Anand Bhatt, ABA-NET: Madurai

Madurai

Multiple articulations involve two (or more) simultaneous strictures. In cases where both strictures are of equal degree, these are referred to as double articulations. More commonly, one stricture is more open than the other. In these cases the one with the greater constriction is said to be the primary articulation and the one with the more open constriction is referred to as a secondary articulation. Note that "secondary" in degree of stricture does not mean "secondary" in importance or linguistic significance. Secondary articulations are often lexically distinctive, just as much as primary articulations.

A broad consensus reigns today: in its zeal to create a new colonial society. A society retrieved from the blindness within the project of modernity. Originating in processes lawfully re-formatting 'us' into someone else's project. This goes, for example, by the name of "globalization" or "reform". One is trapped into stories written about us, into systems already thought through. Embodied in the network knowledges which already fix the limits of imaginibility. From this context one looks at the Technology of the Temple, the power it constitited as it came to bestow | identities | upon all it enfolded.

For the simple voices and violence which rule our streets. Now. And these violences are not transformed, nor 'cured' into newer-'polite' formations. But Retained, rather, as desiring-formations. This has to do with identity, be it of | Man |, or machine; or even technologies which came to in the fore in the decades around the middle of the last century. And if at all, I am an automaton still guided by these ill-comprehended technologies; it is in response to the desires connoted by that identity. An identity which will not be taken for granted, by as that which still does not represent itself within the city.

The function and the field of the Ocular [the visible or the scopic] emerges as a special political compulsion for the architect in here—it is the urge towards orientation and figuration. Itself the Kernel of representation, or a will to make buildings perform rather than stand. One looks at the temple once again. And its doubling, almost a Mirroring, of me.

we have put here cardinal points of our analysis, one could graph them onto the Dravida temple or breed them into a city.

Homologies / Category / Genders / Syntactic Types / Androgyny / Under Writing

HOMOLOGIES::

The first step: Or what is it identical to. The city is a temple, so is our body. One could see each originating in the other provided we assume a certain posture. A state or a repository of the sacred. Of doubling: one can become another.

Man : Temple. - Using A.K.Ramanujan’s analyses of the morphologies involved in the poetic. Temple : Palace. - Similarly, morphological correspondences amongst architectural types.


: {a brief discussion of how values may be – riding on the syntactic and the morphological; transmitted throughout the entire extent of typology: i.e., some comments on the pervasiveness of the doxa which is, of course, centred on the temple.}

The CATEGORY yoni:

As a gender neutral intellectual category. Introducing the algebraic ƒ{+} i.e., the Mark.
The GENDER SPECIFIC: And the two paths: the Dolman {+-} and the Tabernacle {++} as the two algebraic relations: and the two cellae:: ƒ{++}feminine and ƒ''{+-}masculine.

a. city > path {++} > MEENAKSHI. {physical icon} : ƒ{++}feminine signifiers.

b. city > path {+-} > SUNDERSHWAR. {physical icon} : ƒ{+-}masculine signifiers.


: Ritual [or perforamtive] structures enfolding the structure. Of actions performed by the body, in the body. Of the Same! {describing the path structures a linear narratives and the distinct internal structures of each}

Syntactic Types:
the Dolman: A DEEP STRUCTURE. Constitutes the constructional modalities, at Madurai, foregrounding the Male cella.

The Tabernacle:
{thesis} A STRATIFICATION.
(surface) A naturalistic amplitude with its terminal referent in vegetation. This goes with the ritual significance and hence towards the Female cella.

The next step: concerning the historical origins of the temple as an artifact. Its accretions from simple Neolithic objects, its stylisation, it's cannonisations. One accounts for the development of its syntax here.

: {a brief discussion of the f(S)1/s mechanics in architecture, and the phonetic displacement of the ‘Da’ on to Dha/_DHATU

ANDROGYNY / YONI : the category of Womb / Cella operative.

The Paradox: Gender as an inalienable attribute of the body versus 'notional' genders, or ontological postures.

BRAHMIN AS IN THE WORLD (immanence, grihastha) AS {+}	TEMPLE AS A WEDDING: METAPHORIC – SYMBOLIC As a ‘pacific’ pact.	KSHATRIYA IN THE WORLD (or the Khatra) AS {-}
IN BHAKTI: THE THEOLOGICAL (and by extension, its marker, the Brahmin) IS {-}	{ (+) (-) } METONYMIC – ‘REAL’ Interrelation of political dynamic	THE SACRIFICER AS THE FEMININE {+}

{a rewriting of the terms metaphoric and metonymic in terms of the experiential: the virtual and the virtual-actual}

ARCHITECTURE AS THE UNDER-WRITING:

In terms of the virtual-actual, the category {+} is operational as the agency to power. Which facilitates plotting of architectural sign {+} as a latency pervading the {++} and {+-} dynamics within the real. Hence rewriting of the temple as an agency between

: { f (^{++}/_{+}) ^{[feminine foregrounded]} }
{ f (^{+-}/_{+}) ^{[masculine foregrounded]}}
: is possible and represented as a relations between (o1) Male : Female. (o2) King : Brahman. Which makes it possible to understand the building [or in keeping with Bhoja, the Fore-Court] as a field of the shifter, or f ^{SHIFTER}^}

Syntactic Types: the Dolman:	A DEEP STRUCTURE.	Constitutes the constructional modalities, at Madurai, foregrounding the Male cella.
The Tabernacle: {thesis}	A STRATIFICATION. (surface)	A naturalistic amplitude with its terminal referent in vegetation. This goes with the ritual significance and hence towards the Female cella.