shrine

 

sculpture, building, earthwork, shrine

shrine

a :  a case, box, or receptacle; especially :  one in which sacred relics (as the bones of a saint) are deposited
b :  a place in which devotion is paid to a saint or deity :  sanctuary
c :  a niche containing a religious image
2 :  a receptacle (as a tomb) for the dead
3 :  a place or object hallowed by its associations

 


folly

[A folly is usually associated with ornament. It is a structure built for amusement, beloved of the British upper-class. …] reflects a whimsical inclination on the part of the builder. Built primarily to be viewed as part of the scenery, the folly is a European invention. At the height of their popularity in the 18th and 19th centuries, folly buildings were based on the picturesque ruins of Italy, Greece, Turkey and Egypt. With the rediscovery of Pompeii and Egypt, travellers would embark on exotic expeditions with stops in such places as Ephesus, Troy, Antioch, Rhodes, Paestum, and Tyre in addition to the more familiar cities and capitals. It is the height of the Romantic Movement and poets and artists flock to these sites with the intention of capturing and preserving the soulful and melancholy beauty of these ruins.
— Folly by design http://www.follybydesign.com/what/full/index.php

Eastern face

There's a small square structure

… built of brick, slate and stone. Each wall faces a polar direction: east, south, west, north. It sits in the centre of a square of ground levelled in the hillside, bounded by a wire and post fence. An iron gate acts symbolically as an entrance point from the west. You could enter from anywhere. 

 

So then, a useless little machine for thinking.

As a concept entelechy operates a little like Plato's chora in that it is the source of all art (art as the only thing that resists death) but cannot be pinned down or clearly named - it's a kind of filter. From what I can gather the difference between chora and entelechy is to do with movement, which means time and space — the quality of being in multiple states, still and moving, at the same time. It's about what exists in something from inception and throughout all changes tha condition a life — a possibility, a chance or a potential to be a perfection of whatever it is right there — at first breath. A seeming contradiction that nevertheless happens, all the time, like Henri Bergson's recognition of the necessity of the virtual and actual as coinciding states.