1 Thomas, P. (1983), p. 3

2 Carter, P. (1992), p. 55

3 Ibid, p. 64

4 Carter, P. (1987), p. 184

5 Carter, P. (1992), p. 3

6 Carter, P. (1992), p. 3

7 Panofsky, E. (1991), p. 67

8 Lefebvre, H. (1991), p. 93

9 Ibid, p. 94

10 Bachelard, G. (1969), p. xxxv

11 Burgin, B. (1991), p. 13

12 Damisch, H. (1994), p. xix

13 Panofsky, E. (1991), p.31

14 Damisch, H. (1994), p. xv states that " some maintained that photography and film disseminate spontaneously, and so to speak mechanically, bourgeois ideology ( because perspective, having appeared at the dawn of the capitalist era must of necessity be essentially 'bourgeois'), while others sometimes the same individuals) celebrated the pallid attempts of would be experimental cinema to free itself from the 'tyranny' of the single point of view and from the general constraints of perspective".

15 Marx, K. (1976), p.71

16 Lefebvre, H. (1991), p. 165

17 Brown, T. (1992), p. 38

18 Danto, A. (1988), p. 10

19 Danto, A. (1988), p. 11 An early representation of a chair , in a relief sculpture The Assualt of Mara Amaravati 2nd Century AD from the ruined Buddhist stupa of Amaravati. This set piece of Buddhist iconography displays the scene of Budha and the Bo tree chair . This image shows a chair carved out of the tree (Prince Gautama has transcended into Budha) with a coushin at the base of the seat and two legs that represent human legs The cousin on the chair states he was of importance and that the act of sitting is use for attaining enlightenment.

20 Danto, A. (1988), p. 10

21 Johnson, P. (1989), p. 13

22 Danto, A. (1988), p. 14 So there is a double self abasement in Van Gogh's portraying himself as a chair. To begin with, to be a chair in the first place is to offer oneself as something to be sat on, which is the first abasement; and then to choose as the chair one is the lower order of chair in the cosmic scheme everyone in Europe would at that time hace accepted, is toexecute the other debasement.

23 The Cranberries. (1993)

24. Boyd, R. (1960), p. 225

25. Drew, P. (1992), PVIII

26 De Fusco, R. (1976), p.28"Sergio Bettini first spoke of furniture in this sense, and it was of Le Corbusier he was thinking: 'It seems to me' he wrote, 'that the greatest quality of these armchairs by Le Corbusier is that they are signs, where two symbolic links of space and time are brought together, through the word of Le Corbusier to form an impeccable equilirium".

27 Danto, A. (1988), p. 10 Extracts of titles of chairs from the exhibition 397 chairs.

28 Lefebvre, H. (1991), p. 93 This concept is dealt with by Lefebvre In the light of this imaginary analysis, our house would emerge as permeated from every direction by streams of energy which run inand out of it by every imaginable route: water, gas, electricty, telephone lines, radio and television signal, and so on. Its image of immobility would then be replaced by an image of complex of mobilities, a nexus of in and out conduits.

29 Crockett, T. (1991), p. 73

30 Harbison, R. (1977), p. 22

31 Lefebvre, H. (1991), p 131

32 Apollonio, U. (1973), p. 27

33 Burgin, V. (1991), p. 18

34 Drew, P. (1992), p.168




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All photographs were taken using colour transparency film . The transparencies were transferred to Kodak Photo CD, then through Claris Homepage

The Poetics of Thresholds, 1997.