Plato’s choraPlato's chora - a receptacle, a space, a location for the soul - is that what we see in photographs that are supposed to represent the astral body? Is the soul and the astral body one and the same thing? A transpersonal body through which metaphysics slips back in to the psyche of today? Or, is the chora a receptacle for the unconscious that grounds the psyche in the physical body, as in Kristeva's reworking of the concept? Let us remember that not only the notions of a soul or an astral body are theoretical speculations, but that the unconscious and the psyche are theories as well: they are different approaches to the understanding of the mystery of our inner world(s) that are reflective of different times rather than truth. In the light of the theoretical shift over the years, it is tempting to see the chora as a receptacle where the soul of spirituality and the psyche of psychoanalysis intersect and thus where a transpersonal body verging on a virtual body and the sexual body blend, merge, mate, dissolve in a novel psychic economy. Would this novel psyche then exist independently of its surroundings? No, psychoanalytic experience has taught us that the psyche is an open-ended structure that is continuously (re)constituted in the interaction with others. It is the place where the body, language and the Other meet, the crossroads of "my" subjectivity where I am a speaking body. The concept of the Other might however need to be enlarged to include the transpersonal body, or it might be the very lack in the Other, the gaze, that posits the astral, transpersonal body which, following the psychoanalytic logic, would be no self-contained metaphysical entity but rather an open-ended structure pointing towards the interrelatedness of people, events and so on, you know what they say about the flutter of a butterfly...
Shades of Cogs shows an array a mapping a new media reading of texts published in the 'old' media print. The readings speaks about the indeterminacy and ex-stasis of signs, of mappings and structural frameworks. And music. By happy coincidence, and despite his ambivalent relation to music, the string instrument kora resounds in Plato's concept the chora, which he sees as a receptacle for the soul. By happy coincidence, the string instrument kora resounds in Julia Kristeva's rereading of the chora as the semiotic chora, a receptacle for the unconscious that embodies our being in the world. And this chora, this otherness, can be heard in the rhythms of our language, in the body's movement..., and in the compositions we create.