working title museum

the architecture of being... virtual fog

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A cautionary note: cyberspace, virtual place, and the notion of vituality in general are (too) often used interchangably, however, these terms are far from being necessarily interchangable.
I ask this because to me there is an open gap between your initial definition and the term being described.
They too are increasingly being inspired by particular high-end cad softwares.
Without some factual backup, there is nothing to prevent your possibly being wrong.
My point being that "flatness" is an architectural aesthetic with a long history and very much independent of CAD.
It seems more and more true now a days that sounding like a good idea and being a good idea are very much not necessarily the same thing.
Greatly ornamented buildings simply stopped being designed.
With regard to what I last said here concerning the possible notion of an assimilating architecture, my further elaboration of their presently also being an imaginative operation of a metabolic nature now seems very timely.

And finally, thanks for being part of what's turning out to be a true metabolic dialogue--your anabolism (constructive metabolism) and my catabolism (destructive metabolism) most times make a very good match.
I now think of Rotterdam and the Netherlands as also being very metabolic places.
"These tools in the past were always in man's hands; today they have been entirely and formidably refashioned and for the time being are out of our grasp."
My feeling all along has been that architects and designers should explore all the capabilities that CAD offers rather than being distressed over CAD's popularly per[con]ceived limitations.
As an aside, anyone who thinks that the use of computers and CAD destroys the potential for creativity is plainly being ignorant, probably inexperienced, and overall foolish.
Thankfully, I escaped with only being very shaken up and a bump to the back of my head, however, my car is totaled.
Moreover, I never said anything about "all cultures"--when Mark says I was "assuming that all cultures want to live like we do in the industrial west!" he was perhaps being the more assuming with regard to what I meant.
Some of my work is available at Quondam (Encyclopedia Ichnographica), yet the bulk of my material is still unpublished, and meanwhile a paper abstract is currently being submitted to a European colloquium--once the abstract is either accepted or rejected I will make the text available.
I'll get more specific sometime in the future, because I have been thinking a lot recently about the real implications of Quondam in terms of being so far the only real virtual building/museum presently in existence, and to that end I believe I am actually the first architect to do such a thing, i.e., to design and construct such a place.
I had a very eclectic day, did everything from being my brother's bath valet for the first time to discovering that the first master architect of Christianity was a woman.
In this sense, concentration camps utilize architecture for what is surely among the worst of purposes, and, as an aside, Piranesi's Carceri (prisons) also represent architecture used for one of its worst purposes, however, in this case it is our perception that is "tortured" rather than our corporal beings.

Although it surfaced within the early days of my research towards developing The Timepiece of Humanity, the notion of various modes of human imagination being directly relative to our body's various physiological operations was a completely unexpected by-product.
In what adds up to a succession of one uncanny occurrence after another, ideas regarding the body within contemporary architectural texts and the ideas within chronosomatics come very close, so close that there is even sometimes virtual sameness, yet chronosomatics, because it harbors the base notion of the human body being a timepiece-symbol-blueprint of all history, is in each comparative instance alone able to make decisive intermediate conclusions and further projections regarding the (design of the) body and its potential meaning.
One could then say that the Great Pyramid regained its "tallest" status, except by that time the second pyramid of Giza may have already been taller than the Great Pyramid (like it is today--this differential is due to great Pyramid's full point no longer being there).
To more fully understand Eisenman's text it is necessary to know Tafuri's texts as compiled in The Sphere and the Labyrinth, particularly the notion of (classical) language being dead.
There are also some "spiritual" coincidences within my own recent life that lead me to have "faith" in my hypothesis, and these are being gradually disclosed in the "neo-legend" section of The Saintly Patronessing... .
My anger stems from being passionate about the Campo Marzio, and I dislike seeing the plan given such short shrift by a prominant architectural historian/theorist that should have known better.
Fletcher is being a little two faced himself here--first the Arch of Janus is not good design, and then the arch is progressive construction!
And is it possible that Helena, besides being the first master architect of Christianity, is also the world's proto-Gothic architect?
Basically, translating the Latin labels of the Ichnographia taught me that Piranesi was extremely accurate, thoughtful and purposeful in laying out the large plan, and this discovery is totally contrary to Tafuri's accessment of the plan as being completely arbitrary in its arrangements.
"It's very comforting being in the position of designing one's own history."
In being creative (or original), one sometimes has to do what is traditionally not supposed to be done.
Being digital, that data can thus take on multiple forms.
Being at that point now, however, puts me in a unique historical position because Quondam is the prototypical virtual architectural museum, and I am the first architect to design and execute this particular architectural typology.
All buildings are not architecture, but all buildings have the potential of being architecture.
Upon further reflection, I see you definitely have a point about their being a metabolic twist to what Tafuri and I learn from the Campo Marzio respectively
There is no question that I have egotistic tendencies; they have partly to do with being an architect, and its also just part of my personality. I imagine human clones will be completely egotistical; they actually won't have much choice in the matter being purely themselves. Perhaps my self-centeredness is only a sign of 'beings' to come. God forbid i'm cloned!

I say this is odd because I have always loved drawings as well as the act of drafting, axonometrics being my particular speciality.
So if you asked me about the notion of 'draughtsmanship' being the same as the delivering of architectural narrative, then I feel the same as you.
Being now thus informed may indeed have a noticeable effect on the second half of schizophrenia + architecture, and if that happens your [inspiring] email is largely responsible.
When I was a child in Catholic school, Purgatory was often described as 'limbo'--essentially being there and not there at the same time.
I still often think of you and I being very much on the same promenade architecturale, together on the same path in both a real and virtual sense.
Being now in limbo (at the half-way point), however, we have the opportunity to venture/explore within both the profane and sacred realms.
With drawing entities being more than just lines, etc., other programs can further manipulate the data to generate various quantitative analyzes/reports at the basic level or eventually generate other drawings/models.
It's been over ten years since I've read any Heidegger, but I do remember being very interested and indeed influenced by much of his thinking.
In Terragni's Danteum, Purgatory is designed as a "room" that is both (equally?) inside and outside--the transitional place. Supposedly, this is to have an uneasy effect, being neither inside or outside, but I think you can look at it positively as well, being both inside and outside--the center of the Villa Savoye is a perfect (positive) example.
By taking 'full advantage' I meant being both inside and outside, both profane and sacred, both restrained and liberated.
There is metabolism now, however, and it occurs within the kidneys as they produce uric acid--the kidneys are also the body's second best osmotic machine, the lungs being the first.
Subject: the pleasure of (being lost in translation) architecture
How ironic that someone whose point is missed complains of others being inarticulate, incoherent, unvocal and/or tongue-tied.
If the fact that SGP objects to his definition of interface being applied to an email list is any indication, then are 'interfaces' just another form of control, albeit cleverly masked?
For what it's worth, I take my work seriously as project(s), however projects executed to the full extent of homo ludens, as human being (seriously) playing.
For example, part of being good at being metabolic is knowing precisely where to break the rules (i.e., within the confines of the rules themselves)--legal loopholes are very metabolic.
"Conversely, it is difficult to imagine Garches being lived in spontaneously except by such as the Sitwells, with never less than half a dozen brilliant, and permanent, guests."
Was Helena one of the un-named members of Constantine's family who Eusebius mentions being present at the Council of Nicaea (May 325)?
The execution of St. Agnes, a young Roman Christian girl who refused marriage, was proceeded by her being sent to a brothel (the legendary location of which is St. Agnes on the Piazza Navona).

The most interesting aspect of scale is that it automatically implies at least two entities, namely, the entity being measured and the entity being measured with.
Doesn't being at the speed of light pretty much make everything else incidental?
Chronosomatics suggests that the foremost electromagnetic architecture coincides with osmotic architecture--the heart being the body's center of electromagnetism and the lungs, which surround the heart, are the body's largest concentration of osmosis.
Perhaps it is better to say that what I write, at times, carries a high degree of conviction, if also at times being extremely contrary.
Could it be that my being careful in thought and word presents the aura of "best" or "only"?
I sincerely hope there is nothing wrong with being good.
Being extremely brief, the best way to relate where I am right now is to say that I now know that schizophrenia + architectures = the unexpected.
As to the "problem" of "exciting ideas" never getting developed due to being brightly spotlighted and then quickly moved on from, perhaps this 'trendy' behavior too is a form of reenactment, that is, a repetitious renewal, the continual process of putting on a new hat, but always putting on a hat nevertheless.
I actually like having theoretical dialogues via email because the method requires the writing down of ideas, and, if the dialogue continues for a sustained length of time, it is always somewhat remarkable in that a significant and valuable document subsequently comes into being.
I used Princess Diana's funeral as an easy example of ancient Rome's triumphal way being reenacted, and also said that modern Greece may in some circumstances be trying to reenact its ancient glory as an ingredient for tourism.
Today, legends are usually thought of as popular myths (with myth being the operative word), but, by its first definition, a legend is indeed the story of the life of a saint.
I'm not being cocky or glib here, it's just that is has become profoundly evident that architects, when looking at the Ichnographia Campus Martius, still really have very little idea of what it is they are actually looking at.
Subject: (the reality of being) sleepless in Brussels
By this I mean, after spending three years creating a virtual museum of architecture and after one year of participating with design-l (both involvements very much something other than dealing with the 'real' world) that then being rather suddenly right in the thick of architectural discussion and debate was very much a shock to my system.
If all the terminology being applied to it is architectural, such as walls, doors, roof, etc., does this push it into [being] architecture?
While I was not practicing my piano lessons, I was also being a lazy student in school

Perhaps I'm here being overly simplistic, but recent architectural tropes and the pronouncements of such often appear to be elaborate justifications for what is otherwise plainly arbitrary in terms of ultimate design form.
What I like best so far about investigating reenactment in architecture, is the search for origins, that which is being reenacted, because it's in the origins that true originality resides.
And lo and behold, Wright, creative genius that he was, designed the foremost Jewish Vatican Museum in existence, with no one ever being the wiser--quite an accomplishment, (or did it all just happen subconsciously?).

"(Being not like most of you): this is my first time."
"Being hilly is somewhat silly and in winter it's also chilly."
"Being a piece of white paper with some black dots on it means I have/behold no emotions myself."
Has the now pervasive and generally accepted way of looking at and being critical of architecture also run out of steam?
I'm not saying there is anything wrong with the architecture that receives attention and the industry surrounding it being akin to the fashion industry, but I do think there is something wrong about not recognizing the phenomenon as such.
Perhaps one of the drawbacks of the 'being-there-right-as-it-happens-history' of today's culture is that the sense of continum is no longer as evident as it was in former times. With everything "new(s)' being automatically understood as 'of this very moment', the sight of 'events' being part of a much larger continuum is easily lost.
To me there was no doubt that my critical peerage was being purely prejudicial and biased because I knew they knew nothing about what CAD was really about.
Wherethe Camera Lucida tests offer 'physical' evidence for his theory, I, like Hockney, actually feel that having the working knowledge of being an artist when theorizing how artists work provides the more sure evidence, even though it is not physical evidence.
I very much question the widespread opinion that being able to design well is dependent upon being able to hand-draw well.
Subject: "being the information"
It may be that even just one generation down the line they will not be trying to "absorb" but just be being the information.
"Being the information" may not actually happen until the 'plane of the present' transcends the diaphragm and then begins to engage the heart in conjunction with the lungs--a chronosomatic transcendence (c.3090) from the profane (below the diaphram) to the sacred (above the diaphram).
Perhaps all abstractions are highly idealized reenactments of reality, rather than reality being a reenactment of highly idealized abstractions.
Is electromagnetic architecture that architecture which strives toward being the most efficient and sustainable?
I do not see the body as a metaphor for architecture, rather I see the pysiological operations of our body--metabolism, assimilation, fertility, osmosis, electromagnetism, etc.--as also being the imaginative operations of our mind.
I simply see the way that DNA informs our body how to assimilate, metabolize, osmosify, electromagnify, etc, as being the same way our DNA informs our mind to assimilate, metabolize, osmosify, electromagnify, etc.
And worst of all, you profess to be a teacher, while at the same time you show a high procility for not being willing to learn yourself.
Without being explicit about it, Plato nonetheless exercised reenactment in many of his texts.
Perhaps the 'popularity' of liking the 'mechanical' out of sight is really only a reflection of simply being human.
About five years ago, while I was heavily doing research regarding (the theory of) chronosomatics, I came to the conclusion that touch is the first sense to have come into being, and that touch/contact was/is indeed the medium by which "life" itself began.

Animate life began when the contact between the soft and the hard actually became a bond, and thus too the sense of touch came into being.
Men, on the other hand, very much do not have that "built-in" protectiveness, hence men make great displays about forever being on the defensive, and indeed it is almost exclusively men that have continually created our planet's foremost industry, if only to create that protective shell that their sex was not born with--the age old military apparatus (shields , armour, war ships, submarines, tanks, stealth bomber, etc. are all "man"-made protective shells).
I like the notion of quondam being a virtual place in architectural history because that's exactly what it is, and, more than likely, always will be.
Non-Euclidean context: John Bolyai's (1802-1860) initially imaginative notion of there being more than one parallel to a given line through a given point is exactly where non-Euclidean geometry began.
Without being explicit about it, Cache too seems to feel that the recent architectural (avant-garde) notion of using non-Euclidean geometry is in need of correction and clarification.
Note: the other corporal physiologies like fertility, assimilation, osmosis, etc. also play key roles within human imagination, but the theory of chronosomatics suggests the metabolic process as being one particularly dominant in our times.
Nonetheless, there is that (exciting) element about historical research that is akin to being a detective finding clues and then 'fabricating' a possible or likely scenerio.
Like Maxentius, who on 28 October 312 entered confidently into battle because it was the anniversary of his rise to power in Rome, you can turn out being completely wrong.
Since beginning this "vehicle" film threat, it has dawned on me that when "vehicles [in films] are both very literal and very symbolic, and, moreover, it is the seamless transition from literalness to symbolism that the vehicles deliver," that this phenomenon is much akin to the notion of the medium simultaneously being the message.
Making money is not presently a pressing issue for me, so I therefore try to take advantage of my 'freedom' to be as creative as possible (not that I'm always successful at being creative, however).
While I agree with Alex about there really being no 'perfect' shapes in actual existence, I nonetheless can't help but believe that the real 'inspiration' for the perfect circle comes from the pupils of our very own eyes. Who knows, it might even be the physical 'perfection' of our sight perception organ that somehow makes our brains/minds think ideals exist in the first place. Kind of like the medium being the message.
After Learning from Las Vegas, Venturi and Scott Brown next published a group of essays under the title A View from the Campidoglio, and just a few years ago it dawned on me that when one is actually standing at the Campidoglio in Rome, the view being taken in is literally Rome's Campo Marzio.

Personally, I see neither good or bad architectures as being a problem, rather it is the global nimiety of mediocre architecture that I wish were extinct.
I too am not interested in seeing the architecture of cyberspace merely being a reenactment of the real world.
My original intent was to call out just how artificial it is to consider something 'artificial' (like publicity/advertising) as likewise being something 'wrong.'

I don't have to hope for web sites to be like television channels because once broad band becomes common, web sites will be capable of being exactly just like televeision channels, in fact more like television plus.
I see my painting on the Gehry chair as a metabolic act because while I was being artistically creative I was at the same time being destructive.
In any case, it appears The Complete Etchings is just a tad shy of being truly complete.
Essentially, I take Eusebius' chapters 4 - 53 of book III of the Vitae Constantini as being in chronological order.
I said, "You can tell that Lambert isn't used to being questioned.
I can still remember seeing the 'percussion' bomb being dropped by helicopter on live television.
The whole book is written in the first person, with that person being the present dead Piranesi.
Subject: for the love of being published
With regard to skateboarders appropriating architectural space, it is interesting that this week there are the X-GAMES here in Philadelphia, and from what I can gather via TV news, all kinds of places in Philadelphia are being appropriated as venues for varied 'extreme' sport events.
The point being that either scenario is plausible depending almost only on individual point of view.
I don't know that there is any late antique reference to Constantine being at all connected with the (re)building of the Cathedral of Tyre.
What really bothers me though is the notion that Kahn's architecture being inspired by his youthful surroundings is now seen as some new insight.
This leads to wondering if there are other "memory places" being created out there.

But if you insist on it, i.e., the new iMac, being good design, then you automatically also have to concur that today's iMac is the near future's trash.
Regarding being "stuck on re-enactment and psychology" it should first be noted that the notion of reenactment (as I understand and utilize it) stems from philosophy of history, specifically the work of Collingwood (The Idea of History), which stems from the work of Croce and Vico. might just be right about reenactment somehow engendering predestination. It seems that my reenacting Piranesi via redrawing his Ichnographia Campi Martii predestined me to being the first person in modern times to discover (in 1999) a heretofore unknown work by Piranesi, namely the rare printing of the Ichnograpia's first state.
My point being that following the example of others is not an attribute that makes individuals in the first place.
There was a distinct calm grandeur being within that spontaneously moving double theater.
Of course, the term "digital photography" is likely the official term of this activity, but I personally like "paperless photography" better because I like (my) digital photography to remain paperless, meaning, I like the notion of (my) digital photography being most authentic when it remains digital and not ever printed on paper.
All moderation, regardless of being formalized or not, has to do with setting limits.
Whatever the case, it is already being acknowledged that the new entrance of the Liberty Bell pavilion will be quite an ironic portal of liberty's symbol(ism and reality).

Despite this barn's age and its probably being the only such stone structure left in Philadelphia, it nonetheless will likely sometime in the future be purposefully demolished by the Fairmount Park Commission (with the reason being its potential liability as a safety hazzard).
Subject: [art] being/appositional [to architecture]
Is it correct to think of art as being largely appositional to architecture?
I'm not only thinking of how painting and/or sculpture and/or electronic display screens, etc. are added layers to architecture, which in turn manifest a 'new' entity, but I'm also thinking/wondering about the 'art of architecture' also being appositional to architecture itself.
Personally, I do have faith in 'apposition' being apposite the notion of art being a successive layer to architecture. Moreover, common usage of 'apposition' does not necessarily preclude successive layers of meaning being added to the common usage.
My point being that except for the missing roof, this stone barn manages to manifest commodity, firmness and delight.
Now back to being only an artist--you know, I think slapdash is probably one of the only really modern styles.
That a building refers to what goes on inside it, but its reason for being lies outside it just doesn't seem to make sense, even as an abstraction. Then you contradict this with the notion that buildings represent things elsewhere, which in turn is further contradicted by the building being static, which implies that a building only does whatever it does at the place that it is, and not someplace else.
Subject: being/critical
What I like most about being an artist is that I can do all my artwork without formal training and without a license.
And money is not the reason for architecture's being, rather, it is one of the means of architecture's being.
Seeing someone shot with a bullet or seeing a movie with lots of people in a sexual orgy or reading a novel about a man and his schizophrenic brother all fall far short of (my) really being shot by a bullet or with (my) really being involved in a sexual orgy or (my) really being a man with a schizophrenic brother.
Maybe the next work will be entitled "being great without the aspiration, i.e., being great because the work is great all by itself and not because an aspiration of greatness existed before the work existed OR isn't it interesting how some people will write anything (usually the same thing over and over again) with the underlying mistake that greatness and the aspiration of greatness are the same thing."
The first time I actually saw the very same "Silver Star" was in Summer 1963, just after being on a taxi ride through part of Luxembourg and into West Germany, after having had (fish) dinner in Iceland the night before.
One more thing, I do not want to come off as being anti any kind of thinking, especially established thinking.
There are no boarded up houses on my block, but I don't have to walk far to start counting them, and not too many blocks away houses are being demolished within blocks and sometimes whole blocks have seemingly overnight disappeared.
I'm not worried about any of my architectural work every being real simply because I'm lazy and I just get lazier whenever someone (like a client) expects something from me--my eventual death is the only dead line I care to encounter the rest of my life, thus I'm literally in no hurry. So being a virtual architect is something I believe I'm now very good at, however, being a virtual artist seems to be a whole other matter.

And isn't it ironic how dislike or mistrust of the virtual is often focused on the virtual's not being real (enough)?
I guess the answer depends on what time of Pannonia is being asked about--kind of a 'space-time' thing.
I couldn't resist putting Franklin Court at the top of the list, being it's the first virtual house of 20th century and by Venturi and Rauch no less.
John Hejduk's Bye House has recently moved from being a virtual building (in this case 'paper' architecture) to an actual building now in the Netherlands, and in this 'morphing' process the built rendition was increased/morphed in scale by a factor of 1.2 (I think) for easier construction.
Robert Venturi in his latest theory regarding electronics and iconography upon a generic architecture is almost saying the same thing as far as architecture again being a delivery of content, but, for me at least, Venturi's theory becomes flawed when he admits to not knowing what the content should be.
I remember back in school where there had to be a reason for ones design, and the worst thing possible to be criticized for was for being arbitrary. I more or less had to comply then, but I know better now--for example, I venture to guess that most architectural clients are almost fully arbitrary, as is almost all of the architecture being built today--how else would you explain the way things really look out there.
There really are no statutes of architectural design, except for building codes, and even they are not beyond being side-stepped, and there certainly is no definitive common ground as to what is good design and what isn't.
Being the architect of Quondam is alone enough to satisfy by architectural dreams.
This leads me to be very suspect of any analysis of suits that is based on what suits are being worn of TV--it's no different than analyzing suits by looking at what suits are being advertised (by the suit manufacturers/designers) in other media.
Granted, most of the people that wear designer (label) clothes think they are advertising their own (so-called) good taste, but that's not really what's being advertised (at the same people's expense, no less).
Critical reenactment, for example, is often practiced within the architectural design process, but the modern mindset, with it emphasis on progress and the ever new, has (psychologically) denied reenactment's 'critical' existence, thus manifesting a truly strange situation where reenactment (in design) occurs all the time, yet without designers really being aware of it (or at least not admitting it [even in a court of law?]).
As I yesterday worked further on reenacting the OMA/Koolhaas Projects For Prada by way of Projects For Quaestio Abstrusa Fashions I learned that Projects For Prada, while very much a companion book to The Harvard Guide To Shopping, is even more a book that very much strives being intense about creativity as creativity relates to intense shopping.
Only by being arbitrary with the parameters does one begin to see what all possibilities really means, or at least look like.
The funny thing about hoaxes is that while they are active and even after being disclosed, many people simply believe that nothing actually happened, where, in truth/reality, something did indeed happen.
I have only a very small idea what the best solution for the 9/11 site in NYC is, especially with regard to it now being a tourist destination.
Reenactionary indications point to 28 July being the date of Helena's death (very possibly at Naples), and to August 1 being the date of the funeral.

Koolhaas attempted to focus the discussion at In Your Face (NYC, 29 September 2001) on junkspace, that is, after he very obviously moved himself and his chair towards the center of the stage (and away from being too close to Venturi and Scott Brown).
Was Scully or even Kahn(!) fabricating a false history that would distance Kahn safely away from being suspected of having ever been really influenced by Wight?
I'm beginning to believe that the notion of incompleteness is exactly what's missing from design theory, teaching and practice, and, indeed, that an understanding of incompleteness could help remedy at least some of what you see as being so wrong today.
Seeing the Trenton Bath House for the first time last week while it was very much being used, more or less convinced me that Kahn indeed learned (and then knew) a whole lot about architecture, particularly architecture's osmotic potential--that place's integration of outside and inside is nothing less than a "breath of fresh air."
Tomorrow, if the window display is still the same, I'm going to take a picture of it and title the picture Learning From Everything Being Incomplete.
Secondly, Muschamp is being disingenuous when he says "this is not a lineup of architectural beauty contestants" because that is exactly what is being presented.
What I like about Peter Eisenman's proposal of three office towers (directly adjacent the [quondam] World Trade Center site) that deliver "a kind of sense of a moment frozen in time where the buildings were collapsing" is how this design clearly demonstrates that Eisenman is well capable of being a slave to reenactment.
I guess I'm trying to somehow come to grips with my own growing sentiment regarding architecture being a nice place to be but I wouldn't like to practice it, at least not in the 'real' world.
First we see 'Sartre' espousing existentialist blah-blah (from Being and Nothingness) followed by return comments from Jed and/or Granny.
Villa Savoye over the years decays but is rescued and restored as museum piece, all the while being an icon in print.
I have to wonder whether my paper "being much too long" is more or less the same as my paper being too dense.
Such posturing also creates a buffer against being criticised as a bad movie-maker.
After many years of self-education one begins to realize that one is learning not only what is being taught, but also a lot of what is not being taught.
Or, for the sake of being internally contrary, is religion really absent?
There are memorials everywhere all over this planet, and, unfortunately, most are soon and easily forgotten--when's the last time you went specifically to an old memorial to specifically remember what is there being memorialized?

After visiting the library [Frances Howard Goldwyn Regional Branch Library, Hollywood, California], I asked R to take me to some urban "wind-swept plazas", a typology I love to admire, but R thought I wasn't being serious, so my wish was not granted.
Philadelphia's Independence Mall is today being newly reconstructed.
Yes, there is no question that the profane and the act of being profane exist, but simply adhering to or advocating the notion that profanity is acceptable and/or "OK" doesn't mean that profanity stopped existing.
Is pure awareness like committing a murder while not being aware that murder is a crime?

Furthermore, while everyone thought Duchamp had given up art for chess playing, he was actually being an "underground artist" (Duchamp's own term).
I also early on learned that just being completely arbitrary with it all lead very quickly to the most fecund results.
I know I'm being extreme, but it just doesn't seem right to perpetuate something that basically boils down to an unfair bias.
Thus, to use your own qualifications, what you suggest about postmodern art being very potentially mediocre is itself very potentially mediocre.
You were being critical of an avant garde responding to fluid boundaries, yet your own argument was itself based on responding to a fluid boundary.
Recently inspired by Barney's Cremaster Cycle, chronosomatics is now being treated as sculpture, or is it relief painting? Certainly not as performance, at least not yet. Or is that really all it is?
I see the most valuable aspect of chronosomatics being the notion that the human body, both male and female, is the entire text, the primary source you might say.
Regarding being inspired by one's own work, it happened that the medium was the message.
Found On Being Blue by William Gass at Joseph Fox Bookstore late 1982.
I remember the van Eyck painting being somewhat popular in the early 1970s
Kittyking, what you inferred early on about the Chapmans' work being like grafitti from the past is uncannily insightful.
I was just going through some computer poetry I wrote 22 December 1984, and the first line refers to [he] being planted in front of the Petit Trianon.
It is ironic too that my work is compared to 'Dungeons and Dragons' when I am the one being open about myself and my ponderings, while zip (and most others here) prefers to remain masked, if not even baroque.
Again, I'm being much more open in my actions than I'm given credit for.
As palaces are being looted in Baghdad and elsewhere in Iraq, is it not ironic that the present Liberty Bell Pavilion of the USA is also likewise slated for 'looting'?
The Visitor Center of Independence National Historic Park designed and constructed for the 1976 Bicentennial is adjacent the First Bank of the US and the Merchant Exchange, and now a Park Service storage facility, being last year replaced by the new Visitors Center on Independence Mall.
Despite all the many new tourist trappings including some strict security checkpoints in and around Independence National Historic Park, I still very much enjoy being there because I increasing go there with quondam as my guide.
You're right about Libeskind not necessarily being the one to ultimately "save" the Liberty Bell Pavilion.
Of course, this symbolism is not discussed/criticized for fear of its being seen as somehow anti-Semitic, yet the symbolism is there nonetheless.
In our time, it is hard to escape the irony of a painting's importance almost always being strictly concomitant with a high monetary value.
I'd enjoy being a good painter, but I'll probably only rarely (if ever) know what that's like.
ontology 1 a : a science or study of being; specif. : a branch of metaphysics relating to the nature and relations of being [in the same place almost all the time?]
It's sad that the architecture profession is reduced to a publicity stunt to call attention to its name being taken in vain.

KOOLWORLD is beginning to look and taste like generic frozen food after being microwaved.
Doing/being what is not expected is my (personal) operating system.
Beyond that, I'm honestly jealous of Matta-Clark being Duchamp's godson!
Berlin is a perfect 20th century example, and Baghdad is well on it way to being a perfect turn-of-the-millennium example. Even (North) Philadelphia has gone from one of the largest manufacturing (creative) centers of the world in the late 19th and early 20th century to now being a large urban area where huge factory complexes are long abandoned and 'decaying' and even 'disappearing' (ultimately destroyed) month to month.
Alas the Bauvais tower collapsed c. 1575 after maybe 50 years of being the world's tallest. So, then the Great Pyramid was again the tallest in the world, except at some 'point' the second pryamid at Giza became taller than the Great pyramid due to the second's tip still being there, while the Great's tip having somewhat crumbled away.
Given that radical (in this context) means marked by a considerable departure from the usual of traditional and tending or disposed to make extreme changes in existing views, habits, conditions, or institutions, hasn't radicalism and/or being radical become a contemporary art staple, indeed (a)commonplace?
(I think) Kiss My Abstract is right about Warhol's Shadows bearing a relationship to Franz Kline's work, moreover, a relationship that should have been noted since Shadows came into being.
Last night I dreamt the vacant house next door to me was being taken over by a fraternity.
If Las Vegas is any indication, it hardly looks like the oasis is being abandoned.
Santa Croce in Gerusalemme, the seventh of the Seven Churches of Rome, houses what are Christianity's most valuable relics: a large piece of the Cross, at least one nail, some thrones, and half of the titiles, the sign that also hung on the Cross, which has a long Middle Ages history of being still in Rome but unknown and buried in a wall of Santa Croce, and is at least archealogically sound as to its date of origin.
I fear that the whole notion of Lucian being Helena's favorite saint arose mainly because subsequent historians and writers of legends lost sight of Drepanum's/Helenopolis'/Yalova's exceptional thermal baths.
I really like how Eusebius describes this occasion within "How Constantine entertained the Bishops on the occasion of his Vicennalia," chapter XV of Vita Constantini Book III at newadvent--I sense a pleasing hint of punch drunkenness, as in "talk about (finally!) being at an a-list party."



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