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A dictionary and a textile made of products standing in the living rooms of six random Dutch
families, with children in the age between 0-11 years. The products in which we are growing
up are influencing our understanding of the ideal, our ideal of size, shape, color and material.

The houses that we create in our daydreams are unexplainable. They emerge from
positive memories of every individuals past. To describe these houses means to
visit them. Our parents house for example is not only a building it is too a dream
building. Each of its corners was a resort for reveries. Where our dreams
personalised their character. For each of us exist a dream home, a house of dream-
memories. Lost in a shade of the true past.This dream house is the crypt of the
parents home. The parents? house is not only present in our memoriesbut also
physically. It is built out of a group of organic habitants. Even 20 years after
moving out, you will still be able to recognize the step in the stairs that is a little
higher, the weight of the one chair, the feeling of the structured walls, the carpet
tickling on your naked feeds. You will recognize the sound of the doors and you
will remember the feeling of the lightest handle in your hand. The house that we
inhabited affected our gestures. But surprisingly, when we come back after a long
time, we still remember them. The parents house did imprint or idea of living.
(Gaston Bachelard) Being a child in the time of massproduction and consumerism
makes our memory of home less individually. That means that the individual
-ideal home- gets more similar to the `ideal home? of the society.

In Platons idea lore, products play a significant role. In his -Politeia- for example,
Platon talks about a chair; The notion of the chair is present only once. The chair
mentioned does not exist in the world of concrete things, but only in the mind of a
carpenter who made it. The chair as a phenomenological Konkretum is thus only a
more or less successful image of this prototype, however mostly the world of the
visible things is a bad copy of the ideas. At the same time, the imaginary world
forms the condition of the aestheticperception: If there was no notion of a chair,
then nobody who is able to see a chair, would recognize it as such.