working title museum | the architecture of being... virtual fog |
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. Peter Paul Rubens, besides being a painter, was also a [Flemish/Belgium] diplomat, with his first assignment going to the King of Spain. 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. ...the Acropolis as mass tourist destination with the Parthenon ruins slowly being further destroyed by air-pollution? 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. And being at least true to that pliability is where the creativity comes in. Where the 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. 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." I very much question the widespread opinion that being able to design well is dependent upon being able to hand-draw well. Playing dumb is often considered (by the player) as something like the exact opposite of being dumb, and it is rarely an accident. Subject: "being the information" Anyway, I sent an email to info@gladstonegallery.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. It may be that even just one generation down the line they will not be trying to "absorb" but just be being the information. In adulthood, the best way to be creative is to actually work hard at being creative. "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). 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. Perhaps all abstractions are highly idealized reenactments of reality, rather than reality being a reenactment of highly idealized abstractions. 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. Is electromagnetic architecture that architecture which strives toward being the most efficient and sustainable? Schumpeter called capitalism "creative destruction," which, if correct, essentially labels capitalism as being metabolic. 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. 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?] 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. 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. 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. Regarding paradigm, the dictionary definition is that of being a model, which is not exactly the same as a "meme." Without being explicit about it, Plato nonetheless exercised reenactment in many of his texts. 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. Perhaps the 'popularity' of liking the 'mechanical' out of sight is really only a reflection of simply being human. 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. 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. 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. I am curious which shifts from style to style are being referring to. 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. The point being, know your architecture foremost before relating it to some other medium/system. 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. 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. 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. 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. 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). (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). |
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3201w
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