Two stories that accompany me, one set in a tower, the other in Copenhagen ...

The first is the story of Hölderlin, who spent the rest of his life in a tower where his mother had locked him up.

He stood there day after day at his poet's desk and struck a beat with his pen. People were allowed to visit him and ask him for a poem, then he continued to listen to the beat and began to write - now continuing to beat the rhythm with his other hand.

The other story is about Sören Kierkegaard, who left his beloved fiancée when he needed time to write. After she married someone else, he could watch her go to church day in, day out and imagine what it would have been like.

Such decisions are difficult to judge. The stories may (be) different from reality, since they passed through my mental space.

-mental space-

You might not be aware of the fact that right now where you are standing, you are not only in one but two mental spaces simultaneously:

the gallery-space of Mental Space and a kind of mental space that is beyond and around your body. lt is an egocentric co-ordinate space with your body at its center but also a space that is enclosed by your physical skull.

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You read this text on the surface of a white wall that you are perceiving with the help of your eyes. Both the wall and your eyes as body-parts are positioned in space relative to each other. Yet, to characterize this space, 'physical' might not be the right choice of adjective. According to the viewpoint presented here, 'physical space' by definition is only to be described in the formal language of mathematics as it is used in physics. Therefore, you, from your subjective first-person point of view, occupy a space that is not the objective space postulated by physics but the space-as-perceived-and-experienced by you, that is, a 'mental space' - better to be called as 'phenomenal space - that is constituted by your nervous system. In physical space, the railroad tracks do not meet at the horizon, in phenomenal space, they do. In physical space, there are no optical illusions, in phenomenal space there are.

In physical space, one cannot find afterimages, in phenomenal space one can experience them frequently. In physical space, no visual hallucinations occur, in phenomenal space they might do. And in the long run, phenomenal space cannot contain mind-independent physical objects-in-themselves but only mind-dependent objects-as-perceived, that is, 'mental objects' of some sort (preferable to refer to them as 'phenomenal objects'). Therefore, these words that you are reading at the moment are not on the surface of a physical but a phenomena object, a phenomenal wall, so to speak. In fact, this phenomenal wall is no more than a bundle of qualities organized into a particular pattern with the meaning you cannot help but attribute to it during the perceiving and interpreting processes that occur in your brain and happen to you as a person. Among the phenomenal objects as this phenomenal wall there is the one that enjoys maximal priority for you as this object is your own body known by you, both from the outside and inside, the body-as-perceived-and-experienced by you, your lived, 'phenomenal body'. And undoubtedly, the most crucial body part of your corporeal existence is your phenomenal head. However, your phenomenal head is in fact mis- as well as under-represented by your physical brain.

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Clearly, you are not experiencing two separate channels of vision originating from your two physical eyeballs but a unified picture. lt is as

if you were looking through a cyclopean aperture somewhere midwaybetween your two real eyes - it feels as if you had a single eye a few centimeters behind the bridge of your nose, a location that is called the visual ego center that can be established by using the basic tenets of Ewald Hering's projective geometry. 1 However, the problem with this configuration is that sensation of occupying a position in space from which you perceive the world 'out there' designates an impossible location, in other words, the egocenter as a placeholder for a cyclopean eye would be useless with which one would see nothing other than a pitch-black manifold, since, to repeat, it is deep enough under your skin to be actually in your brain, surrounded as it were, by neural tissue on all sides: "the cyclopean aperture is a convenient neural fiction through which the distal visual world is 'inserted' through a missing part of the proximal visual body".2 The egocenter is nevertheless the evidence that your phenomenal head is experienced not as you would expect from the outlook of your physical body since it seems as if there were an oval hole on your upper face-region in your phenomenal head. In sum, both the phenomenal wall whose surface you are looking at to read this text and the phenomenal body with the ego center from where your seeing seems to be done from resides in phenomenal space. However, this phenomenal space should also be located somewhere. So, where is this phenomenal (mental) space of yours? ls it in physical space? 

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To put it somewhat bluntly, the space in which you experience yourself

to be located is in fact the physical space of your physical brain. This means that if you could see through the walls, the floor and the

ceiling of this room, you could see the inner surface of your physical skull with its flesh and hone architecture as it would look like from the inside. 3 Therefore, the copy of your head is in a copy of the world in the inner space of your true physical skull. Your experience of being present in the world 'out there', as located in the 3D space of your physical surroundings is merely an illusion of a special kind, the fundamental, constitutive Out-of-Brain illusion. 4

Prologue

As for many others (the others you know and don't know), the odyssey began before the “big day”. The big day - standing among the application folders of the others and wondering why you were one of the one hundred “chosen ones” and what the commission didn't like about the work samples of the eight hundred other applicants. It was the same day that you learned what the real chances on the great and wide ocean (art business/market) looked like. It was said that one to two percent of all graduates can make a living from their art production.

Essay on woodchip wallpaper

Woodchip wallpaper is a form of wallpaper with an unevenly textured (“rough”) surface.

(“rough(h)en”) surface. It was invented in 1864 by the pharmacist Hugo Erfurt (1834-1922) under the name “woodchip”. It was initially used as a decorative paper for shop windows and as a base paper for paste the wall wallpaper. In the so-called Bauhaus period of the 1920s, it began to be used as wallpaper for interior design.

In terms of sales figures, woodchip wallpaper is the most widely used wall covering in Germany. 5

Introduction

Never before has the surface of a wallpaper appeared so uneven, rough, ugly and repulsive at the same time. This decoration of the surrounding space has become unbearable. The desire to look at the naked and pure wall surface behind it is too strong, the surprise too tempting.

Body = space = reality = surface = virtuality

The virtual space has an absolutely flat and smooth surface. There is hardly any desire to look at the skeleton. The texture seems almost perfect and has the potential to merge with consciousness. For many, the virtual substitute for reality is enough.

Exhibition views are published online long before the vernissage. The lifetime of art in the form of the physical body is reduced to a necessary minimum. Woodchip wallpaper is just as overfilled with wood fibers as the art market is with overproduction. Due to its structure, woodchip wallpaper covers unevenness in the wall. The decisive factor here is the grain size.

The market caters for everyone, ranging from fine to medium to coarse grains. In order to get to the substance and approach the pure physical space, the construct behind it, it is usually sufficient to remove the wallpaper from the wall. In other words, to get rid of it. Is the “white cube” handed down from the twentieth century still necessary at all, or does “Le Vide” even function better as a mental representation? Is the future of the gallery space a department store and/or equipment depot? As long as people possess the physical body (surface), a familiar four-walled environment is acceptable.

is acceptable. In order to address the mental level, the only option is to use the physical space as a

space as a projection space for the intellectual, mental space.

The notion of space has a significant property that meets the eye ( so to say) as soon as we read the definition of the word: ,,The dimensions of height, depth, and width within which all things exist and move". 6 Namely, that it is invisible. On the one hand space is a container „within which all things exist and move", and on the other hand space is defined by the very things it contains. Only through these things it comes to existence, and at the same time these things would not exist without it. There is no direct way to access a space. lt is the absence of certain things defined by the presence of other things. lt is a descriptor of the correlation of the things it contains. As such, space is an abstraction. lf we had to interpret the expression „mental space", as a space „relating to the mind"7, we could think about it as a descriptor of the correlation of the ideas and thoughts that it contains. Since ideas and thoughts are abstractions, a mental space must be an abstraction of the second order. lt is the context, described by their correlation in which the actual meaning of the things (in this case of the ideas and thoughts) emerges. This meaning, of course, is not necessarily restricted to one specific mental space. Mental spaces can be layered onto or nested into each other.

For instance, Mental Space is a mental space. In terms of base space (,,reality space")8 Mental Space is in the basement of Kahrstr.

59. D-45128, in Essen. That is where we (or rather you) are standing right now. Nevertheless, at the same time, we (you) are standing in a mental space which is called Mental Space. This mental space consists of all the previous activities of the gallery, which, by establishing a certain context for it, have led to this very show ( exhibition). In that sense the former gallery space in Bochum, Eislebener Straße 4. 44892 belongs to the mental space of the Mental Space (in Essen) just as the personal history and the intellectual exchange between the gallery members, and the art historical context of the notion of „gallery space". 9 In the Mental Space art historical, semiotic, and personal mental spaces are mapped onto each other. As a result it has the potential to represent the way mental spaces operate.

1 Merker, Björn. Consciousness Without a Cerebral cortex: a Challenge for Neuroscience and Medicine. Behavioral and Brain Sciences, 2007 Feb;30(1 ):63-81; discussion 81-134.

2 Merker, Björn. Consciousness Without a Cerebral cortex.

3 Lehar, Steven. The World in Your Head: A Gestalt View of the Mechanism of Conscious Experiences. Lawrence Elbaum: New Jersey. 2003.

4 Revonsuo, Antti. Inner Presence: Consciousness as a Biological Phenomenon. MIT Press: Cambridge. 2006.

5 https://de. wikipedia.org/wiki/Raufaser (28.04.2016)

6 Oxford Dictionary of English. (2006) Edited by Catherine Soans and Angus Stevenson. Oxford: Oxford University Press

7 Oxford Dictionary of English. (2006) Edited by Catherine Soans and Angus Stevenson. Oxford: Oxford University Press

8 Croft, William; D. Alan Cruse (2004). Cognitive Linguistics. New York: Cambridge University Press. p. 33.

9 O'Doherty, Brian (1999). Inside The White Cube The ldeology of the Gallery Space. Berkely and Los Angeles, California : First University of California Press Edition