Semiquincentennial: an almost novel architectonics

18 July

2013.07.18 13:13 18:20

some Borges, some Capote, some Q

"A labyrinth of symbols," he corrected. "An invisible labyrinth of time."

"...I questioned myself about the ways in which a book can be infinite. I could think of nothing other than a cyclic volume, a circular one. A book whose last page was identical with the first, a book which had the possibility of continuing indefinitely."

I have taken on the mysterious duty of reconstructing literally his spontaneous work. My solitary game is governed by two polar laws. The first permits me to essay variations of a formal or psychological type; the second obliges me to scarifice these variations to the "original" text and reason out this annihilation in an irrefutable manner...

Some years earlier, Lillian Ross had published Picture, her account of the making of a movie, The Red Badge of Courage; with its fast cuts, its flash forward and back it was itself like a movie, and as I read it I wondered what would happen if the author let go of her hard linear straight-reporting discipline and handled her material as if it were fictional--would the book gain or lose?

...I wonder what would happen if the architect let go of his straight-curating discipline and handled the material as if it were fictional--would the museum gain or lose?

So you're saying that in reality Gehry, Koolhaas and Hadid produce really affordable and totally functional buildings?

I understand you are staying at the new hotel. La Bataille. How do you find it?

Very pleasant. In a bit of turmoil because they are in the process of opening a casino. The man in charge of the casino is called Shelley Keats. I thought it was a joke at first, but that really happens to be his name.

Marcel Proust works at Le Foulard, that fine little seafood restaurant in Scheolcher, the fishing village.

Semiquincentennial: an almost novel architectonics

Miers Fisher Jr. and Helen Gregoroffsky reunited




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