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      Chapter

      Inside the cave, outside the discipline
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      Chapter

      Inside the cave, outside the discipline

      DOI link for Inside the cave, outside the discipline

      Inside the cave, outside the discipline book

      Inside the cave, outside the discipline

      DOI link for Inside the cave, outside the discipline

      Inside the cave, outside the discipline book

      ByCatharina Gabrielsson
      BookArchitecture and Field/Work

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      Edition 1st Edition
      First Published 2010
      Imprint Routledge
      Pages 8
      eBook ISBN 9780203839447
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      ABSTRACT

      In The Eternal Present: The Beginnings of Art, published in 1962, Sigfried Giedion

      writes on parietal art or cave art. Although we ‘are free to interpret the fantastic forms

      occurring in these caverns as cathedrals, galleries, chapels’, he writes, ‘these

      sequences of forms, sometimes sharply defined, sometimes utterly amorphous, are

      not architecture’ (Giedion 1962: 526). He insists: these spaces are not architecture,

      because architecture is man-made, architecture – as a spatial art – depends on light,

      and the darkness of the caves eliminates space. Giedion admits that spatial perception

      is not entirely visual, that it also involves touch and hearing (which, incidentally, is

      considered crucially important in many current accounts of these caves)1 – he even,

      habitually, quotes Le Corbusier to underline the acoustic significance of space – never-

      theless, Giedion maintains that these spaces are not architecture.

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