a deliberate deterritorialization

3 June

2014.06.03 12:52

...an over-riding interest in things that are incomplete... ...displays as fragments or even non-sequiturs. There is also the idea of mixing up the collection...

Developing a thesis (and metathesis?) - brainstorming help!
And it's not even Reenactment Season yet!
double your theatrics, double your fun
read this morning:
"When the Convention moved from Versailles to Paris, it reopened in a new hemicycle built into the old palace theatre, the Salle des Machines of the Tuileries, designed by the revolutionary Jacques-Pierre Gisors, even if the semicircular layout, the high colonnade and zenital lighting followed the model of the sober, neo-antique anatomy theatre in the Ecole de la Chirurgie. Although the assembly hall was a bit makeshift (the statues which ornamented its walls were all painted simulations), the hemicycle found favour and was copied when the chamber was enlarged and rebuilt in the Palais-Bourbon. Two centuries later it still serves the Chamber of Deputies. With its obvious division into left and right, it became the model for many parliamentary chambers all over the world--a curious fate for an emulation of an anatomy theatre."
For sure a significant note within "Surgical Double Theater".
now playing:
Siamese, wo bist du, too

I'd say a de-territorialized critic is even more dangerous.

And just maybe the Ziggurat at Ur was reenacting the Step Pyramid of Zosar?

And just maybe the Tomb of Augustus at Rome was reenacting the Great Stupa of India?

The more things change the more they stay the same?

"Indians" again living in Cedar Grove near Tacony Creek. Who told them?!?

Cedar Grove replanted with cedar trees. Whose idea was that?!?

Here an oasis, there an oasis, everywhere an oasis!

After the nuptials 20 June2004, Dennis and Eva will be spending a 20 day honeymoon in Baghdad. "Clowns to the left of me. Jokers to the right. Here I am, stuck in the middle with you."

Had Poleni's reflections been developed into a detailed study and published, they would have had a significant influence on Italian architectural theory. However, he never wrote such a study, because Maffei preferred another tactic in defending himself against Lucchesi. After reading and re-reading his book, he wrote to Poleni,
I think it is sure that this young man [Lucchesi] is mad. I ask you, as much as you can, not to speak anything about him--either in favor of him or against him because if you would like to refute him, as you seem to have expressed a wish of doing, , that to tell the truth [HA! Here Maffei tells the "truth" and in the next sentence he explains how he's going to lie!] , contracts too much with what he deserves. Neither have I in the second edition [of De gli anfiteatri] that I have ever heard of him. It is quite true [HA! HA! Here Maffei goes back to telling the "truth" again!] that it is worth adding more explanations here and there, which in any case I have already intended, and have even done in great part.
Having thus chosen to boycott Lucchesi, Maffei began . His correspondence with Poleni on the subject continued: Poleni was to give him professional explanations of the difficult questions that Maffei formulated. Thus we have a kind of development of the topic in Poleni's answers to Maffei. Most of the questions were inspired by Lucchesi's criticism and concerned the irregularities of [the] Verona amphitheater.1

Observed together the Prima Parte [di Architetture e Prospettive] and the Carceri manifest a double theater where the first "play" is inversely reflected in the second "play". (Note too that the second...)2

He imagined there [in the Carceri] an architecture even more than that of the Prima Parte, although based entirely on walls and arches.3

I hope they indeed do a proper archaeological dig [at the Morris House site], and I wouldn't mind if the new [] pavilion was delayed for a long, long time. This all makes me wonder if a number of historic sites in downtown Philadelphia would be better as archaeological digs/sites rather than sites of 'preservation'.4

All that survives of the President's House at Sixth and Market Streets are its 18th-century foundations, discovered during an archaeological dig that began in March. Once the old stones yield their secrets, they are meant to be preserved with dirt, and a memorial built above.
But no human hand can craft a better tribute to the first decade of the American presidency, or the nation's congenital defect of slavery, than those humble bricks, smoothed by time and the weight of the earth. So why bother? Let the foundation stones testify to history. Keep them visible.5

D. Diederichsen's review of Mike Kelley's (forthcoming) Foul Perfection in Artforum January 2003 contains a poignant Kelley quotation:
"Official art culture is much more effective in its control of history than Republican strategists, for it knows that the best way to treat contradictory material is not to rail against it, but simply to pretend it didn't happen."
I like this quotation because it provides a clear of what real/true history comprises.6

1. Lola Kantor-Kazovsky, Piranesi as interpreter of Roman architecture and the origins of his intellectual world (Leo S. Olschki Editori, 2006), p. 240.
2. Stephen Lauf, "Piranesi Prison dates, etc." (architecthetics listserv, 2001.12.04).
3. Lola Kantor-Kazovsky, Piranesi as interpreter of Roman architecture and the origins of his intellectual world (Leo S. Olschki Editori, 2006), p. 190.
4. Stephen Lauf, "Presidential Slave Quarters" (design-l listserv, ).
5. Inga Saffron, "Let's not throw dirt on the city's history" (The Philadelphia Inquirer, 2007.05.25).
6. Stephen Lauf, "Foul Perfection" ().




Quondam © 2017.11.29