From a strange planet - 48

We still follow the E39. That's one way to not get lost in the myriad landscapes that the cameras reveal to us. We will see how far we get. There are many sights to discover. The most spectacular is the brooding house. But we also have silent lakes, dark woods and the ball in the hills.

The quotes are from this book:

Lacan at the Scene (mit.edu)

Lacan at the Scene by Henry Bond | Goodreads

E39 Vaulekrossen 1 - Streetview

The staring house. The gaze of the Other

And this detail of a darkened window, or a house that looks on, has been elaborated in turn by a sequence of  influential philosophers including Sartre, Merleau- Ponty, Lacan, and Žižek, each of whom has invoked it in relation to the notion of the Other’s gaze - for Žižek it is Norman Bates’s home in Hitchcock’s Psycho, while for Sartre it is an - inexplicably poignant - white farmhouse at night during war- time.

In his chief commentary on the theme of the Other ... Sartre offers several examples of objects that can come to embody the Other’s look. He notes how the Other’s gaze will be given just as well on occasion when there is a rustling of branches, or the sound of a footstep followed by silence, or the slight opening of a shutter, or a light movement of a curtain. ... the actual eye of the watcher, hidden behind the curtain, behind a window in the farmhouse. [Source: Lacan at the Scene by Henry Bond]

Lacan comments: “all that is necessary is for something to signify to me that there may be others there ... [A] window if it gets a bit 

dark, and if I have reasons for thinking that there is someone behind it, is straightaway a gaze. From the moment this gaze exists, I am already something other, in that I feel myself becoming an object for the gaze of others.

Slavoj Žižek has also isolated the motif of a house that looks on, asking: Is this notion of the gaze not perfectly rendered by the exemplary Hitchcockian scene in which the subject is approaching some uncanny threatening object, usually a house? There we encounter the antimony between the eye and the gaze at its purest: the subject’s eye sees the house, but the house - the object - seems somehow to return the gaze ... this gaze is effectively missing, its status is purely fantasmatic.

This image of “house” also has the quality of a Jungian archetype - a communal (society-wide) unconscious foreknowledge. For example, when young children draw, they often begin with a depiction of a face or a house - in front elevation—and these two images seem to coincide, with the mouth and eyes in the same formation as the windows and door.

E39 Søyland - Streetview

No that's not a side road into the hills. It just looks like that. 

There are just flat fields on the right.

And that's like me, trying to understand the surroundings.

Looking for mysterious surroundings, 

like this mysterious lake, just around the corner.

Rv. 444 Torger Carlsensgate 1 - Streetview

At first this landscape does not look to promising.

But there are beautiful wide landscapes with many scales of depth.

And dark woord at the end of the road.

Fv. 510 Rege - Much more details in an earlier post

There is a sphere in the hills. And a church.

You can see them in detail by following the link above.

The hills at sunset.

The hills at midday.