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."
This is exactly why I have made so much of my searches and researches public via design-l and other lists (as well as at Quondam), because whether or not I was wrong or right at the time, at least I was being completely open about what I was thinking and formulating.
Ambrose died very early in the morning of Easter Eve, the 4th of April, A.D. 397, being about fifty-eight years old, and having governed the Church of Milan for twenty-three years and four months.
After a couple of decades where whatever Manfredo Tafuri said bout Piranesi's Campo Marzio was unquestioningly further espoused by architectural academia, it seems rather odd that of late a whole new interpretation of Piranesi's Campo Marzio is now seen being espoused by architectural academia, yet nowhere is academia siting credit to the person/architect doing the most public research and writing on this new interpretation of Piranesi's Campo Marzio. Why is this credit not being properly given? Is it merely because the research is being conducted openly online and outside of academic control?
St. Ambrose, in the late 300s, broke a silence and he succeeded in not being punished for it.
In January they asked me to send an abstract anyway, for they still wanted to publish my paper ("Mnemonically Delineating Veracity"), but I pulled out of that too because I sensed I was not being dealt with honesty.
Major blackouts are being reported in NE USA and Canada.
On the local news (here in Philadelphia) last night, it was reported from the (I don't know the official name) Power Interconnect at Valley Forge, that yesterday, at 4:11 PM it was immediately noticed that a huge amount of power was being drawn from within the larger network towards the blackout area(s). The controllers at Valley Forge realized what was going on, and thus quickly 'disconnected' their facility from the area of the overall network that was then in the process of blacking out. If this 'disconnect' had not happened, the Philadelphia region would have also blacked out.
I know all this seems terrible indulgent (of me), but it all really boils down to (my) being extremely interested in design, particularly the design of patterns within events and even networks. The more I engage in all this, the more I realize that I too, like Piranesi and his Ichnographia Campi Martii, am designing a vast architecture of mnemonics, a House of Zeitgeist, you might say.
Yet there it was, an "Iron Curtain" physically dividing Europe, a very real structure on par with the Great Wall of China and equally worth being in architectural / built environment history books.
There aren't that many comparative scale analyses of architecture being done anymore.
In the early 1500s, while the old St. Peter's was being demolished and the new one was going up, Roman Catholics throughout Europe could buy Indulgences (maybe $10 got you 10 years indulgence), and the money was to fund the construction of the new Vatican basilica--and Luther "protested" against this, thus essentially initiating Lutheranism ("building another church") and Protestantism in general.
(I may be wrong on this, but) Material that is marked copyright free basically allows anyone to use the material for (their own) commercial purposes without fear of any subsequent legal action being taken against them for doing so. Copyright does not prevent data from being offered and used freely, rather it prevents (or really more deters) data that is offered freely from ever being used unfreely (by anyone other than the copyright holder).
I (too) was watching Mars the past couple of nights from Cape May, New Jersey. I was also thinking about being extremely close to the Campo Marzio, the field of Mars on Earth.
When Mars is in opposition, like now, it is the fourth brightest heavenly body (relative to Earth viewing), being surpassed only by the sun, the moon, and the planet Venus. When Mars is not in opposition, the planet Jupiter is the fourth brightest heavenly object (relative to Earth viewing). Perhaps the ancients (at least the Greeks and the Romans) saw this periodic exchange of 'power' between Jupiter and Mars as indicative of the periodic power of war over even the most high. Fortunately, love, i.e., Venus, is never outshone by either Mars or Jupiter.
The point being, know your architecture foremost before relating it to some other medium/system.
I am curious which shifts from style to style are being referring to.
Last week I watched the movie Adaptation for the first time, and last night I watched Saving Grace for the second time (the first being more than a year ago). I found that Adaptation manifests something like a designed inverted story telling of Saving Grace. Additionally, the similarities between the two movies, despite the inversions, are oddly obvious--orchids, drugs, desperation, even best selling authors.
Alex may indeed be right about there being a lack in architectural history when it comes to explaining shifts from style to style (and this interests me greatly), but I'm not convinced so far (like Paul) that evolutionary theory (whichever one that may be) is the best(?) way to explain shifts from style to style.
Regarding paradigm, the dictionary definition is that of being a model, which is not exactly the same as a "meme."
All of the above regarding reenactment stem from the logical hypothesis that a reenactment can never be as original as that which it reenacts, and that reenactment come with degrees of separation between the reenactment and that which is being reenacted.
Earth's gravity is for sure a constant [force] that all architecture has to contend with. For example, although styles change, the predominant notion of floors being level doesn't. [How does an arch best resist gravity? Via it being rounded or via it being pointed?]
Schumpeter called capitalism "creative destruction," which, if correct, essentially labels capitalism as being metabolic.
Ironically, while Christianity was being legalized under Constantine, it was then also that the most licentious Pagan cults (and this for the most part meant those with homosexual practices/rituals) were being made illegal.
Since Stan Allen likes to believe Piranesi's Campo Marzio Ichnographia is "his subject," ask him if he knows that the Ichnographia was actually printed in two different states/versions (with "his" being the second state). And if Allen does know (of) the two Ichnographia, then ask him to explain how he came to know of the two versions.
In adulthood, the best way to be creative is to actually work hard at being creative.
Anyway, I sent an email to email@example.com asking them to request the removal of one 'Cremaster' item that was mistakenly(?) not removed, just so there is no possibility of me being further implicated.
Playing dumb is often considered (by the player) as something like the exact opposite of being dumb, and it is rarely an accident.
Today, while looking inside the former Liberty Bell Pavilion, I saw a man with outstretched arms being "checked" by a Park Ranger with a hand-held scanner right in front of where the Liberty Bell used to be with Independence Hall clearly in the background. Like they say, "Only in America."
And being at least true to that pliability is where the creativity comes in.
...the Acropolis as mass tourist destination with the Parthenon ruins slowly being further destroyed by air-pollution?
"Yes, I'm looking for something that will cure being oblivious to oblivion."
Overall, the feasts between Christmas and the Epiphany, besides being a special Christian time, were also, early on, somewhat in 'conflict' with 'big' pagan celebrations going on at the same time.
Hence, I'll tell you what it's like being in My Architect, albeit from the fourth dimension.
We (surprisingly) find out that Eutropia personally knew all the important Roman Empire architecture of late antiquity, and Helena rarely stops talking about Eutropia, that is, when she's not talking about being excluded from history.
Peter Paul Rubens, besides being a painter, was also a [Flemish/Belgium] diplomat, with his first assignment going to the King of Spain.
What I find pathetic is the notion of being free at the cost of not being who one really is, because such a notion stems primarily from fear.
I like how a statement about 'not being taken seriously' is itself 'not to be taken seriously.' Kinf of onomatopoeia.
I wish a lot more old books were being scanned electronically/digitally and preserved that way.
I'm still thrilled, mostly because the thrill is still capable of being there.
One of the last things my mother physically did with these people was huddling in a baron's basement while Munich was being bombed in Spring 1944.
Why and/or how exactly is taking pictures at the WTC site somehow being disrespectful or disgraceful of what happened there?
I had forgotten these planes were there, but now I recall being always excited to see them as a young child.
For example, does being "cowardly in testing new means and methods of design and construction" really signify an intention rather than an unintention?
The "Editor's letter' of Content by Brendan McGetrick suggests that "remaining at home [is] torturous," thus it is obvious the editor here doesn't know that remaining at home is the grand luxury of being virtually famous.
As to Rome then somehow being PoMo to the purist Greeks, would that be in the year 2004 BS?
I don't know the specifics, but places like Byberry were deemed 'illegal' because people were being kept there against their US Constitution given rights.
Indications of irony in last sentence of third paragraph: "This place is almost as bad as being in jail."
Really being in Berlin right now would be nice, but where I really want to be is Bavaria.
While not specifically begun as manifestos, these works nonetheless manifested almost everything I (personally) needed to know about being an artist beyond being an architect.
...reality being relative to the vastness of its container...
The house was being surveyed and measured top to bottom for HABS--drawings now at the Library of Congress.
My maternal grandmother once told me about the fire alarm being sounded in Brestowatz, Yugoslavia on 18 May 1924.
I had planned on being in Pittsburgh today and tomorrow, but didn't want to drive in the lousy weather.
"Is it true that Ottositions and magazines are secretly being worked on?"
Anyway, Sigma Sound Studio, home of TSOP, The Sound of Philadelphia, was on 12th Street, just a block or so east of the Fabric Workshop, so Shonibare is being very (skillfully? uncannily?) site-specific.
Thanks Gordon for being your own thinker and not listening to anyone that doesn't even realize they're criticizing themselves.
The proposed reenactment of the Barnes Foundation is largely being done to not further upset the strict Barnes Foundation Charter, which states the art collection must hang in perpetuity as Barnes hung the art.
All the guests are getting their accommodations set via Ichnographia Romaphilia--one of the highlights of the convention is that all the guests are in a constant state of bilocation between Philadelphia and Rome, with the register being the match of the Benjamin Franklin Parkway and the axis of life of the Ichnographia Campus Martius--oddly, Fairmount and the Vatican Hill are the 'same place.'
In a letter accusing Corbusier of being drunk during his stay in Philadelphia, he informed him that he was no longer welcome at the foundation.