Abstract

This article and associated short film, entitled Threshold, explores the phenomenon of house as a Cartesian construct of rational cultural detachment, set in binary opposition to the indigenous understanding of nature as connected and sacred. Threshold focuses on the liminal in-between zones of a house – its doors and windows – which both separate and join the inside/outside domains – without belonging to either of them. The film explores the liminal act of crossing this ontological threshold – representing it cinematically as a vibrational, ocular/aural wavering between two ‘worlds’. The intention is to destabilize this duality on an emotional level – in order to interrogate its validity. This strategy references anthropological theory, which asserts that the liminal act stimulates the limbic system containing ancestral, instinctual deposits. The function of the limbic system (part of the triune brain model) accords with Jung’s theory of the collective unconscious – which views the house as an archetypal symbol, central to the meaning of dreams – in representing the psyche of the dreamer. Threshold attempts to invoke this and other archaic symbols as the camera journeys through its interior spaces, discovering its material culture artefacts, which reflect the psychic state of its inhabitants. The paper explores the indigenous belief that there is a mystical (unitive, transformative) relationship existing between space and acoustics that can only be fully appreciated through an emotional experience with it. The adoption of an arts interventionist approach, can, the article will argue, provide an important contribution towards our expanded understanding of Space and Place as an embodied, emotional-cognitive act.