The architecture of the New Yorkers Shusaku Arakawa and Madeline Gins also sets out to release the spectator from habitual patterns of perception and thereby expand their consciousness -- by a process of irritation. The same elements are rediscovered in different dimensions and surroundings, compelling the occupant to process continually changing dimensions. In their interpretation of the Ryoanji Stone Garden, Arakawa and Gins intensify the displacement of perpectives by no longer providing any points of orientation. They represent the garden in a tube: it is pushed to the wall sideways and destabilizes the visitor's  usual perception, becasue in the twisted room, he or she seems to have lost all firm footing. At the respective ends a white light representing life or an apparently endless black space representing death can be seen. The area in-between, that is, the cross-section of the circle, is meant to make us conscious of both simultaneously for all infinity. As a prelude to this new way of perceiving things, Arakawa and Gins place the following: "BEGINNING, PAST, FUTURE, ME and YOU are all words that have no place in the process. They are superfluous. Step in and learn not to die".