from observed facts.
Experiences, contexts, teaching foundation, schools of philosophy, family
and social contexts, etc.  The exercise prepares future architects to be in
their own time, with their own history, venues and contexts and yet be
able to originate works of architecture which are peculiar, particular,
tailor-made, and indigenous.  Such transcends but adapts well to culture,
tradition and heritage.
Unintended Metaphors

(4.1)It is the metaphor that reveals the content.  It is the metaphor that was
composed of the content that has all the cues, limits, bonds, and sense
stimulants so organized on the basis of the program that, when perceived,
recalls the content to users.  This remaking is a restoration of knowledge
that does not resemble the original so much as it leads to the essential
condition of the 1referent.  The 1referent may include every experience of
the architect, the process of creating this very project, and all the elements
which form the building.  Indeed the process is 2heuristic as a restoration
or remaking of a condition that is no longer present.  The metaphor too
reveals whatever does not bring itself forth.  This is the mission of the
composer which is endued in the residue of his experience: the metaphor. 
It all is an extension of his identity and the vehicle by which he is
(manifests, asserts, confirms, tests, and again becomes) the architect.

(4.1) Dodds, G., "On the place of architectural speculation"

1. Referent: the "thing" that a symbol stands for.

2. Heuristic: to discover; as an aid to learning, discovery, or problem-solving by experimental and especially trial and error methods.  It is exploratory self-educating, and improves performance.
Unintended Metaphors
"The metaphor's correlations"
Can a metaphor composed by one be read by another?  If both have been similarly
cultured by the same experiences the reader and composer may communicate through
the work.  No two people, even in identical situations perceive and retain in the same
way.
Mark Gelernter explains that (2.0) the individual culture gives explicit guidance about which solutions work and which solutions other members of the culture will understand.  Certainly this is true for the standard expectations any society values it’s' neighborhoods, building types and styles.  These become the measures by which an individual values his or her success and accomplishments, and by which he or she can compare him or herself to others in society.  It is a primary function of any metaphor and the metaphors in a society which cue us toward our relative positions.    This is a function of art, architecture and all other metaphors. It enters the culture's general repertoire.  (2.0)Cultural traditions provide rapid competence when recurring and familiar problems are faced, and when new problems emerge they provide the essential base of knowledge from which new ideas are derived.
Indeed there are many published standards for graphics, layouts, detailing, design
organization, specifications, contracting, management and construction.  These are
never meant to be copied, but along with manufacturer, context, site, program and
personal specific information metaphorically 1created to produce the appropriate and
relevant metaphor.  They can be emulated.
Gelernter, M., "Teaching designs innovation through design traditions"
Create: to bring into existence; to invest with a new form using imaginative skill as design and invention.

Unintended Metaphors

Biographic references:
1.0. Howard A. Ozman, and Samuel M.Craver, "Philosophical Foundations of education", (2nd ed.), Charles E.Merril (1981)
2.0. Mark Gelernter (School of Architecture and Planning, University of Colorado at Denver) "Teaching design Innovation through Design Tradition", Proceedings of the 1988, Seventy-sixth Annual meeting of the Association of the Collegiate Schools of Architecture (ACSA)
3.0. "Main currents in Modern thought" Sept Oct 1971 Vol. 28, # 1; Journal of the Center for Integrative Education.
3.1. William J. Gordon, "The metaphorical way of knowing"
3.2. Paul Weiss, "The metaphorical process"
4.0. Journal of Architectural Education, Nov.1992, Vol.46, No.2, Journal of the Association of the Collegiate Schools of Architecture (ACSA).
4.1. George Dodds, "On the Place of Architectural Speculation"
5.0. M. Seuphor (1972 N.d.) "Piet Mondrian, Life and Work".  H.N. Abrams Inc. New York.  Abdulaziz Al Saati, "Mondrian: Neo Plasticism and its influences in Architecture" :
6.0. Mehdi Nakosteen, "The history and philosophy of education".  Ronald  Press, New York (1965).                                             

Unintended Metaphors

The Metametaphor of Architectural Education by Barie Fez-Barringten

The Metametaphor Of Architectural Education
(The art of becoming an architect)
by Barie Fez Barringten
www.bariefez-barringten.com
13,116 words on 64 sheets including 1,263 words in charts and bibliogratphy
11,745 text only

Introduction:

Twenty-first century education of architects is further challenged by new markets, users and contractual situations and whole countries and civilizations which here-to-fore had little or no need for professional architectural services as practiced in already industrialized and developed nations.  Further to this is the impact of a long lasting world-wide recession and slowed economies which has produced fewer employment opportunities, and with it pessimistic prospects for graduating architects.  Students today need even more care and concern to better prepare them for these "creative" opportunities.

This monograph embraces some of the best minds "education" has known for guidance and direction.  Our new generation of architectural educational planners will need perspective, theme, direction and purpose with which to discuss the many details of programs and curriculums.

The Metametaphor Of Architectural Education

This monograph is particularly grateful to Max Wingo's 1974 work on the "Philosophies of education : an introduction" from the University of Michigan; Paul Nash's 1968 work on "Models of Man", Ozman and Craver's 1981 work "Philosophical Foundations of Education" Joseph P. Congemi's 1977: "Higher education and the development of self actualizing personalities; Reginald D.Archambault's 1965 work: "Philosophical analysis and education; Mehdi: Nakosteen;s 1965 work on "The history and philosophy of education; Solon T. Kimball's 1974 work on "Culture and the education process"; Murray G.Ross's 1976 "The University"; Brian V.Hill's 1973: "Education and the endangered Individual" and other works by Paul Weiss, William J. Gordon, and George Dodds.

This monograph largely depends upon quotes and paraphrases from their reviews of John Dewey, Edmund Husserl, Martin Heidegger, Immanuel Kant, Alfred North Whitehead, Brian F. Skinner, R.S. Peters, Walter Kaufman, P.H. Hirst, John Wilson, George Berkley, Martin Buber, Emil Brunner, Soren Kiekegard, Frederick Froebel, L.Joughin, , and their references to Saint Thomas, Aristotle and Plato.  The vocabulary they provide will prove valuable to articulate applicable approaches.  There are two matrix figures which summarize the basic positions of educational philosophies and the structure of the university related to the cognitive function.

2"Metametaphors" reveals that by including a variety of philosophies, ideas, concepts, 1pedagogues, issues and concerns to the higher education of architects interactive and combinative qualities can be synthesized in a single cognate.  We can see one thread running throughout history relevant to the architect we want to educate.

The Metametaphor Of Architectural Education
Additionally, architects and educators who are thrust into the precarious position of having to design, plan and generally emote architectural curriculums usually carry out this charge in an isolated atmosphere.  It is the intention of this monograph to promote metaphor's role in looking beyond one's own context to profit by anothers and with the attitude that an interdisciplinary approach can complement the singularly difficult and yet necessary task of architects, architectural  educators and academics creating their own educational curriculum.  This is both an age where interdisciplinary work is accepted but when the specialist and parochial interest are sought for short term  gains.  It is the task of makers of metaphors to look beyond their venues, context and socio/political context for the "good" of the advancement of architecture globally, their society and for the careers of the student body.

1. pedagogy :  the art, science, or profession of teaching; esp : education. leader ; to lead; Agent : teacher, schoolmaster.

2. Metametametaphor : Meta : more comprehensive than metaphor as it is applied to literature but designates a new but related theorem designed to deal critically with the original metaphor; particularly its application to all the arts, and especially architecture.  A transcending inclusive vehicle.









The Metametaphor Of Architectural Education
To support an interdisciplinary approach our generation realizes that for every professional decision we make their are social, psychological, political, legal, economic, environmental, cultural, and artistic repercussions.  Like the droplets in a pool of water each decision has a ripple effect where the sum of all ripples eventually culminate in waves.  With an eye toward enhancing architectural specialist's work and re-inventing their own curriculum is this monograph dedicated.  Certainly not to provide every answer to the many variables, but to suggest to learned men that their are others to help and assist.  That while architecture is a very specialized profession, teaching it is in a family of philosophies, theories, curriculum, courses, and methodologies.  That there are very palatable works available for assimilation into this creative goal.  So this article presents these to make the strange familiar and talk about architectural education's other terms.

Metametaphor and the education of an Architect:
The education of an architect may be enhanced by the use of metametaphor.  Architects are not born they are made.  They become.  They change from what they were to another.  What they are naturally stays the same while something is added to what they are.  It requires an acknowledgement of an emptiness in what already is, along with a wish to leave (or superimpose upon) that general person behind (subordinated) for yet another which is potentially within (with already existing talents, aptitudes, etc).  The education of an architect is more than a method or curriculum of courses for (superficial) knowledge.  It is a process for 2birthing a specific dimension of a person.  Knowledge provides the "elevé" architect with context, goals and a scenario. 

The Metametaphor Of Architectural Education
But none of the knowledge nor new information would be personalized without a strong desire for a change in life from previous behavior. This is the key to receptivity and to the beginning of a basis to establish goals.  Goals to fill what is acknowledged to be empty and aimless.  But not just replacing one for another set of goals.  But goals which are directed at being "the" architect.  But why would a person who is in one circumstance want to add onto his life additional burdens, responsibility and accountability for architecture?  The person must believe that there is potentially something that can fill him which he or she can serve to others, and that he or she can be equipped to care for the health, safety and welfare of the public.
Before we can explain the use of metaphors in the education of architects and how metaphors may help in solving problems, creating design solutions or learning new information we must first begin at the root of what makes an architect and why a person would want to embark upon this effort.  In this explanation is yet another and most useful application of the metaphor and the one which will be the subject of this monograph.  The use of the theorem of metametaphors as a tool to define, make and shape the identity of the architect.  It is this metaphor upon which all else hinges.  The metaphor which relates a pre-student's potential receptivity to various trades, professions, arts, etc. including a decision to become an architect.  It is not enough to be
curious, but to sustain the search one must be 1perennially hungry and find in architecture that context and domain of life's experience which channels growth. 

2. birth : to bring, forth, to give rise to; originate



The Metametaphor Of Architectural Education
It is the media by which one's growth can take place and the context by which one can be raised and made active.  It is the quintessential decision that dominates and then permeates all other aspects of life.  The decision to become an architect is the essence of one's career as a living human being and it permeates everything else one does and says.  It becomes the eyes though which one sees and the mission through which one serves.  It is a calling and a commitment.  It is not casual but all-consuming and vibrant.

One can experience the built environment in basic ways and through that experience identify a self that seeks more after experience. Additionally, such experiences could also fill emotional, social or sensual needs.  There may be unanswered question, on just a sequence of physically sensible events.

Becoming must involve a goal of what one wants to be and this is why the metametaphoric phenomena begins at the very initial stages of being.


1. perennialists and perenialism is a relatively recent term in educational thought, its roots can be traced back to classical antiquity.  They stress the superiority of mind and matter and promote a cognitive approach to education - one that stresses thinking, and particularly philosophical thinking as its primary goal.  There is an affinity with Plato who stressed ideas as the only true reality.



The Metametaphor Of Architectural Education

What does the 1phenomenon of metametaphors have to do with 2becoming an architect.  The metaphor is an instrument of transformation.  As we experience its' characteristics as a model, ideal, role and identity we adapt these characteristics as our own.  They became personal through both catharsis and direct participation.  From these we both become and know.  We are aware of our change and gain confidence in our new identity.  It is based not just upon our ideas, intentions or fantasy but on intimate first hand knowledge, skill and use.  We directly perceive an architectural reality.  It was there before, but we did not perceive it with intensity, completeness, comprehensiveness and depth.  We not only know, but we know that we know.  It is a high level of cognition based on recognition because of direct contact which convinces us to discern its' truth.

(1.0 pg.24)"Education always takes place within a certain constellation of cultural conditions" and therefore it cannot be only studied as a set of universal and independent 1phenomena.  Some set of relations among education, politics, and social institutions is inevitable and cannot be ignored in any useful analysis. Yet it is our catharsis (elimination of natural emotions by bringing it to consciousness and affording its' expression) of all but architecture, while including them in our development as a person in other roles which is part of becoming an architect.  There is an inbred tensional relationship between the studies of the humanities in one direction and engineering toward the other where both are incorporated into architecture.
1. phenomenon : an observable fact; an aspect known through the senses rather than by thought or nonsensuous intuition;
2. be + cumam : to come into existence; to undergo change or development, to appear; originate
"to come into ones own": to achieve one's potential.
(1.0) Wingo, G.M., "Philosophies of education: an introduction"
The Metametaphor Of Architectural Education
Metaphor:
Metaphors help us to be better students, educators, teachers, administrators, faculty and professors.  It is the mutual basis upon which our natural collective 1vision is based.  We both differ and agree on just about everything at one or another level.  Architectural metaphors incorporate the past, history, laws, ordinances, science, art humanities, and architects along with their compositions.  It is educators who experience, select and serve components of the metaphor for the students to 2assimilate.  The two are in metaphor : the originators and the receivers (the teachers and students).  The students look to educators, not only for information but for selecting the topics, scope and context of the information.  The student is from an ordinary natural, social, paternal and psychologically integrated context.  In some way he or she desires to be separated from that context.  The student participates in the Hegelian process of change in which the student's concept of life (or its realization) passes over, is preserved and fulfilled by its contradictions through the 3stages of: ideas.  This is what students brings to architectural education : their thesis in the natural which must then be superseded and recast as an anti-thesis.  This experience then produces the synthesis of his or her new identity as an architect.
1.    thesis
2. anti-thesis
3. syn thesis
The metaphor juxtaposes opposed and contradictory ideas, seeking to resolve their conflict through an experience.
1. visio, visus : to see: wit imagination, conceiving: revelation, a manifestation to the senses of something immaterial.
2. assimulare :  to make similar : ad + similare : simulate (copy, represent, to assume the outward qualities) imitate (mimesis)
assume: can be a sham, counterfeit or feinted pretense.
3. the laws of dialectical materialism.
The Metametaphor Of Architectural Education
(2.0)The man or woman who "knows" can teach and therefore artists can teach whereas men or women of mere experience cannot.  The perceptions we have of our experiences became the metaphor students can perceive.  Teaching therefore is inherently metaphoric, being that which can be learned by one from another.  Itself is a bridge which transforms and enlightens.  It is a welcome "friend-making" phenomena.

Education and metaphor can be both nouns and verbs.  As nouns they are products and as verbs they are process.  They both, like music, link two elements of a composition.  But each has its own known context: education has schools, metaphors have literature.  It is in the metamorphic form of the metaphor do we find parallels between education and architecture.  When we look at commonalities of ideas and not the natural differences of technique, means and methods.  Architects are perinianial and inherently educators.  It is a dimension in their relationship of service as surrogate-agent to a client.  Architects compose metaphors from observing clients needs into what is called "programs".  These compositions (first program, then designs, finally contract documents) needs to be approved and accepted before a contractor can carry out "the work" for the owner.  The graphic, oral, written and three-dimensional presentation is designed to show the client how his needs are met by the architect's design. 
This  presentation must persuade or condition the client to feel and believe that he or she can accept the architect's metaphor as desirable.  To do this the architect's presentation must communicate information about the clients needs, necessities, wishes, desires, likes, preferences,  inclinations, conveniences, welfare and interest.  The client must trust the composition.  The metaphor must talk about the architecture in terms of the client.  The 1strange must be made familiar. The student architect learns also how to use metaphors to make metaphors in order to profess about his metaphors.

(2.0) Nash, P., "Models of Man"
The Metametaphor Of Architectural Education
Metaphor involves two apparently unrelated phenomenon and can be inclusive to two seemingly desperate views of order and control of the universe around us.  (3.1)That "realism" and "idealism" is neither totally in the mind nor totally objective and external, but that human reality is composed of both individuality and environment.  It is not a one way but reciprocal movement.  Experience is both "of" and "in" nature.  (3.1)"Nature consists of stones, plants, diseases, social conditions, enjoyments and sufferings".  Dewey held that genuine thought begins with a "problematic situation", a block or hitch to the ongoing stream of experience.  In encountering these blocks, consciousness is brought to focus, and one is made more actively aware of the situation.  It is in dealing with these real problems, Dewey, argued that the creative intelligence is capable of development.  Dewey was greatly influenced by Georg Wilhelm Friedrick Hegel (1770 - 1831) not for his speculative ultimates but for (3.1 pg.90)his observations about the "growing, developing, dynamic nature of life".  He was additionally influenced by (3.1,pg.91)Charles Sanders Pierce (1839-1914) for his "practical consequences of ideas".
(3.1) Dewey, John (1859 - 1952)., "Essays in experimental logic", "Experience and nature", "Art as experience", and "Experience and education
1. strange : the clients needs, once familiar, have now been transformed, reified and concretised into another form.  It is this new form which is now unfamiliar.








The Metametaphor Of Architectural Education

Metaphor:
1. is composed of at least one alien and one familiar element;
2. talks about one element in terms of the other;
3. makes the strange familiar;
4. has elements that are apparently unrelated;
5. is a mechanism of change and transformation;
6. has an essence common to both;
7. has reciprocal components which affect each other;
8. is identifiable and provides us with identity;
9. is experienced first by its' composer;
10 exudes;
11. contains a message;
12. communicates over time, space and context; and,
13. is limited and specific
The role of Philosophy:
(4.0 pg.53-55)"The philosopher, as philosopher, is no more concerned with the utterance of educational aims than he is with the purely technical problem of teaching purblind children to read".  If the philosopher has a role in education it is with aporia (difficult) kind of problems which cannot be met by any of the rules appropriate to the special sciences.  It is the solution which can be demonstrated by a lessening (lusis) of the difficulty where a useful service has been done. "Analysis might well lead to the erasure of a systematically confusing vocabulary in educational theory".

(4.0) Archambault, R.D., "Philosophical analysis and education"
The Metametaphor Of Architectural Education
(4.1 pg.189)In order to consider issues pertaining to the "value" of an activity rather than its' "mean" we ask "meta" questions about the logic, epistemological status, and justification of value judgements.  We look to and beyond the 1archetype metaphor (or its literary application) to its' wider application to all the arts including architecture.  We also can analyze education itself as an art and see in it our expanded scope to apply metaphor's characteristics to both enhance our analysis and truly review the two parallel artistic professions of architecture and education.  We can by the "meta" approach, the metaphoric analogies and reciprocities between the two.

(4.1 pg.196)Even indoctrinating qualified architects into the roles of educators in a university requires help not merely instruction.  "They possess reciprocity in the highest degree".  This is just as true for students.  Both are students in this adaptation.  Both will have to have the aprior knowledge refuted as they challenge the context, the field of education, etc.  Ultimately the architectural student will be a kind of educator.

(4.0 pg.15)"Doing" philosophy involves analyzing and clarifying concepts and the language in which ideas are expressed.  It is possible that students may be both studying what philosophers have said and doing philosophy.

(4.0) Archambault, R.D., "Philosophical analysis and education"
(4.1) Griffiths, A.P., "A deduction of universities"

1. archetype : the original metaphora transfers and bears by terms carrying one idea in place of another suggesting likeness and analogy but also transforming.  This is the original pattern or mode : of which all things of the same type are copies or representations.  It is derived from the collective experience of natural cognitive man.
The Metametaphor Of Architectural Education
(1.0 pg.18)We can 1deduce from general (basic) ideas certain principles for education.  "Educational philosophy as deduction from philosophical premises".  The metaphor is the vehicle which conveys from one to another context.  We understand commonalities and differences by perceiving the terms, structure, material, operation, components, elements, parts and interactions within the metaphor.

(1.0 pg.355)Philosophers can contribute to the reconstruction of education by applying the techniques of analysis of language to current educational discourse.  Metametaphor is one approach to such an analysis being itself in the context of language and communication.

The educator's metaphor operates between (3.0)ideas and practical activity.  The two are reciprocal, good ideas can change into good practices and good practices can transform bad ideas to good ones.  In metaphor they transform one another

Metametaphors and philosophy in general provide an (3.0)understanding of thinking processes and the nature of ideas, the language we use to describe education and how these may interact with practical affairs.  For the educator, philosophy is not simply a professional tool but a way of improving the quality of life because it helps us gain a wider and deeper perspective on human existence and the world around us".
(1.0) Wingo, G. Max, "Philosophies of education: an introduction"
(3.0) Ozman, H.A. and Craver, S.M., "Philosophical foundations of education"
1. deduction : deduce : to lead away from.  To infer from a general principle. Infer : to carry or bring into: bear.  To derive as a conclusion from the perception of the parts and whole of a metaphor.

The Metametaphor Of Architectural Education


Culturing:
(5.0)Values and value formation are a consequence of the activities of individuals within a social setting.  The meanings of things, activities and relationships are variable, arise out of participation, and affirmed in successive and repetitive events.  Canons of discrimination are a way to evaluate and order experience.  They govern the responses of individuals to their experience.  The individual not only identifies the items that came into his sensory and cognatic orbit but responds to them in a predictable fashion, based upon his criteria of evaluation.  He or she has been taught how to think, act, and feel and to do so differentially because of the situational nature of learning.  Each culture, tradition and heritage has its own set of social processes and these are incorporated into their metaphors.  The very fact that infants and growing children require care is evidence that man is receptive to culturing.  Schools of architecture have a culturing affect on its' students and their is a relationship between the educational process itself and what the students will become.  The faculty, facility, program, and curriculum all together are the elements of the metaphor.

Becoming an Architect:
(3.2 pg.158)Heidegger's major category of investigation was "being", where his main starting point was what he called "being in the world, or lived experience at the individual environment (world) level.  The individual existent is "Dasein".  While Heidegger's intent and purpose is to investigate "being", his analysis largely rests on the individual constructing his own world of meaning.  Therefore, we can see that the student can become an architect via the experience of elements of his environment.  "The student" metaphors into a product who can be read. 
(5.0) Kimball, S.T., "Culture and the Educative process"
(3.2) Heidegger, M. (1889 1976) "Being and time"
The Metametaphor Of Architectural Education


What we read is that dimension of the individual that has become, his or her "being":  the metaphor.  That common essence to the elements and his trials.  For Heidegger this is the "Umwelt" (the surrounding environment).  Not only the objective extent world, but the one which has been 1personalized.  Thus the "metaphor experience" conditions the architect, culturing and transforming him or her to "be" the essence of what he or she experienced.  It is a mimeses and metamorphosis.  It is metametaphor of becoming an architect out of all the kaos of what the individual otherwise would be.  The metaphor translates, transforms and changes.  But for this to take place the individual becomes aware of him or herself (knows, and knows that he or she knows) as a distinct and subjective existent ("eigenwelt").  "I must decide, for this life is mine and no one else's".  "To be authentic and affirm that "I am", an individual must face the truth as he is able to discover it, live life in the face of death, and construct his meaning as a human by committing himself to authenticity".  This condition lies at the heart of an individual's crises of identity, and with this acknowledgement the basis upon which he or she can begin to experience the environment.  Art can be the experience by which individuals meet this crisis and the metaphor is the birth of that identity. This is when the individual becomes the architect. consciousness (essence common to both) after the every- day world (elements in the metaphor) has been discounted.  This leaves certain essential features of who we are.  This is what we have become.
1personalis : being conscious of one's self. Self, human. individual.  An individual's temporary behavior or character.  The union of elements (body, emotions, thoughts, sensations) that constitute the individuality and identity of a person.  This is what the self has become and is a metaphor composite of a cognating human being. 
(3.3) Husserl, Edmund "1phenomenology"
1phenomenology : (3.3)"to go back to the things themselves", that is to examine pure
The Metametaphor Of Architectural Education

Ultimately the student must add to his or her role as user, audience, beneficiary, consumer and operator to the student's new dimension as creator, composer, maker and architect.  He or she does not stop being sibling, parent, spouse, citizen, etc. but 1transcends these in favor of taking responsibility for the "architectural" time and place.  It is the student's instinctive use of metaphors where the student, "the familiar", juxtaposes him or herself with "the alien" (architectural profession) to begin the metaphoric process of 2transformation.  Architecture is the essence common to both.  The "extent" in the architecture and the potential in the student.  Both are apparently unrelated by different times, places, contexts and experiences.  The student is the attentive systematic observer of what architecture exudes.  In this role he or she subordinates other roles to the role of architect.  It is more than that; those other roles must also be transformed by the predominance of the potential of architecture in them.  For most this experience is so profound and exemplary that its strength and depth prevails over other dimensions of a student's life: his or her character and personality.  It does so because this experience is more well thought out and perceived.
The elevé (the one being elevated) will "carry over" themes and concepts from architecture in his or her role as sibling, parent, etc.  He or she will also look to see the ways in which architecture's essences can modify and enlarge his or her roles in other contexts.  Because the content and process of what the student is learning he or she learns subjectively and not objectively.  Architecture is recreating itself again a new in him or her.  In so far as he or she permits he or she becomes the architect of his or her 1dreams.  Without a rekindling of the immediacy, zeal and primacy of the architectural burden societies may ultimately have no architecture, but 2paradigms of other professions which do take personal responsibility.
1. transcendere : to climb across (trans (across) + scamdere (climb).  To rise above or go beyond limits.  To triumph over the negative or restrictive aspects of all roles.
2. trans (prefix): tra : across, beyond through, so as to change.  To go on the other side.  So as to change or transfer.  <transliterate>  <translocation>  <transamination> <tranship>.

Immanual Kant says :(3.4)"Nature and objective reality, is a causal continuum, a world connected in space and time with its' own internal order". The "subjective mind cannot perceive this order in itself or in totality for when the subjective mind is conscious of something, it is not the thing in itself (das Ding an sich).  The mind is conscious of the experience of the phenomenon of the thing in itself.  The thing in itself is the noumenon".  Each experience of a thing (phenomenon) is one small additional piece of knowledge about the total thing (noumenon).  Thus, all we know is the content of experience.  When we go beyond this, we have entered into the rationalist argument, into speculation and the ultimate or noumenal reality of things in themselves, or else we have become engaged in moral and ethical considerations".
Therefore, in Kants terms we can only become architects through perceived and understood experience which accumulates into an ethereal composite (metaphor) which on its own is our reality.  It is all we know.

1. dream : to consider as a possibility.  A visionary creation of the imagination, vision.  A strongly desired goal or purpose.  Something that fully satisfies a wishes : Ideal.
2. para : (beside, alongside, with) + deiknynai to show: an example of a conjugation or declension showing a metaphor in all its other forms (inflections, etc.).

(3.4.) Kant, Immanuel (1724 1804), "Critique of Pure Reason and Critique of Practical reason". (Konigsberg, Germany) of
Ozman,H.A. and Craver, S.M., "Philosophical foundations of education".

Architectural experiences will yield architectural knowing.  It is in this way that the metaphor links experience to the mind.

The Metametaphor Of Architectural Education




(1.0 pg.337)This kind of knowing versus the principle that ideas are innate in the individual.  That we are already architects, brain surgeons, astronauts, etc.  Ideas exist in the soul, but to be known they require being brought into consciousness is the assumption of Socrates'.  Knowing is therefore a process of recollection in which the direct transmission of information can play no part at all.  Knowing is the apprehension of what is already in the soul, and what is in the soul is abstractions.  (We communicate that which the other person already knows.  Communication is a kind of affirmation and awakening).  It is in this domain that best utilizes extent metaphors which speaks about one thing in terms of another, reifies and translates the strange to the familiar.  (6.1)Most adults have lost the spontaneous capacity to use metaphorical forms  a capacity which all children exhibit before they develop their analytic faculties.  The educational process should foster rather than suppress the use of metaphor.  It is in this way that students apply what is learned from classes in history, structures and drafting to the design studio.
In another way we can explain that the 1education of an architect is in fact the making of a 2metaphor.  But what is that metaphor when it is a person?  We know that the physical nature is the same but are there another (a surrogate) to suggest a likeness between them.  An object, activity, or idea treated as a metaphor.
(1.0) Wingo, G.M., "Philosophies of education: an Introduction"
(6.1) Gordon, W.J., "The metaphorical way of Knowing"

1. educere : to lead forth: "to bring out"; to develop mentally, morally, or aesthetically by instruction.
2. metapherein : metaphora : to transfer, to bear (experience, carry, suffer) a figure of speech in which a word or phrase literally denoting one kind of object or idea is used in place of other changes?  Studies have shown that there are differences in life styles between professionals and non professionals and within professions; differences from one to another.  And the differences pertain to being set-apart from society and committed to 1profess.


The Metametaphor Of Architectural Education

Becoming experience:
We will find metaphor's important contributions to architectural education in its' characteristics as a model, ideal, 2mimesis, goal, emblem, sign, role, identity, and vehicle.
(7.0)The student's urge is toward both a 2mimesis (transformation that reveals an ideal) of imitation and speculation.  On one hand the student looks to recreate and internalize external experience and knowledge held by others, while on the other hand he or she is being formed into a condition where he too will be a source of knowledge and information.
In this way learning architecture is a profoundly 3heuristic act requiring a keen sense of perception fostered by receptivity and sensitivity.  The student must first be in touch with him or herself and his or her own feelings, emotions and thoughts.  He or she must have a dialogue with him or herself in order to 4read what is revealed through his or her own efforts. Additionally, the student must perceive the metaphors of the lives of other architects; what they think, their goals, theories, concepts and what conditioned their professional life.  Paralleling this, the student must also perceive architectural works related to specific architects, contexts (time, place, situation, etc) and theories.  The student must see works completed in the past and present and those being prepared for the future.  The student must also be exposed to issues and theories of architecture and related fields to develop a perceptual framework into which to include his or her experiences and upon which to carry out his or her own work.
1. professes : profiteri : confess: pro(before) fateri (to acknowledge) to declare openly; affirm.
2. mimesis : imitation, mimicry, simulate, copy
3. heuristisch : to discover; I have found; serving as an aid to learning, discovering, or problem solving by experimental and the trial and error method.  It is exploratory and self educating.  One learns from one's own experience.  It is primary.
4. read an : to advise, reason, calculate; to receive the sense of experience; to learn; understand; comprehend; interpret our own performance; decode: (to read the coded information).
(7.0)  Dodds, G., "On the place of Architectural Speculation

If, as we have seen that architectural experiences yield architectural knowing then one of architectural educator's concerns must he to best define architectural experiences.  It is also in this realm that differences and ambiguities exist.  These differences are partly exacerbated by an increasingly academically oriented, but professionally inexperienced faculty which focus on state-of-the art research and educational processes.  It is not the intention of this statement to devaluate these concerns but to rather suggest that by what metaphors are exhibited before students so they become.
Further to this crisis of defining architectural experience is the opposite, where practitioners have genuinely different and opposing views of professional educational needs and necessities.  Yearly, conferences and seminars try to evaluate professional business trends, new client types, new client consultant-contractor relationships, new building types and from these inference what should be the architect's revised and legitimate role.  Architects are collectively concerned so as to be able to evaluate altering conventional practice, reorient personal requirements, re-train personal, re-direct marketing efforts, modify contractual forms, reevaluate expensive errors and omissions insurance, re-locate or set up branches in new areas and penetrate into new areas of opportunity or prevent others from taking away what they perceive should be their architectural business.




The Metametaphor Of Architectural Education



While educators discuss metametaphors in academic settings, practitioners are experiencing architectural creation and its' modifications.  These modifications and variations are the additional elements which architectural educational planners can consider in analyzing new curriculums.  Consideration may result in some major structural changes to one extreme to merely adding some components into the existing curriculum.  Their are educators who would argue against this kind of relevance and response advocating that the academy is there to set standards and itself define the profession.  In either case the resulting metaphors are based on decisions about experience and its' utilization.
 
(8.0 pg.xii)The self actualizing student internalizes his or her knowledge and forms his or her own synthesis into general principles which can be recalled after the facts are forgotten.  To quote (8.1)Whitehead says Cargem, "the essential course of reasoning is to generalize what is particular, and then do particularize what is general.  Without generality there is no reasoning, without concreteness there is no importance".
The architect "is in" the metaphor he or she creates, but as its' creator, is not him or herself the metaphor.  It is all of him or her that ever experienced, learned, knew and became the architect.  All the rest is excluded.  The metaphor and the architect have a reciprocal relationship.  The metaphor on the other hand is in the architect and exists because it was first known by the architect as a result of his or her experience with the common essence and the apparently unrelated elements.  Perceiving the metaphor is knowing the architect while creating the metaphor is knowing the user.

(8.0) Cargem, J.P., "Higher Education and the Development of Self Actualizing Personalities".

(8.1) Whitehead, A.N., "The aims of education",
(3.1 pg.95)"According to Dewey art is a marriage between form and matter, that is the artist attempts to incorporate his ideas into the object being created". 
The Metametaphor Of Architectural Education

(3.1)Thus, the artist engages in his work until he achieves the desired end.  The artist is not only the creator but also the perceiver.  "However, Dewey did not believe that art and aesthetic experiences are to be left only to the professional artist.  Everyone (including architects and users) is capable of achieving and enjoying aesthetic experiences provided that creative intelligence is developed through education.  Therefore, art (nor architecture) need not be the possession of the few but available to everyone and can be applied to the ordinary activities of life".

(3.1)"Dewey believed that the truly aesthetic experience is one where the person is unified with his activity.  It is an experience that is so engaging and fulfilling that there is no conscious distinction of self and object in it; the two are so fully integrated that such distinctions are not needed.  In short, an aesthetic experience is one in which the contributions of both the individual and the environment,or the internal and the external are in harmony: the "consummatory experience"; the experience that provides unity and completeness.  "This is human experience at its highest".  This is wherein the student becomes an architect by experiencing all the thoughts about being an architect.  This "consummatory experience" is the metaphor wherein unity and completion interact.  This is why, like the Greeks, thought Dewey, all can project art into all human activities.  This is why education is also an art.  Why it too is the making of metaphors and is metaphoric.

(3.1) Dewey, John (1859-1952), "In Human Nature and Conduct"


(3.5 pg.197)The externalized metaphor and the experience to create the metaphor are 1symbiotic.  When we really came to know it (personal awareness), what we know will not be essentially different from external objects. Content will be knowledge of the behavior and contingencies of reinforcements.  We are a complex system behaving in lawful observable ways.  We are both controller and controlled.  We are our own makers.  Our identity evolves through a cultural process that we have largely created.  Our environment is contrived or chosen and consists of significant contingencies of reinforcement (of status, identity and positioning metaphors) that makes us human.  "In this respect we may say that we are our own makers, and while we are doing the making, we are being made or we are in the making".
Mind:
(4.2 pg.102)No person is born with a mind; for the development of mind marks a series of individual and societal achievements.  It is learned step by step through a variety of exposures, experiences and initiations into public traditions enshrined in a public language, which it took our remote ancestors centuries to develop".
(6.2)"In addition to the past of the individual artist", says Paul Weiss, and the past of the art itself, there is also the past of society, civilization and culture.  The arts of today are in part a function of what we have gone through and of what the past has been". The creative aspect of the metaphor is its' dynamism which relates the past to the present.  A metaphor may bring the past forward directly, or it may distort or negate it, but it is always a usage, a manipulation, of what has gone before in terms of the present.
(3.5) Skinner, B.F. (1904        ) "Beyond freedom and dignity"
(4.2) Peters, B.S., "Education of Initiation"
(6.2) Weiss, P., "The metaphorical process"
1. Symbiosis : live together: a cooperative relationship between two seemingly dissimilar elements to each others mutual benefit : mutualism.

(4.3)A person is more than pure mind, yet mind is his or her essential distinguishing characteristic, and it in terms of knowledge that his or her whole life is rightly directed. "From the knowledge of mere particulars to that of pure being, all knowledge has its' place in a comprehensive and harmonious scheme, the pattern of which is formed is knowledge is developed in apprehending reality in its' many different manifestations". Society desires the mind of the individual to be developed around skills, talents, character, etc.  Deciding for the knowledge of architecture sets ones path toward that aspect of all possible reality.  The relevance of discussing this is to reinstate this mutual commitment back into places of higher education.

(4.4)The student has continually to be referred back to his or her own experience, and has to move back and forth from the felt reality of that experience of the unknown skills and knowledge that will help him or her to make sense of and generalize from it.  For literature, what the student needs as a human being is, amongst other things, to be able to feel characters and situations in literature as real and relevant to himself, and to be able to express himself, to understand, and to be understood, both orally and on paper : to be able to write and to be able to talk.  The student experiences his subjective metaphor and the metaphor of society.  As an architectural student, between his or her's own experiences of the environment with those of users, potential clients, public and factors common to all human beings.  Factors of proportion, dimension, scale, color, texture, light volume, mass, solids, voids, form, function, etc.  The student's experience with these factors over a period of "educational time" is the measure by which he or she became (did become) an architect.



(4.3) Hirst, P.H., "Liberal educational the nature of knowledge"

(4.4) Wilson, J., "Two types of teaching"
(3.6)"All existence is dependent on some mind to know it, and if there are no minds, then for all intents and purposes nothing would exist unless it is perceived by the mind of God.  There is no existence without perception, but things may exist in the sense that they are perceived by God.  We can only know things as we consciously conceive them, and when we think of the universe existing before finite minds can conceive it, we are led to assume the existence of an omnipresent mind lasting through all time and eternity".

(9.0)To the 1idealist, the mind has an existence of its own independent of the environment but stimulated by it. It is an existence above the laws of physics and chemistry; it is a reality above the reality of nature. The mind is governed by its' own laws, lives its' own life in accordance with these laws, and expresses itself in aesthetic, religious, mystical, speculation and social channels being always guided by its' own principles, using the environment as a tool or channel of expression rather than its' source.  It is this very mind which the student architect wishes "metaphored" from one to another model. He or she has perceived the "architectural mind" and wants to change his or her mind from its' general state to the architectural. 
(3.6) George Berkeley (1685 1753) (Ireland Episcopal Minister : Church of Ireland) "The Principles of Human Knowledge".
Ozman,H.A., and Craver, S.M.,"Philosophical foundations of education".
(9.0) Nakosteen, M., "The history and philosophy of education"

1. Idealism claims that the universe is a manifestation of supreme spirit intelligence or will depending on the idealist position, and that the phenomenal world of things and expression is a derivative or extension of this universal essence.  Educationally, it maintains that, though man's struggles and endeavors are in part efforts of reciprocal adjustment to a natural and social environment, his ultimate aim is to control this environment and his own energies and employ them in the development of those potentialities within him.  These of course, are in harmony with God who created all of us.



The brain, the student knows, is the instrument of the mind and not its' generator.  It is its' servant and not its' master.  It is its' medium and not its' essence.  The mind has retrospective powers  it can look within.  It has prospective powers  it can look ahead.  It has aesthetic powers  it can recreate itself in the beautiful.  It has the synaptic ability to make the strange familiar and synapse.  It lives in its' ability to convert a meaningless external world into a meaningful internal world connected and synthesized.

To the idealistic educator, the mind generates of itself and within itself.  The educator tries to awaken his or her student's minds by inspiring them through his or her's personality and handling of classroom activities.  It is to cause the contact of one mind with another leading to discovery, analysis and synthesis; to the realization of the powers of the mind through creative efforts; to the development of understanding  and appreciation, to growth and maturity, to intellectual development and spiritual experience.  Particularly for architectural education emphases is on the laws of learning than the things learned.  Architects make metaphors and what ever is learned must awaken this ability.  Interest is the very essence of good education.  Since people develop from within, it is not what we do for and to the student, but what the student does for and to him or herself that is of paramount importance.  Interest is a trancendatal power as genuinely a part of humanity as is humanity itself.  The student exudes metaphors in a free, purposeful atmosphere where he achieves inner satisfaction.  Architectural educational planners therefore, must assume the high ground of ideas and concepts by which to plan curriculums and formulate educational policy.



To Make the Man:
(1.1 pg.249)The purpose of education is "to make a man or a woman", and the means by which this is done is the exercise of the individual's own powers.  The art of teaching, therefore is the art of stimulating and directing the activity of these powers so that they are developed and perfected.  Metaphor is that dimension of "man" which is "made" and the architect is that kind of "man" the student wants to be.  Educators don't make a man or woman.  This is a result of nature's biological functions but we know the metaphor to be about a different kind of 1making.
(1.1 pg.250)The art of teaching, therefore, is the process of converting the natural powers of reason from potential to actuality.
According to Saint Thomas the potency of the human intellect is of the same kind as the power of the body to heal itself; that is, knowledge exists in the learner in the sense of active potentiality.  If this were not true, people would not be able to gain knowledge for themselves without the help of another person.  Men can gain knowledge for themselves, through discovery without the help of another though a process of natural reason".


(1.1) J.V. McGlynn, Du Magistro, Deveritate : "The Teacher  The Mind  Wingo, G.M., "Philosophies of education : an introduction"
1. Make : Mahhon :to prepare, behave, act.  To cause to happen or be experienced by someone.  To cause to exist or appear.  To bring into being by forming shaping or altering.  Compose.  As making a metaphor To put together from components.  To form and hold in the mind.  Establish, fashion, and shape.






The other way of learning is through the process of instruction.  Both involve the teacher.  Both are metaphoric and use metaphors.  When we uncover the hidden elements of our experience we expose sight of our efforts.  Student architects discover their talents and the results of study.  This happens from instruction by others or from the experience of analysis, study, experimentation, trial, error, drafting, calculations, etc.  When students are taught to be architects they are guided to turn to themselves and external standards through exercises which engraft the metaphor of "architect".  If architectural education today has any one major negative it is to know the man which is to be made.  Is it the man of yesterday, today or tomorrow.?  What are the specifics of tomorrow which would best employ the graduating architects and what are the other general things by which he could adopt to the unknowns.  Therefore, its choosing the components of the metaphoric antecedents of any one vector which present the problem.  Its also being relevant to graduation which can also motivate, encourage and endue students with a sense of commitment.


(1.2) Frechtman, B., "Existentialism",Wingo, G.N., "Philosophies of education : an introduction".
(8.0) Congemi, J.P., "Higher education and the development of self actualizing personalities".

1. Gibson, R.C., Professor of Higher Education, Indiana University.







(8.0 pg.xiii)1Self actualization is concerned with "man's" concept of reality, truth and values.  (1.2 pg.321)"Man" is whatever he or she conceives themselves to be, and whatever they may become is whatever they "will" themselves to become".  Said Satre, "Man" is nothing else but what he or she makes of him or herself.  Such is the first principle of existentialism.  Man or woman is both free and responsible for what he or she chooses to become.  The external metaphors which surround any potential student engender a call for a commitment to that part of the whole of all society to which he or she will be accountable.  It must match with his or her experience and potential capacity, capability and aptitude to accept this burden.  Once chosen and qualified for the task he or she can then begin to change, transform and transfer from his or her general to specific identity.  This presumes that man or woman is in possession of his or her identity and that he or she has character and personality apart from his or her professional state of mind.
(2.3)The production of ideas, conceptions, and consciousness is at first directly interwoven with the material activity and the material intercourse of persons : the language of real life.  Conceiving, thinking, and the mental state of persons appear at this stage as the direct efflux (passage) of their material behavior.  Persons are the producers of their conceptions and ideas.  Real, active persons are conditioned by a definite development of their productive forces and of the intercourse corresponding to these up to its' furthest forms.  Consciousness can never be anything else than conscious existence and this existence is their actual life process.  It is a metaphor formed, not from a common essence, but from a collection of differences which have a common essence.  Architect's educational curriculum and teaching methodologies that respond to this reality will let a student bring his or her cultural and social experience to bear upon his or her learning of architecture.
2.3. K. Marks and F. Engels, "The German Ideology". Parts I and III, edited by R.Pascal, New York (1939) International Pub.
Nash, P., "Models of Man"

(10.1)"Man" possesses the freedom to make choices where it is in fact in choosing that he lives.  (10.2)"Man" is differentiated from other entities because he or she knows that he or she exists; indeed he or she knows that he or she knows he or she exists".... "Self is a "desired, constituted relation" arising from the interaction of body and spirit".  (10.3)Cognition is the emergence into some measure of "individualized reality" of the general substratum of activity, poising before itself possibility, actuality and purpose.  An architectural student will promote realities of architectural identity and therefore need ways in which this can be expressed.

(2.2 pg.442)The perception of a human being as a unique whole unity is opposed to an analyzed, reduced and abstracted being.  Derivations tend to contract the manifold person, supposing it can grasp what a man or woman has become into a general concept.  The personal life is leveled down in favor of brevity and external control. The metaphor which can "imagine the real" is truly the way in which one can be stirred by another.  Not by less but more detail.  "Man" in all his or her concreteness.  To group all people's perceptions must also include their spirit.  The education of an architect is to recognize the fullness of the student and what must be brought from one to another state of development.  Not just a part but the whole person.  The metaphor of the curriculum must permit a teacher to "bring out" the compassion, spirit and empathy of a student.  Both must experience the content of knowledge and expose it through 1"techne".

10.1. Brunner, E. "The message of Soren Kiekergourd"

10.2. Kaufman, W., "The Owl and the Nightingale"

10.3. Whitehead, A.N., "Science and the modern world"


(2.2 pg 454)It demands of the educator reactions which cannot be prepared beforehand.  It demands nothing of what is past.  It demands presence and responsibility; it demands 2"personage".  Buber calls it great character when one, who by his actions and attitudes, satisfies the claim of situations out of a deep readiness to respond with his or her whole life, and in such a way that the sum of his or her actions and attitudes expresses at the same time the unity of his or her being in its willingness to accept responsibility.  As his or her being is unity, the unity of accepted responsibility, his or her active life, too, coheres into unity.  This is the metametaphor of becoming an architect.  The metamorphosis from person to student, student to architect, architect to teacher and teacher to student.  Each reifies its' elements and transforms the person at each role.  The being becomes and makes his or her experience concrete.


(2.2) Buber, M., "Elements of the Interhuman"

(3.4) Kant Immanuel (1724 1804), "Critique of pure reason and critique of practical reason" (Ann ette. Charton, "Education" ed. Ann Arbor: University of Michigan Press, 1960)

1. techne: art, craft <technography> artificial, devised by art, a body of technical methods.  A method of accomplishing a desired aim.
2. personage: a human individual : person : one distinguished for presence and personal power.
3. maximus: great/much : a general truth, fundamental (high) principle.  An essence in a metaphor.







The metaphor as an Ideal:
In another way architects become professionals by conforming to the technical and ethical standards of architecture.
(3.4)The child", says Kant, "should learn to act according to 3"maxims", the reasonableness of which he is able to see for himself".  3"Maxims"
ought to originate in the human being as such".  "Character consists in readiness to act in accordance with "1maxims".
(9.0)"Metaphors and similes were often employed by Jesus in picturesque and poetic expressions of moral ideals and religious concepts.  Sometimes these were used in the body of a parable as a figure of speech, but one may find them usually in his formal talks with crowds".
(9.0)According to Kant "apriori" knowledge is totally independent of experience and cannot be known by "man".  If we had not experienced extension between objects or duration from event to event, we could never have arrived at a concept of time and space, no matter how universal these concepts appear to us in maturity.  Yet knowledge must be the basis for metaphor and synapse.  We can make the unexperienced which is unknown, known because the unknown has property (ies) of the known (and vice versa).  It is reasonable, yet can be beyond reason when perceived.  Classroom teaching must constantly give common- sensical familiar examples for exotic unfamiliar new behavior.
(4.4)All these human skills (e.g. research, perception, discernment, etc) are, in a sense, techniques for becoming aware of the human self; and communication is essential because it is each individual student's own self to which he or she must become aware.  Becoming the metaphor of the architect involves 1technique which in turn reveals perceptions of our experience in a form which can both first communicate to the composer and then to others.  (users, audience, readers, etc.)
(4.4) Wilson, J., "Two types of Teaching"
(7.0) Dodds, G., "On the place of Architectural Speculation"
(9.0) Nakosteen, "The history and philosophy of education"; "Bible":
Matt 12: 11 12, 12 : 22-28, 17 : 20, 18 : 1 6, 19 : 14, 19 : 24; Mark 10: 14, 10 : 25, Luke 12 : 22 28.1.maximus : great/much : a general truth, fundamental (high) principle.  An essence in a metaphor.
(2.1)John Dewey believed that the image is the great instrument of instruction.  What a child gets out of any subject presented to him or her is simply the images which he or she himself forms with regard to it.  Not : "one picture is worth a thousand words".  The student is the one who creates the metaphor composed of exercises of the elements of the learning experience.  Dewey believed that the work of instruction would be facilitated if more time were spent in seeing to it that the child was forming proper images.  Students of architecture reify their concepts into concrete images.  Architectural students make their own pictures.  Thus can the information being assimilated be seen and understood.  It is how both the student and the architect experience the information, form metaphors, and reveal the architecture.

(2.1) Dewey, J. "My Pedagogic Creed"

(3.0) Ozman, H.A., and Craver, S.M., "Philosophical foundations of education"

1. technologia : method of achieving a practical purpose.  The totality of the means employed to provide objects.
techne : reveals whatever does not bring itself forth.  Technology is a way of revealing (7.0)Heidegger, "The Question Concerning Technology

2. existentialism : (1930) a chiefly twentieth century philosophical movement embracing diverse doctrines but centering on analysis of individual existence in an unfathomable universe and the plight of the individual who must assume ultimate responsibility for his acts of free will without any certain knowledge of what is right or wrong or good or bad.







Education is a personal experience:

pg.167)2Existentialists assert that a good education would encourage  individuals to ask such questions as, who am I?  Where am I going?  Why am I here?
(3.0)It is the Aristotelian notion that we can understand our place in the universe (a function of the metaphor), and this understanding is a result of sharpening our powers of intellect through the use of metaphors, reason and observation.  But which metaphors to choose and what to observe and reason.  This is where choice and even casual conditioning enters as accident or rationally controlled destiny.  Whichever it is, the individual recognizes his need, experience and commits himself to a path of "feeding" to became an architect.  This is a metametaphor process.  (3.0,pg.168)"The first step in any education, then, is to understand ourselves".  (3.0,pg.169)"Existentialists argue that education should promote a sense of involvement in life though action.  They believe that persons should be encouraged to be committed and take stands even through the rational basis of any stand is always incomplete.  They believe more in deeds than words".  "Through experience man learns" perhaps best sums up the lessons learned from the classics and the basis of the metametaphor-birth of architectural identity.  Educators, students, administrators and faculty share and convey this common experience.  It is what is professed and exuded.


(3.0) Ozman, H.A., and Craver, S.M., "Philosophical foundations of education"

(3.7) Kierkegard, Soren (1813 1855)



The function of education to becoming:

Kiekegard encouraged (3.7 pg.156)the subjective individual who makes his own choices, eschewing the scientific demand for objective proof.  "He believed that the individual is confronted with the choices in life, that he or she alone can make and for which he or she must accept complete 1responsibility".

(4.2 pg.97)Plato's image of education as turning the eye of the soul outwards towards the light explains that although there are truths to be grasped and standards to be achieved, which are public objects of desire, he claimed that coercing people into seeing them or trying to imprint them on wax like minds was both psychologically unsound and morally base.  Objective standards need to be written into the content of education.  The individual commitment and his or her relationship to the objective civil order is a part of that special metaphor which makes up architects, lawyers, governors, etc.  Likewise the extent of control by the state, society or universities of higher education upon the an individual can be balanced by the individual's own initiative, motivation, receptivity and commitment.  The individual and his society are part of a common context which is the metaphor they both experience and they wish experienced, replicated and developed.  The student of architecture commits him or herself to do what he or she cannot do for himself: to become an architect. That which is external to him or her before must now become internal.
(9.0)Education, therefore, from "without" replaces self education because 
1. responsible :  liable to be called upon to answer.  Able to answer for one's conduct and obligations.  Able to choose for oneself between right and wrong.  Accountable. Implies holding a specific office duty or trust.  Such as that of an architect.  One who makes public and product of metaphors.
(4.2) Peters, R.S., "Education an initiation"
(9.0) Nakosteen, M., "The History and Philosophy of Education"
Most men and women left to themselves are incapable of the art of 1happiness.  From this point of approach, education becomes a regulating force and should demand the most engaging duty of the state.  Happiness is not a social reality.  Although it functions in society, its' realization is centered in the individual.  It is a habit of mind and the final aim of education and of the state, (even the university).  It should be the happiness of the individual.  If happiness has a social function it is that through it alone can "man" achieve individual perfection (virtue, ethical, nature, responsible, etc.).  They can become the metaphor which is external to them and by being receptive to it can allow themselves to be transformed and brought over to it.

(5.0)Ethical ideas came from experience of things which comes from the study of natural science, mathematics and social intercourse, which necessitates the study of "man" including history, language, literature politics, art, economics and science.

What we call "faculties" such as imagination, reasoning, memory, etc. are in truth metaphoric formations within the individual caused by presentations from the social and physical world.  The contact with the world sets off sense activity which perceives metaphors.  Memory is the reproduction of a series of metaphoric precepts previously formed by sense activity.  Imagination is the rebuilding of picture worlds, metaphors and hopes in the mind from the metaphoric material that has been presented to it from the external natural world.  The external natural world is the raw material of imagination and the elements of metaphors.
1. Happiness : for Socrates it is the goal of life.  It is a waste to search for it in the stars.  The first requirements of individual happiness are to return to one's inner self and to understand one's essence. "Gnothi seauton": Know thyself.

5.0 Kimball, S.T., "Culture and the educative process".

The metaphor is the 1essence of education because it is a transformer, bridge and works by carrying-over things from one to another form, person or context.  Students learn with metaphors about metaphors to make metaphors. Ultimately they learn how to reproduce the approach they have experienced.  They then profess and exude this to others.  They are both the metaphor of their experience and the prototype for 2emulation.

(5.0)Our type of civilization needs persons with the capacity for seeking relationships and dynamics of systems.  This is why the educational process which cultivates the metaphoric process does more to prepare its' graduates than teaching "information" only.  It is a skill and easily adapts to a wide range of conditions. Architects change clients, building types, contexts, venues, employers, etc.  This is not a task that can be done on one's own and is an appropriate role for higher education. The experience the student has in the university is usually his first experience in a corporately organized system and the faculty represents "the other world". The success with which he masters his school environment  in other words, internalizes its' learnings  foretells, in most cases, the degree of success the student architect will master in the public adult environment.  It may be now the time to revive the education of architects.  To bring back again these values, goals and ideals which were the vigor and life of education to be applied specifically to higher education and architectural education in particular.  We can learn from art education and educational philosophy.  (3.8,pg.110)Article three of Dewey's pedagogic creed reiterates that education must be conceived as a continuing reconstruction of experience; that the process and the goal of education are one and the same.
1. esse : to be; is.  The permanent (constant) as contrasted with the accidental (variable) element of being.  The individual, real, or ultimate nature of thing especially as opposed to its existence.  Its basic attributes.
2. emulate : aemulus : strive to equal or excel.  Imitate : etiology : a branch of knowledge concerned with the causes of particular phenomena e.g. what is the cause and origin of a metaphor?        (5.0) Kimball, S.T., "Culture and the educative process".   
                                Knowledge "for        Knowledge for
                                  its own sake"      "problem-solving"
  ┌─────────────────────┬─────────────────────┐
      Institutionalization  │The core of cognitive│ Contributions to    │
      of cognitive complex  │primacy (research    │ societal definitions│
                            │and graduate training│ of the situation    │
                            │by and of            │ (by "intellectuals" │
                            │"specialists")      │ as "generalists")  │
                            ├─────────────────────┼─────────────────────┤
                            │General education of │ Training for        │
      Utilization of        │"citizenry"          │ applied professions │
      cognitive resources    │(especially under-  │ (as "specialists")  │
                            │graduates as        │                    │
                            │"generalists")      │                    │
  └─────────────────────┴─────────────────────┘
FIGURE - 1
(11.0)STRUCTURE OF THE UNIVERSITY RELATED TO THE COGNITIVE FUNCTION.


(3.8) Dewey, John, "My Pedagogic Creed" (also see reference 2.1, "Metaphor as Ideal"

(11.0) Ross, M.G., "The University" (Talcott Parsons, G.M. Platt)
*"Synectics : The metaphoric way of knowing" is the title of the book by W.J. Gordon and "synectics" may now be found in the dictionary.  To bring forth (as techne and education).  Metaphors and education are synectic

The Role of the Educator:

At the root of (6.1)synectics : the metaphoric way of knowing is a 1maieutic approach to the degree of responsibility, control and dynamic between student and teacher.  (3.5,pg.2.27)Maieutic practices are one answer to how much help (or intervention) the teacher should give the student as he acquires new forms of behavior.  One approach is that the teacher should wait for the student to respond rather than rush to tell him or her what he is to do or say.  "The more the teacher teaches, the less the student learns".  The behavior to which a person has given birth grows, and it may be guided or trained as a growing plant is trained.  Behavior may be "cultivated".  "The metaphor is particularly at home in education"., There are many metaphoric analogies to horticulture.  "Kinder garten" is one.  This is a place where the child develops until he reaches maturity with little teaching intervention.  Guidance is a key to many other forms of assisted development such as psychotherapy, economic growth, governance, etc.
Such a metaphor involves a balance of human relations between student and teacher: between the degree of receptivity, responsibility, commitment, control, intervention and guidance.  It is a game of 2"T.A.G.": trust, authority and guidance played first within and individual, then with his teacher, then client, users, audience etc.  It is the art of making metaphors which we emulate and exude. (8.0 pg.10)The renowned German educator, Frederick Froebel, founder of the above mentioned "kindergarten" metaphor (metaphoric analogy) likened the healthy development of the human organism to the healthy development of young plants. 
(6.1) Gordon, W.J., ("Synectics.,) "The Metaphoric Way of Knowing".
(3.5) Skinner, W.F., "(1904  present) "Beyond freedom and dignity".
1. maievtikos : Midwifery; relating to the Socratic method of eliciting new ideas from another.
2. Phillip Winters, New York city, 1970 for the "Laboratories for Metaphoric Environments" (L.M.E.) Inc.

It is the function of education to evoke and develop freedom and to induce self determination.  There is an inner essence and ever-present identity in all relationships in life.  The individual must be given the opportunity to develop both his individuality and his or her human nature.  "Man" has potential and this potential must be nurtured through various stages.
(1.0  pg.60)The role of 1teaching is essentially the transmission of a body of knowledge and values, accompanied by certain intellectual skills.  The task is to transmit the essential elements of the cultural heritage.  The teacher is the mediator between the historic accumulation of culture and the generation that must perpetuate that accumulation.  However, from the standpoint of the individual, the purpose(1.0 pg.53) of education is to help him or her achieve intellectual discipline.  The aims of education is intellectual training for the individual through rigorous application of the mind to the historic subject matter.  This process, the 1essentialist maintains, and only this, is worthy to be called the purpose of education.  The individual, in a sense becomes the metaphor of the metaphor by which he or she is transformed.  He and she not only learns about their cultural heritage but experience being cultured by their heritage and therefore as the beings of what they have experienced now personally incorporate their education.  From their experience with their teacher they experience the culture.  The teacher is the medium by which this metamorphosis takes place.  The student need not, according to this doctrine, experience for him or herself the culturing because he or she already has prior knowledge of his or her heritage.  It is only to be known and brought out of what the student already knows.
(8.0) Froebel, F., "The Education of Man", pp.1 30; Lucio.
Cangemi,J.P.,"Higher Education and the Development of Self Actualizing Personalities"
(1.0) Wingo, G.M., "Philosophies of education: an introduction"
1. (1.0 pg 60)This is a conservative view which advocates:
a) Schools should be limited to their educational function;
b) Not all subjects are worthy to be taught;
c) Schools should cherish and transmit certain traditional values and must be neutral; and
d) Schools play a role in society with traditional relations between the schools and other institutions.
(1.3 pg.61)"On the other hand Issac Kandel, the educational conservative says that the school is the instrument for maintaining existing social orders and for helping to build new social orders when the public has decided on them; but it does not create them.  In the same sense that society is prior to the individual, the social order is prior to the school".  The book's author adds that if Kandall had added to this statement "knowledge is prior to the knower", he would have produced the best "nutshell" definition of essentialism in the English language.



(1.3) Kandel, I. L., "Can the School build a new social order",
Wingo, G.M., "Philosophies of education: an introduction"

1. essentialism : (1927)An educational theory that ideas and skills basic to a culture be taught to all alike by time tested methods.  Compatible with a philosophical theory ascribing ultimate reality to essence embodied in a thing perceptible to the senses.  This as opposed to "nominalism" (the theory that only individuals and no abstract entities (as essences, classes propositions) exist.  Essentialism is a basis for metaphors and metametaphors for without essences there can be no metaphors.

(3.0) Ozman, H.A., and Craver, S.M., "Philosophical foundations of education"










(3.0 pg.74)The key problem with essentialist doctrine is that people do
differ greatly in their ability to learn abstract material.  Since no body at present knows how to alter significantly the genetic equipment of individuals, and this narrows the range in learning ability, schools are full of low or non achievers.  This is different in most schools of higher education and particularly architectural and art education.

(1.3 pg.81)The conservative tradition in education emphasizes transmission of facts by the teacher and absorbed by the pupils.  The student therefore, does not experience the making of the metaphor but the metaphor itself as an audience, reader or perceptor.  It is highly cognitive and the individual cannot adopt his apriori metaphors to those of the schools.
(11.0)Professors:
1. Encourages the free pursuit of learning in his students,
2. projects best scholarly standards of architecture,
3. demonstrates respect for the student and individual,
4. demonstrates respect of the student as an individual,
5. adheres to his or her proper role as intellectual guide and counsellor,
6. assures that his evaluation of students reflects their true merit,
7. respects confidential nature of the relationship between professor and student,
8. avoids exploitation of students for his or her private advantage and acknowledges significant assistance from them; and,
9. protects their academic freedom.
(11.0) Ross, M.P., "The University" (Joughin. L., "Academic Freedom and
      Tenure, Madison, University of Wisconsin Press, 1967)
(1.3) Kandel, I.L., "Can the school build a new social order",Wingo, G.M., "Philosophies of education: an introduction"



The Metametaphor Of Architectural Education



(9.0)BASIC POSITIONS OF EDUCATIONAL PHILOSOPHIES (1 of 3)
Idealism
(Platonic-
Hegelian Aristotelianism
Thomism and
Neo-Thomism Rationalism Scientific
Realism Instrumentalism
and
Reconstructionism Existentialism
(Humanistic) Existentialism
(Religions)
1.Universal-
  Mind-Spirit-
  centered. 1.Potentiality
  actuality-
  centered
  (form-
  matter
  process.
1.God-
  centered 1.Mind
  centered 1.Nature-
  centered 1.Experience-
  centered. 1.Individual
  ence-
  centered 1.Inwardly
  religious-
  centered.

2.Education as
  self-
  realization 2.Education as
  intellectual
  contempla-    tion of        truth
  2.Education
  as            spiritual
  develop-
  ment 2.Education
  as culti-
  vation of
  mind.  2.Education
  as adjus-
  tment. 2.Education as
  reconstruction
  of experience. 2.Education
  as choo-
  sing of
  self's
  identity.
2.Education
  as develop-
  ment of
  inner
  religious
  identity
3.Universal
  Mind Spirit
  as source
  of values
  (also human
  mind spirit
  as partici-
  pant. 3.God as
  Prime
  Mover, Mind
  regulator,
  source of
  values.

3.God as
  source of
  values. 3.Mind as
  source of
  values. 3.Nature as
  source of
  values. 3.Experience as
  source of
  values. 3.Man as
  source of
  all values. 3.Inner
  religious
  experience
  as
  identifier
  of values.
4.Absolute
  authority of
  universal
  Mind-Spirit
  (also human
  mind-spirit
  as
  participant)
  4.Relative
  authority
  of minds. 4.Absolute
  authority
  of God. 4.Relative
  authority
  of mind. 4.Discovered
  authority
  of
  natural
  laws. 4.Relative
  authority of
  experience. 4.No external
  authority
  valid. 4.No mere
  conformity
  to external
  dogma
  sufficient.



Figure: 2a : (9.0) Nakosteen, M. "The history and Philosophy of Education"








(9.0)BASIC POSITIONS OF EDUCATIONAL PHILOSOPHIES (Continued)(2 of 3)
Idealism
(Platonic-
Hegelian Aristotelianism
Thomism and
Neo-Thomism Rationalism Scientific
Realism Instrumentalism
and
Reconstructionism Existentialism
(Humanistic) Existentialism
(Religions)
5. Study of
  truth as
  universal
  values.
  5.Study of
  truth as
  rational
  awareness
  of probabi-
  lity-actu-
  ality, or
  form-matter
  process;
  also first
  principles
  matter
  process. 5.Study of
  truth as
  divine
  reve-
  lation. 5.Study of
  truth as
  rationally
  conceived 5.Study of
  truth as
  observed
  proba-
  bility. 5.Study of truth
  as varifiable
  experience.
  5.Truth as
  whatever
  one
  chooses
  for self-
  authenti-
  cation. 5.Truth as
  inner
  awareness
  of what is
  significant


6.Antipragma-    tism.
 
  6.Anti-
  Idealism  6.Anti-
  secularism  6.Anti-
  vocation-
  alism.  6.Anti-
  superna-
  turalism. 6.Antitraditiona-
  lism. 6.Anti-
  value
  systems.

6.Anti-
  dogmatism
7.Cultural        essentia-
  lism
  (tradi-
  tionalism. 7.Rational
  essen-
  tialism.

7.Religious
  essen-
  tialism. 7.Intellec-
  tual
  essen-
  tialism. 7.Scientific
  essen-
  tialism. 7.Progressivism
7.Relative,
  individu-
  ally chosen
  essen-
  tialism 7.Personal,
  subjecti-
  vely exper-
  ienced
  essen-
  tialism.
8.Universa-
  lity and
  authority
  of ideals.
 
  8.Universa-
  lity and
  authority
  of matter-
  form
  process 8.Universa-
  lity and
  authority
  of truth. 8.Universa-
  lity and
  authority
  of truth. 8.Relative
  authority
  of "dis-
  covered"
  truth. 8.Relative and
  subjectivism of
  truth. 8.No author-    ity of
  external
  ideals. 8.Authority
  of inner
  religious
  experience


Figure: 2b : (9.0) Nakosteen, M. "The history and Philosophy of Education"


(9.0)BASIC POSITIONS OF EDUCATIONAL PHILOSOPHIES (Continued) (3 of 3)
Idealism
(Platonic-
Hegelian Aristotelianism
Thomism and
Neo-Thomism Rationalism Scientific
Realism Instrumentalism
and
Reconstructionism Existentialism
(Humanistic) Existentialism
(Religions)
9. Democracy
  conditioned
  by poten-
  tialities
  of indi-
  viduals
  only.
  9.Aristocratic
  society
  based on
  natural and
  rational
  inequalities
  of men. 9.Democracy
  subject
  of truth.
9.Democracy
  subject
  to intell-
  ectual
  inequality 9.Democracy
  subject
  to ability
  9.Democracy,
  subject to level
  of education.
  9.Aristocratic
  individua-
  lism as
  social
  ideal. 9.Spiritual
  individua-
  lism as
  essential
  to good
  society

10.Teacher and    subject
  matter as
  means of
  self-reali-
  zation of
  individuals. 10.Teacher-
  subject-
  student-
  centered. 10.Teacher-
  student-
  subject-
  centered 10.Teacher-
  student-    subject-
  centered
10.Subject-
  teacher-
  centered. 10.Child-subject-
  teacher-
  centered. 10.Teacher
  and
  subject
  matter as
  means of
  individual
  choice
  and
  identity 10.Teacher
  and
  subject
  matter as
  means of
  inner
  individual
  awareness
  of divine.

Figure: 2b : (9.0) Nakosteen, M. "The history and Philosophy of Education"

Note: The reader may wish to review various educational philosophies referred to throughout this article in terms of the ten positions.  The positions deal with etheral, natural, practical, operational, metaphoric, social, psychological and historical ideas.




Bibliography :
1.0. Wingo, G.Max, "Philosophies of Education : An Introduction" (1974) U.S.A./Canada, D.C. Heath and Company.
1.1. McGlynn, J.V., "Du Magistro, Deveritate" ("The teacher-the mind") S.J. Saint Thomas (Chicago : Henry Regnery Co. 1959)
1.2. Frechtman, Bernard, "Existentialism" (New York, Philosophical Library, 1947 pg.13)
1.3. Kandel, Issac L., Can the School build a new social order", Kandelpian Review 12 (January 1893, Educational Conservative).
2.0. Nash Paul, "Models of Man" (Explorations in the Western Educational tradition") (1968) J.Willey and Sons, Inc. New York.
2.1*. Dewey, John, "My Pedagogic Creed", The School Journal, Vol. LIV, No.3 (Jan. 16, 1892 pg.77 80) (also see 3.8 below)
2.2. Buber, Martin, "Elements of the Inter Human" (1965) translated by R.G. Snoth in "The Knowledge of Man", New York.
2.3. Marks, K. and F.Engels, "The German Ideology", Harper and Row.

3.0. Ozman, Howard A and Craver, Samuel M., "Philosophical Foundations of Education" (1976).  Charles E Merrill Publishing Co. Columbus, Ohio.
3.1. Dewey, John, (1859 1952) "Essays in Experimental logic", "Experience and Nature", "Art as Experience", "Experience and Education", "In Human Nature and Conduct"
3.2. Heidegger, Martin, (1889 1976), "Being and time" (Seinunndzeit) pub. 1927.
3.3. Husserl, Edmond,
3.4. Kant, Immanuel, (1724  1804) "Critique of Pure Reason and Critique of Practical Reason"
3.5. Skinner, B.F., (1904 present), "Beyond Freedom and Dignity"
*Quotations differ from one to the other source (2.1 and 3.8)
3.6. Berkley, George, (1685  1753) "The Principles of Human Knowledge"
3.7. Kierkegard, Soren, (1813  1855)
3.8*. Dewey, John, "My Pedagogic Creed", The School Journal 54: 3 (Jan 16, 1867) pp. 77 80, Reported with the permission of the Center for Dewey Studies, Southern Illinois University at Carbondale. (also,see 2.1 above)

4.0. Archambault, Reginald D, "Philosophical analysis and education" London, Routledge and Kegan Paul, New York : The Humanities Press (1965).
4.1. Griffiths, A. Phillips, "A deduction of Universities" (The essence of education : section)
4.2. Peters, R.S, "Education as Initiation"
4.3. Hirst, Paul H, "Liberal education and the Nature of Knowledge"
4.4. Wilson, John, "Two types of teachers"

5.0. Kimball, Solon T, "Culture and the Educative Process" (An Anthopological Perspective) 1974.  Teachers College Press, Columbia University, New York.
6.0. "Main currents in Modern thought" (Sept Oct, 1971), Vol. 28, No.2
6.1. Gordon, W.J, "The metaphoric way of Knowing"
6.2. Weiss, Paul, "The metaphorical process"

7.0. Dodds, George, "On the place of Architectural Speculation" (JAE) Journal of Architectural Education, November 1992 Vol. 46/ Number 2 published by Butterworth Heinemann for the (ACSA), Association of the Collegiate Schools of Architecture, Inc.

8.0. Cangemi, Joseph P, "Higher Education and the Development of Self Actualizing Personalities"(1977, New York) The Philosophical Library.
*Quotations differ from one to the other source (2.1 and 3.8)
8.1. Whitehead, Alfred North ; "The aims of education", The Free press, New York, 1957, pg. 169.

9.0. Nakosteen, Mehdi, "The History and Philosophy of Education" (1965) Ronald Press, New York.

10.0. Hill, Brian V, "Education and the Educated Individual" (A Critique of the thinkers) 1973.  Teachers College Press, Columbia University.
10.1. Brunner, Emil, (1813 1855) "The Message of Suren Kierkegoard".  Neue Schwezer Rundshau, Vol. 38, 1930, pg.29). Sφren Kierkegoard 1813 1855).
10.2. Kaufman, Walter, "The Owl and the Nightingale: from Shakespeare to Existentialism", London, Faber and Faber, 1959 p.169,)(pg. 26).
10.3. Whitehead, Alfred North,"Science and the Modern World" p. 153.

11.0 Ross, Murray, G, "The University" (The Anatomy of Academic), (1976) McGraw Hill, New York.

General Note:
Word definitions from: "Webster's, Ninth New Collegiate Dictionary", 1991 published by William A. Llewellyn.

*Education is a matter of setting architectural standards.  Not going to explain Education as a tool of upward social mobility and a matter of reclassification  as education and degrees themselves being trophies of affluency".  In the Information Society (John Dewey).

Other References:
Connell, W.F.,
"A History of Education in the Twentieth Century World"
Fraguere Gabriel.,
"Education without Frontiers"
Curti, Nelle.,
"The Social ideas of American Educators"; Littlefield, Adams and Co. Totons, N.J. Charles Schribner & Sons (1935).
Amason, Robert E.,"Contemporary Educational Theory";  Longman, New York (1972).
Dewey, John., "Democracy and Education"; The Fall Press/McMillan Pub. Co., (1916).
Bandman, Bertran., "The Place of Reason in Education";
Ohio State University Press (1967)

Metaphors, Architecture & Music by Barie Fez-Barringten

Metaphors, Architecture & Music

By Barie Fez-Barringten
www.bareifez-barringten.com
6,378  words on 26 double spaced pages

What role do users have in metaphors?
The answer lies in the comprehensive application of the  metaphor  to the wider field of all the arts, and specifically architecture and music.  Recalling that much has already been written about the relationships and analogies between the two this work explores neither the work nor architecture but their part of a metaphoric holism  whereby he or she (user) completes a metaphor interacting with more value than the mere sum of elementary components. 
The commonalities and differences of music and architecture highlight the commonality of composer, performers, audience and users.  The architect is likened to the composer and their commitment to project their experience  to the user/audience through builders and performers into the work This monograph refers to the author's notes from a lecture series at Yale University: Architecture the making of metaphors involving, amongst others,  Paul Weiss and William J. Gordon. 
Additionally, this work recalls Danial MacGalvray's research from his article in The proper Education of Musicians and Architects".  The discussion about the kind of effort expended to appreciate music and architecture refers to George Dodds  On the place of Architectural speculation. 
Metaphors, Architecture & Music


April 22, 1993, on the evening of Earth Day's twenty-third anniversary my wife and I attended a concert of  The Clementi Ensemble in a pre-engineered metal building" in the Dhahran Academy in the Eastern Province of Saudi Arabia.  But my mind was not on the concert, as such, but the context and the circumstances of what we all expected to experience from these four fine musicians.  We also compared this experience to when we helped John McConnel and UThant stage"  in central park (that day the United Nations declared Earth Day a world legal holiday); and, the year before the Mayor of New York in Union Square. 

Indeed, the evening was replete with making leaps back into history to seemingly unrelated events.  Even the musical program of Schubert, Beethoven, Mozart and Dvorak conjured "barocco" visions of courtly recitals of other periods and places.  We also noticed the many languages and dresses of the audience and yet we were all attending this one concert.  It then occurred to me that we were all participating in a metaphoric event which had everything to do with architecture.  Perhaps this event and our role as an audience and participants in this metaphor could shed light on the user's  role in works of architecture.  Because, that night we were both audience, participants and users.  The persons of the metaphor So much has already been written about the relationship between music and architecture.  Particularly about music's design components and overall  modes and meanings. 

But this night I realized that the audience to this concert was not unlike a building's .  We both had a relationship to a Context: weaving together of words, connections; coherence; the interrelated conditions in which something exists. We were an a group of listeners, spectators and perceptors; reading, viewing and listening in public. 
Metaphors, Architecture & Music
We were amongst those to whom things were made audible by the originator, designer, assembler and composer of the works.  Before playing each piece one of the musicians would remind us to remember the composer, his intentions about the work and his life in relation to the work.  It occurred to me that I had not read anything about metaphor's relationship to architecture.  Particularly about their performance.  Yet  it was the performance in which we all were involved. 

Having already been to other recitals, in addition to listening to the sound of the music one also watches the communication between players.  It is as though one is watching a "musical conversation".  Recitals seem to have that quality.  Each plays the libretto composed to create interactions between players.  But they add so much more by the movement of their body, head and eyes.  Their face expresses agreement and satisfaction about the timing, quality and acoustics of what they hear and see.  We are watching them make a metaphor between themselves and the composer, the audience, and all using the years of skill with their instruments.  This evenings instruments were the violin, cello, viola and piano.  I noticed the way in which each of the players positioned themselves on their chairs in relationship to each other, the stage and the audience.  They could do little about the theatre or the metal building except ask that only during the performance the airconditioning be shut off because of its' noise.  All musicians, dancers and actors have specific routines, responses and actions which as letters in a word, words in sentence, etc, string together to complete the intended metaphor.



Metaphors, Architecture & Music

Originator to User
I began to sketch and plot their positions which then led me to recall how attentive we were in selecting where we'd sit to watch the performance.  We also noticed others who did the same.  This was one of the components of how we, the audience, must participate in completing  the making of the metaphor :the one originally intended by the composer and the theater's architect. I recalled the way in which we perceive buildings and the analogies between seat selection and positioning in buildings. 

When we enter restaurants and snack shops we look for views, proximity to fountain features, exits, entrances, etc.  When we sit in living rooms or lounges we try to find comfortable seats with views, position in space, location to perimeter, center, etc.  In planning the layout of an existing apartment or house we care for locating each piece of furniture and functional item on the basis of our vistas, views, position, hierarchies and priorities.  Our experience with each building type is generic  with both interchangeable and unique considerations.  We take responsibility for the control of what we are going to experience in any given situation depending on the length of time, importance, social standing or privacy of the situation.  We may settle for one position on a subway ride but yet another in a bus with a view.  One position in a concert  yet another in a metal auditorium building  Aside from our instincts for comfort and obvious mundane necessities we are also aware of yet another responsibility. 


Metaphors, Architecture & Music


We are completing metaphor intentions  by the architect of the metaphor  in which we find ourselves.  We instinctively look to optimize our relationship to the arcitects and composers generique birth characteristic of the whole group and serves to control the projection of  characteristics, specifying the structure, accommodating a particular function, or accommodating the function of other form generators.  intentions and his design parameters. 

We are aware that we are the final players in a scenario devised well before our arrival.  We are kind of actors or performers playing out the rationale of the place.  This then was the link between music and architecture relevant to contemporary orientation.  Differences between music and architecture Architecture and music are apparently  different from one another.  One is static and the other dynamic.  One is performed  the other .  They are both experienced in different ways.  Music is best experienced by being physically passive while architecture active.  Music, as such is experienced by the ears, while architecture by the sense of vision, touch, smell and sound (acoustics). 

Particularly these days when we can appreciate music through electronic media; or or the connosseur  by reading street music. The differences between architecture are vast: one is a while the other is an applied art.  Indeed they both have a spiritual, sensual and unseen dimension but music will not shelter nor materially limit and bound space.  The differences focused my attention beyond their  Dance music and, background music (muzac), ballet, etc. are exceptions as are rooms where we sit, lie, stand still etc. 


Metaphors, Architecture & Music

Architecture's perceptions are in operations and perceptions in relation to operations while a connoistre understands the details, technique or principles of music, architecture, painting, etc. and is competent to act as a critical judge as one who enjoys with discrimination and appreciation of the subtleties of our metaphors  we are each the cognoscere.
Paul Weiss says in his book " Nine basic arts" that music and architecture both limit and bound space. (but not materially: different technique, limiting and bounding) aesthics and analogous artistic dimensions to the way they are completed metaphor  we can better understand the commonalities and differences between origination, making and experience.  All the sizes, heights, clearances and dimensions of rooms and corridors are contingent upon people and the quantity of people a facility must accommodate.  The Metaphor of music and architecture Metaphor  is a literary term which means "carrying-over"; it associates meanings, emotions, things, times and places which otherwise would not have been related.  Metametaphorically  times and places (or any essence thereof) known to have a preferential, specific or localized use in one context are explicitly employed in another. 

One familiar and one strange term are usually composed into a single form where one term normally used in one context is brought over into another with the object of illuminating; making more evident © something in the second domain which otherwise remains obscure.  The best of metaphors allow us to express two truths at the same time about two times, the past and future; the past can illuminate the future or the future the past.  They are interactive.  Both ideas converge on the idea of some activity, vision, or idea. 

Metaphors, Architecture & Music
The metaphor points beyond each of its members to the reality then diversity express, articulating a power common to both, telling us that both have an intrinsic nature.  “Complete  bring into a perfect stage; execute fully; having all the necessary parts” says: Paul Weiss in “The metaphorical process’ published by Main currents in modern thought, Sept Oct. 1971.
A part may be  more comprehensive; transcending; change or transformation used with the metaphor to designate its new but related function so as to deal critically with the original concept of the metaphor. 

Functional  performance is a  quality that depends and varies with another: as elements of a  metaphor. Music and architecture are experienced in the same way.  They are both composed through the experience of another person and in his context.  The strange context  and other person's experience are encapsulated ina composition, design, assemblage, or some other work of  applied  art for us to experience in our context in the future.  That future is the present where we, in our context, experience the original composition.  The two times, past and future contexts: the composers and ours converge on the work.  We perceive the work in the present stimulated by  signals  These signals  in music are in the form of volume, sincopations, creshendos, tones, notes etc. 

In architecture it is materials, structures, textures, light, shadow etc.  Both music and architecture can create scale, harmony, space, tension, compression, vision, illusions, etc.  Music and architecture both are joined together by metaphoric  works.  Sorjs through the signals  in the work the place, events, and history of the origins of the work.  We compare them with our place, time and context.  We see commonalities and differences: it is a metaphoric experience. 
Metaphors, Architecture & Music
This explains why concert hall architects try to create the kind of visual and accoustical context compatible to the function of the performers and the audience.  In doing so he recreates the vision of the composer and a context common to both composer, performer and audience.  Signal  sign, an act, event, or sound that has been agreed on as the occasion of concerted action.  Something that incites to action.  A meaningful linguistic, musical or architectural form.  it is distinctive and conspicuous.  Music and architecture's commonality  Paul Weiss in "Nine Basic Arts"  classifies music with architecture as arts that enclose a created dimension. 

That dimension may be space,  time or becoming.  "Just as the composer must be familiar with conducting and performing, the designer must know the skill's of the builder and the craftsperson".  Creative composers, skilled conductors, and talented performers are joined by their original study of a theoretical and historical common body of musical knowledge that binds them together as musicians.  There is the shared universally accepted musical language.

"The work of musicians long dead"  is familiar and immediately accessible, not only to musicians, but through musicians to the general public as well".  Even the audience  most of whom may lack a formal music education bring to the concert a certain familiarity with at least an interest in music .  They read the metaphor  through the familiar signals learned in other contexts.  Musicians, after all, move and breathe and their instruments imitate nature. 



Metaphors, Architecture & Music

It is in the harmony of these sounds in some systems that musicians and audience appreciate the scale, dimension and visions of the composition.  Both architect and composer begin with a concept, an idea of involved in a creative act, which may then be written down using an accepted notation system.  But where is the composer or the audience  in this metaphor .  To find him or her we must explore the metaphor  which links the two arts.  Why are they both an art and how are they significant and relevent to our experience as natural human beings?  The literary metaphor says  MacGilvray, D.F., " The proper education of musicians and architects (JAE, Nov. 92). about one thing in terms of another and makes the strange familiar.  As it does it identifies our position in society and is the emblem  of who we are.  We are not the metaphor  but our experience of it is as real as anything else we know.  As we perceive it is our virtual reality.  It contains our identity, signs and signals.  Its' vocabulary, symbols and characters are symbiotic.  The metaphor  itself is symbiotic and our relationship to the metaphor is symbiosis. 

The metaphor  is a vehicle change.  It  transforms  and it is a transformer .  It works internally between its' elements and upon us as we complete metaphor .  It is  completion  that users and audience participate in the ultimate creation of any  metaphor  Like music, architecture issues from the past  a past which is multifaceted.  There is first the past of the composer, the metaphor maker, the architect of the  metaphor, his or her background, training, experience and knowledge.  There is also the whole history of music and architecture.  For the musician as well as the architect both are brought up in the world of their art.  Art is a skill acquired by experience, study and observation.  It is a conscious use of that skill along with creative imagination in the production of the work.  The metaphor  is not only an idea but a composed and created idea over a period of time and experiences. 
Metaphors, Architecture & Music
Weiss, P.says " The metaphorical process architecture , musicians and an audience to a performance share common operations.  They participate in a  mimesis  which  reveals the original.  Meaning is established in both simulacrum  and lack of resemblance.  Both the strange and the familiar can be read.  Users, musicians and audiences do not imitate the composer's specific action but rather his creative process.  The musicians as well as building's  users utilize techniques  which enable this recreative  process. Musicians more so than users or audiences.  But all share their faithfulness to the original composer.  It is only the musician who has committed himself to  techne" recreation  in a consequent, responsible and accountable effort.  He enters into a discipline of special signals, skill and craft. He can be more likened to architect's craftsmen and artisans who build from the architect's plans.  Both builders and musicians perform according to techniques and systems and in concert halls which transcend any one composer, place or country.  It is the composer and architect who write for extant artisans who must use their known instruments, notes and language of music to reproduce the musical thought.  The audience and users of the work of architecture both benefit from the performance of the artisans. 

The finished building, like the musical recording becomes the vehicle through which the metaphor is experienced.  It is one of the common links between the composer and the audience.  It is as a constant in the vision of the composer as his sheet music, the instruments and the musicians.  It is not the live performance of the builders in process  which users of architecture
Dodds, G., "On the place of Architectural speculation" (Journal of Architectural Education, Nov. 92) "Techno" or  technique is a  method of accomplishing a desired aim. Includes the architect's planted and endued  signals.  On the other hand the audience of music does enjoy the humanity of the way in which a musical metaphor  is performed. 
Metaphors, Architecture & Music
The users of architecture do however enjoy the quality of craftsmanship, faithfulness and fidelity to the architect's intentions.  He or she perceives it not while it is being produced but after it is completed Architecture as frozen music Goethe referred to architecture as " petrified music ".  Both concepts refer to  the difference between the perceptions of the craft.  With musical rendition it is neither frozen nor petrified but dynamic and flowing.

Users complete the Metaphor Completion  of a  metaphor  implies that a  metaphoric  conception is complex and a system which includes all the dimensions in which it exists.  This includes the  of everything that satisfies the metaphor  context, place, conditions, composer, vehicles, instruments, techniques, medias, frames, settings, scenarios, performers, audiences, perceptors, users, operators, makers, assemblers, artisans, craftsmen, etc.  Any one or another kind of a metaphor ultimately is an admixture of a number of constants and variables that finally completes the metaphor.  Every  metaphor  is never all together totally complete says  MacGilvray, D.F., "The proper education of musicians and architects (JAE, Nov, 1992) 

A meatphor is rendered when it gives back, transport to another, restores and it imports to reproduce by artistic means.  A mewtraphor translates; performs, and interprets. A metaphor is complete and brought to an end having all its necessary parts fully carried out.  A Metametaphor is concluded and in  a perfected state when it has all its parts  and closed  successfully.


Metaphors, Architecture & Music

A Locus can function and communicate but it will be different from one to another stage as its' dimensions are added.  Such is the experience of musical works which are performed before different persons located in various places in a concert hall; audiences of different contexts and times and by musicians with the same type but different instruments.  The composition and design for music and architecture may be constant but are only part of the conception.  It is the user who will ultimately perceive and reexperience the personalized ideas of the composer.  Metaphors  like music are composed, assembled, and conjured . 

Reified and created by technique from experiences with the elements of the metaphor The composer has experienced the metamorphosis  of the elements.  He has "seen" the commonalities, the differences and the essence common to both.  In any case the building's  is a variable in the experience of the metaphor  and depending on his choices, decisions, faith, discipline, conditioning, skill, commitment and language skills will he participate.  But he is part of the metaphor .  He will perceive and read what is composed, played, constructed and generally أreified. The metaphoric composition does not include him in its' character, vocabulary, form, style, meanings, definitions, derivatives, signs and symbols. 
Metaphor conditions the composition of the metapho. A  metaphor for one may be inappropriate for another.  This is because the users vary. R.J. Kaufman said "we conjure up our own metaphors' for our own needs".  When a some thing abstract is reified to material or concrete thing it becomes  a  metaphor


Metaphors, Architecture & Music

In a synectic experience the use tests the work to prove it’s' claims.  He employs the work by occupation, exercise or practice.  The user seeks to benefit or profit by putting the work into service.  He operates within the work and manipulates it to carry out a purpose.  The user personalizes, enjoys and mindfully probes the work, seeking correspondence between him and the composer's intentions.  For every move though space, at features, near limits and boundaries the user applies what he has learned in other contexts to achieve his purposes in the current work.

The user is constantly comparing all previous experiences with the one he currently experiences.  He compares all former cues, signs, and signals for elegance and correspondence.  The metaphor  interacts with our past and circumstances to modify the meaning of our lives. 

Irving Kriesberg said that painting was a metaphor. The arts all transform  our  natural lives, needs and necessities to the etherial. 
The metaphor lends significance to the mundane the ordinary.  We know who we are, our value, status and rank in society by the metaphors in which we live, work and play.  We seek a well orchestrated system of consistent metaphoric standards by which we wish others to judge us.  We want to be known for our metaphor...
The user of a metaphor is in the scope of the metaphor’s program.  The user is an inherent part of metaphor without which the objects of the form have no meaning.


Metaphors, Architecture & Music
William J. Gordon identified synectics to bring forth together: a theory of problem stating and problem solution based on creative thinking that involves free use of metaphor and analogy in informal interchange within a carefully selected small group of individuals of diverse personality and areas of special­ization. Elegance scientific precision, neatness and simplicity: select high grade or quality.

*Correspondence is the agreement of things with one another; a particular similarity a relation between sets in which each member of one set is associated with one or more members of the other: mapping: function.
*Quality of what kind: who: a peculiar and essential character: nature, and inherent feature; property: capacity; role; social status; rank.  A distinguishing attribute;
Meaning purport: the thing that is conveyed: intended; significant quality.
*Gordon, W.J.," Synectics: The metaphoric way of knowing
*Fez-Barringten, B.: Introduction: Architecture, the making of Metaphorsؤ
"Notes from a Symposium: (Main currents in Modern Thought Sept.Oct.
1971).






Metaphors, Architecture & Music
The Past and Future
The concert hall, musicians, and particularly the music, composer and his history are on one side of the metaphor along with the past of their society, civilization and culture.  Even today's music is, in part, a function of what we have gone through and of what the past has been.  Music, architecture and the other arts relate the past to the present through the creative aspect of the dynamic metaphor
.
A work of art may bring the past forward directly, or it may distort or negate it, but it is always in usage, a manipulation, of what has gone before in terms of the present".
Classic music, particularly operettas, operas and small recitals in some places are performed in the original theater where it was first played and with the performers wearing the clothes of the original period. Ethereal lacking material substance; intangible: marked by unusual delicacy and refinement... Mundane characterized by the practical, transitory and ordinary; earthly measure; a proportion between two sets of division. a distinctive relative extent.






Metaphors, Architecture & Music

(1.1.) Weiss, P.  The metaphorical processؤ
In these cases there is an attempt to literally recreate the context of the composer in order to share with the audience so that the audience and the composer would share a common context, and that the  Metaphor experienced by the composer would be imparted to the audience through the artifacts common to both.  Present in both times, the past the future.  Even the instruments will be the same ones used at the time.

In the performance we saw in Dhahran for example the  instrument was made in 1724 by Alexander Gagliano.  This instrument itself drew our attention and indeed recalled whatever we know about the history of  the composers.  It was a way of recalling royal courts, regal pomp and pagentry.  Of the suffering experiences of the composers and of our own plights.
No music nor architecture is produced without some awareness of the future.  Particularly the plan of the work to be accomplished and the functions the work it is to perform.  Is it to be a school, residence, restaurant, office building etc?  The quality of workmanship, availability of craftsmanship, and materials for architecture equate well to the discipline of musicians, their instruments and the system of sheet music reproduction, orchestration and distribution.  The composer in the past must have considered all these needs of the future. 

Metaphors, Architecture & Music

A future in which he participates through planning and foresight., however, is closed to us and, therefore, we cannot perceive the reciprocal movement of the two way relationship of the metaphor.
We cannot affect the past, it is gone forever. 
Metaphors at their best are reciprocal and therefore a  metaphor composed today which "begins with the past cannot be a very good one".  However, classical music wasP. Weiss, The metaphorical processplanned for the future and for us to participate in its' metaphor,

Its' composers acted on the future.  What composers and architects devise today may condition the future.  A future which is continually being modified by present action and therefore will not conform to our vision
of it which is abstract and can only embrace the possible.  Architects and composers who do not include the hearing range of an audience; the competence and skills of the musicians; the acoustics of the instruments; nor the proportions, functions and context of the users are doomed to obscurity.  Their works are bound to be demolished, shelved or ignored.  At best made into curiosities and symbolic of despotic ignorance.  Metaphors conditioned by the user, considering his instincts to adapt, vary and change, interact with the future.

Metaphors, Architecture & Music

Metaphor's value Musical forms  in many societies have been added since the classics and with them the notion of the temporary, transient and obsolete.  Further, the notion of works prepared for the highest  of Roman citizen where each and all works established a recognized value and a standard
of excellence.  Those works of architecture, music, and other arts were designed to .
They were thought of as permanent with a life span into our time and even beyond.  Not only the materials, construc­tion and structure but the ideals of excellence and perfection. 

The classics established systems, orders and laws of standards of universal and enduring validity.  That is why  classics are appreciated today as before.  We not only tune into themes and idioms but are able to
identify ourselves with their high standard of quality and human accom­plishment.  Attending such concerts one becomes part of a group ostensibly metaphor, but it is actually to  participate in the metaphor.
.
Participate by confirming and sharing the same, if not intended similar economic or social status.  Enjoying the music alone in this sense becomes a  culturing experience allowing ones self to be positively affected by the quality of the music.  It is the act of developing the intellectual and moral faculties.  It is  culturing  by the enlightenment and excellence of taste acquired by intellectual and aesthetic training. 
Metaphors, Architecture & Music

It is the mission of such metaphors to use their transformation change capabilities to transmit knowledge to succeeding generations.  Classic metaphors which culture include the integrated pattern of human knowledge, belief, and behavior that depends on  audience and perceptor's capacity for learning and receiving.  The user must be receptive and somewhat like the musician or the audience: eager, zealous and motivated to vicariously enjoy the composers genius.

Works of architecture and their users are  endued with this excellence
and these standards.  That is why they provide us with a measure of our accomplishments and relative position in society.  Once known and understood it may be  dialectically rejected.  In this way  metaphorsؤ dialectic tension between two interacting forces. 

"Strictly speaking, a  metaphor  involves the carrying over of material ordinarily employed in a rather well defined context into a wholly different
Ostensible plausible rather than demonstratibly true or real:
Dialectical materialism development through the stages of  thesis
Thesis  a system of reasoning that  juxtaposes (metaphor opposed or contradictory ideas) and usually seeks to resolve their conflict.


Metaphors, Architecture & Music

Weiss, P., "The metaphorical process situation.  If there is not initial separation between the two elements, there is no  metaphor.. The  metaphor  involves the intrusion not of neighbors but of aliens.  It brings together what seems to be radically different in nature".

The user as the second composer:
We now know that the metaphor is  completed by the choices and decisions of the user as  perceptor or even performer.
But can he intervene and take  responsibility  in the metaphoric composition? 
The answer is an emphatic, yes!  There can be more than one composer, architect, engineer and interior designer.  But these are usually associated with those teams caring out their work in the initial design period before beneficial occupancy.  The very big exception is commercial office and retail space which is initially designed for unknown future tenants.  These tenants themselves are left to design and often build to suit their own needs and aesthetics within estab­lished frameworks of the project.  The cry for user involvement is more than that.  It is a cry for user's social and psychological character and personality to be expressed.  It is also a cry to redistribute large fees paid to the original team.  If those fees and the projects could be organized so that future occupants could not only be represented in the
original creation but that the original creator would devise a way to surrender his fees, control and responsibility to future occupants. 
Metaphors, Architecture & Music

In this way those future users would not only have the desire but also the added motivation to continue the creation of the original  metaphor responsibility moral, legal, or mental accountability: reliability trustworthy: burden; liable: able to answer for one's conduct and obligations; able to  choose for oneself, between one and another alternative.  "We are often held accountable for things for which we are not responsible".in terms compatible with their personal context.ئ
The architect of public works is the authorized responsible agent for the needs of the public.  Although he is the  consultant to the owner (who may or may not ultimately retain ownership) his role as the user's agent is to look out for the health, safety and welfare  the users and the owner as well as insure that the owner will receive from the contractor the planned quality at a reasonable price. 

He is in  control of these issues and on behalf of the typical  plurality of claims of any facility.  This plurality may be of use, ownership and control. It is only in building types involving sustained use where user's claims may be raised above casual concern to a strong need and desire to: improve their environment; expand for more space; and  impose their norms and values. The issue of  adaptability  centers around the interference by the  control person to prevent and not facilitate thes natural needs.  The tenant does not control the apartment, shop, or area he is using. He can rearrange the أ"movables(furniture, low partitions, raised floor, equipment, etc) which he controls but not the constructed walls, ceilings, etc. 
Metaphors, Architecture & Music

It is these limitations, constraints and restrictions within these pluralities which are  claims upon the facility.  The issue is different in demand from the  private personal habitat where the أ constructs his personal أ metaphor  to the shared public functions.  The  metaphor of the civic functions includes the collective  metaphor of individual  metaphors and is the basis for the lassic  plaza, monument and public building.  Just as the performer and the audience intuitively play out their responsibility  in a concert to complete the composer's original metaphor so the user is  inclined Akbar, S. Crisis in the built environment play a role in completing the building  metaphor. The intentions of the original composer or architect can be modified to include such future completions.

Claims adaptations interventions.
In a theater it is the way performers everything about their performance and the scenario to the theater.  The theater is  intentionallydesigned to receive the troupe's needed claims for scenery, access, lighting, acoustics, sound effects, lines of vision, scale, proportions, storage, preparation, etc.  The theater's architect's metaphor must potentiatemetaphorof performers, and through them the users'.  Ultimately the user completes the metaphor originated by the architect of the theater and composer of the concert, play, ballet, opera etc. Even Jazz music, modern dance and,improvisation theater begins with a metaphor which is then complete, scaled and metered with interventions, insinuations and initiatives. 
Metaphors, Architecture & Music

It is the oriental who mastered repetitive patterns which adapt well to varieties of applications and adaptations. It is  metametaphor which describes the creative  context which weaves together the  metaphoric dimensions of composers, performers and audience as it does owners, managers (control) and users. The user is the second composer  of the  metaphor which when incorpo­rated into the originating composer's initial experience reifies into inclusive rather than exclusive metaphors  Such  inclusive metaphors facilitate the users claims and potentiate his  metaphor. Both composers can participate simultaneously in the present, or be in the two times of the present and the future.  In this way the two interact  where the *Akbar, S. "Crisis in the built environment

Where  is a temporary building forming the background for a dramatic performance; a stage setting. composer of the future impacts the composer of the present and vice versa.  The two form a reciprocal metaphoric interaction between their two histories, contexts and special training. Lessons Every  who has sought the environment for the meaning, identity and significance of his or her life knows that this information is  relative and can be the basis for change.  These metaphors can provide the comfort of places like with all its' negative connotations like the tenement of a slum project.

Metaphors, Architecture & Music



Landmarks have a positive effect for users and incarnate what a society considers its' best.  As such, everyone welcomes and identifies with its' message.  Landmarks incorporate unusual historical and aesthetic values and are therefore set aside for
Preserva tion.  We preserve our landmarks for much the same reasons as classical music: to continue to participate in the original  metaphor being in that family of high quality perceptions.  This is made possible by metametaphoric phenomenon which is perineal and receptive to all users.  It is  permissive and accessible  and is inherently adaptive. 

In any case  friendly metaphors are first born within a composer which users may access by perception and  volvement.  The lesson for users is to be receptive, involved and perceptive.  Look for أmetaphorsand participate fully in their potential. Reject those that are incompatible or which have become obsolete or irrelevant.  Participate too, in أ metaphors which are external to your own context to receive the culture and uplift to your own standards.  Choose and decide about your  metaphoric context and participate in its' benefits.

Isn't this a major reason why, if we can and however small, inconvenient
and expensive, we select a free standing single family house?  With all its' functional drawbacks.  For many, it still represents the best possibility for a  personal metaphor. Or the selection of an old  low rent apartment which likewise offers the opportunity for remodeling, renovation and adaptability. 
Metaphors, Architecture & Music
Even in places where this may be restricted for a second home in the country or a cottage in a city like Leipzig, Germany where we can  metaphor with a miniature version of the house (Schraeber Gardens) we might have had if we did not live in the city.  Mausoleums in the form of "dream houses, villas, castles, palaces, etc." testify to this أ metaphoric urge.  Even on the other extreme if we carefully study the dwellings of أSquatters and the urban "homeless we can see glimpses of these same  metaphors in the choice of location, colors, coverings, spaces, heights and furnishings.  It is not these specifically but all of the issues discussed above that are the user's metametaphoric  phenomena of architecture and music Author's work with both groups in "La Pearla", Puerto Rico and New York city's South Bronx, Harlem and Brooklyn's Bedford Styvestant.phenomena an observable fact or event;
a fact of scientific interest susceptible of scientific description and explanation.phenomenology.

All of this work in  metametaphors is a kind of study of the development of human consciousness and self awareness as a preface to a philosophy about art and architecture. It describes formal structures of  metaphors and the perception of metaphors in abstraction from any claims concerning manifest existence.
As metaphors exist we can only sense them but they do not have physical material properties of structure material, density, weight, dimension, velocity, etc. "Metaphors" like the "mind" are a phenomena.
It is intensively educational and experiential.
Metaphors, Architecture & Music
Bibliography
1. Main currents in Modern Thought , September©October 1971, Vol.28, No.1
The Journal of the Center of Integrative Educationؤ
2. Weiss, Paul, "أThe metaphorical processؤ" (19,10,11, 12)ئ
3. Gordon, W.J., "Synectics: "أThe metaphorical way of knowingؤ "(pg. 12©14).ئ
4. Fez-Barringten, B., أ"Architecture, The Making of Metaphor": Notes from a Symposium (Yale University 1967) (pg. 9©10; 14©16).ئ
5. "Journal of Architecture Education" , November 1992, Vol.46, No.2
6. published by Butterworth©Heinemann for the  Association of the Collegiate Schools of Architecture, Inc (ACSA).
7. MacGilvray, Daniel F. (Texas A & M University), "أThe proper education of musicians and architects" (pg. 87©94).
8. Dodds, George, "أOn the place of Architectural Speculation
9. Akbar, Jamel, "أCrisis in the built environment" (the case of the Muslim city). 1988; A Mimar Book; Concept Media Pte Ltd/E.J.Brill Pub. Co.). Provides a definition of the  claims by users to clarify the user as the second of metaphor's  composers. 
10. All definitions and references to grammar and syntax is from "
11. Webster's Ninth New Collegiate Dictionary"by Merriam-Webster Inc. Publishers
12. (1991) William A. Llewellyn, President and Publishers.
13. Readers are invited to avail themselves of other works by this author about Metametaphorؤ which delve further into those items found in italics throughout this work.

RIMS: an information management system for Reverse Phase Protein Arrays

The Incomprehensibility of God and the Origin of the Thomistic Concept of the Supernatural

Pro Ecclesia, 11/3, Summer 2002

Argues that the distinctively Thomistic concept of grace as a created but supernatural quality of the soul arises in order to reconcile a strong Dionysian doctrine of divine incomprehensibility with an Augustinian commitment to beatific vision: no creature can by nature see the essence of the incomprehensible God unless elevated by supernatural grace.

The Logic of Trinitarian Doctrine

Religious and Theological Studies Fellowship Bulletin

Explanation of the basic logic of the doctrine of the Trinity, originating as a talk for a graduate student fellowship.  The journal in which it was published is now defunct and very hard to find, so the paper is posted here. 

Bright Modernity, Dark Past As They Say...

Contact all the vaccine Middle Ages were dark and primitive, and we are many years of darkness into light filled modern idea of progress towards individuals......
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Education and Classify Systems

re dictio at absurdum education

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CLASSIFY SYSTEM STILL CONTINUES! ...

Yes, caste system still continues. Maybe the old, such as transfers between caste no problems today. But, in terms of conditions and opportunities are considered, he will see the continuation of caste system.