This coolness of tone--combined with a great intelligence and subtlety about motives--makes Manhood an attractive book in a fairly familiar sense. To its other qualities, though, we may react with impatience, for they violate many preconceptions. Apart from the brilliant prefatory essay, Manhood meanders, circles, and doubles back; there is no reason for it to end where it does; such types of insight are interminable. The book has no movement or direction and provides no consummation or climax. Manhood is another ot those very modern books which are fully intelligible only as part of the project of a life: we are to take the book as an action, giving on to other actions. This type of literature, item by item, rather than retrospectively viewed as part of a body of work, is often hermetic and opaque, sometimes boring. Now, it is not hard to make out a defense for hermeticism and opaqueness as a possible condition for literary works of an extreme density. But what about boredom? Can that ever be justified? I think it can, sometimes. (Is it the obligation of great art to be continully interesting? I think not.) We should acknowledge certain uses of boredom as on of the most creative stylistic features of moder literature--as the conventionally ugly and messy have already become essential resources of modern painting, and silence (since Webern) a positive, structural element in contemporary music.
Susan Sontag, "Michel Leiris' Manhood" (1964) in Against Interpretation, pp. 67-8.
A couple of days ago I came up with the idea to use /32 as a place to turn some of the dossiers into larger publications, e.g., Eisenman, Gehry, Johnson chapters. Plus a place to work out and document the free downloaded cad data. I guess I just have to start the organization of the folder to see how it might all work out. Just now I thought it could include dossiers of individual architects' cad data: Kahn, Aalto, Mies.
Ideas gotten while reading (in Log 20) "Curating as architectural Practice" and "Exhibitionism". Go back to these essays for further/fuller inspiration. OMA's exhibit "Content" was within Mies van der Rohe's Neue Nationalgalerie. Quondam could now "reenact" "Content" via a cad model of the Neue Nationalgalerie--using the (an enlarged?) model as the site of Quondam exhibits that emulate OMA's tactics of the "Content" exhibit, yet also follow the investigative discovery/design process as described in the "Curating as…" essay.
Lots to play with (just now: lots to play with: replaces the title of "lots to do" within Quondamopolis and could now be where these ideas here are "played" out): the Quondam collection within the Neue Nationalgalerie model; look up the earlier notes of using the museums with Quondam's collection for 'sites' of Quondam exhibits. Just now thought to compare the Neue Nationalgalerie and the NAI by OMA--make a model of both buildings. Work out all these ideas/discoveries/inspirations within "lots to play with".
Inspirations via "Exhibitionism":
1. some kind of exhibit utilizing all the CCTV 'elevations work' databases.
2. collect/display the MoMA CCTV exhibit data (and use it as further inspiration).
18090701 Neue Nationalgalerie model work
18090702 Neue Nationalgalerie Netherlands Architecture Institute plans
Monchengladbach Museum Urban Components National Museum of Roman Art Wexner Center for the Arts
Museum for Nordrhein Westfalen
Museum of Architecture
Barcelona Museum of Contemporary Art
Museum of Arts and Crafts
Institute of Contemporary Art
Netherlands Architecture Institute
Museum for the Decorative Arts
18090801 museum collection @ IQ45 plans