Mark Lunt commented on something I wrote in a post yesterday (the original dialogue is on facebnook, but I want to pull it in here and expand a bit on what we talked about):
"If the physical object is now designed for an environment off-earth where it will remain unchanged for a billion years, the the physical object becomes an attractor for meaning more than it remains an object of form."
Mark asked "Could this not also apply to a structure such as Stonehenge and its kind?"
I think he's right, and that there's definitely a resonance with Neolithic monument building. I referenced a recent article on Ballardian.com, talking about the relationship between Ballard and Robert Smithson, specifically Smithson's piece "Spiral Jetty". Smothson called his art 'Earthworks". When we look at henges or cairns marking straight lines in the landscape, they represent distance outside of time. Space outside of time. Space experienced in the imagination, which is the noosphere or at least a gateway to the noosphere (here's an earlier post on Leys and the Overview Effect
So when I say that the pressure of outer space provokes a confrontation with scale that is resolved in the medium of imagination, I see that 'imagination' as the same poetic landscape marked up by neolithic straight lines.
The conversation continued (with a few unspeakable tangents). The thing with Stonehenge on Earth is that it is time-laden. Or rather, that the burden of time is implicit in the object, because it resides in the atmosphere, environment, gravity well of the Earth. A henge built off-earth would be in stasis.
Now, I'm wrong when I wrote that. There is no stasis, all phenomena are impermanent. But the Off-Earth Henge provokes a confrontation with a piece where the scale of decay requires a profound conceptual shift, a shift away from the human scale. I think this starts to get towards that place Jung suggested, where the psychic and the physical co-exist. Jung didn't label it (at least not in the quote I've got). I've been refering to the Imagination. But I think there's better language, perhaps something like the triangulated texture? It's the media of the next McLuhan era.