Robert Harbison – författare
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The subject is the human imagination—and the mysterious interplay between the imagination and the spaces it has made for itself to live in: gardens, rooms, buildings, streets, museums and maps, fictional topographies, and architectures. The book is a lesson in seeing and sensing the manifold forms created by the mind for its own pleasure.Like all of Robert Harbison's works, Eccentric Spaces is a hybrid, informed by the author's interests in art, architecture, fiction, poetry, landscape, geography, history, and philosophy. The subject is the human imagination—and the mysterious interplay between the imagination and the spaces it has made for itself to live in: gardens, rooms, buildings, streets, museums and maps, fictional topographies, and architectures. The book is a lesson in seeing and sensing the manifold forms created by the mind for its own pleasure.Palaces and haunted houses, Victorian parlors, Renaissance sculpture gardens, factories, hill-towns, ruins, cities, even novels and paintings constructed around such environments—these are the spaces over which the author broods. Brilliantly learned, deliberately remote in form from conventional scholarship, Eccentric Spaces is a magical book, an intellectual adventure, a celebration.Since its original publication in 1977, Eccentric Spaces has had a devoted readership. Now it is available to be discovered by a new generation of readers.
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What is it about ruins that is so alluring, so puzzling, that they can hold us in endless wonder over the half-erased story they tell? This elegant book explores the captivating hold these remains and broken pieces – from architecture to art and literature – have on us. Why are we suspicious of things that are too smooth, too continuous? What makes us feel, when we look at a fragment, that its very incompletion has a kind of meaning in itself?Looking at ancient fragments, Robert Harbison probes the ways we have recovered, restored and exhibited them. He moves on to modernist architecture and its own pursuit of fragmentary form, examining modern projects inserted into existing ruins, from Castelvecchio in Verona to the Neues Museum in Berlin. T. S. Eliot, Montaigne, Coleridge, Sterne and Joyce have all used fragments as the foundation for creating new work, as have visual artists, from Ruskin to Schwitters, as well as film-makers like Eisenstein and contemporary artists from Gordon Matta-Clark onwards.From ancient to modern times and across every imaginable form of art, Ruins and Fragments takes a poetic look at how ruins have offered us a way of understanding history and have enabled us to create the new.