HaCkeD by MuhmadEmad
KurDish HaCk3rS WaS Here
FUCK ISIS !
Listen: Gordon Hempton on sound, silence, and listening.
And how do you explain that?
The explanation really goes all the way to silence. When we can speak in silence, you can hear not just my words, but you can hear my tone, what I mean even beyond the words. In fact, it’s really not the words that are important. It’s the tone. It’s the overall message, the context. When we’re in a noisy place in urban environments, we become isolated and we exhibit antisocial behavior because we are cut off from a level of intimacy with each other and we’re less in touch. We’re busy not listening to this, not seeing that, not doing that. We aren’t opening up and being where we are.
Our bodies, our eyes, are entrusted with taking the measure of our often absurd relations with the world we live in, and given that trust, we recognize the folly of it.
Tom Lawson on Stephen Prina
Soleri responded: “You don’t understand. I have no power over my students. They are free to come and go. I have only authority. If they come to me because of my authority, and then do not respect that authority, they have no reason for coming to study and work with me. Authority has the power of conviction. Authoritarianism has the power of coercion.”
On this journey through history, the journey contemporary man Seeks to re-experience in his pilgrimages, man manipulates the physical world and produces all sorts of wares, small and large, private and public, lasting and ephemeral, humble and flamboyant, functional and symbolic. Those physical things make up the nest where hls children learn what is normal or not, what peer-grooming or not, what is customary or not, what is useful or not, What is respectable or not. The adult or the child-adult molds himself by molding the physical environment, and his matrix closely fits the physical matrix he inherited and the one he himself is altering by his being and doing.
(excerpts from: Architecture as Information)The Omega Seed: An Eschatological Hypothesis, Paolo Soleri 1981
Added to Library
And central to problem posing education was something Paolo Freire called dialog, how did he define or describe dialog?
So dialog, interestingly enough, is not simply a way of talking, or a way of having conversation, like taking turns for example. Many people think that dialog implies that you all sit in a circle and everyone has an equal share of the air time or something like that. But for Freire dialog was actually a form of action. A form of reflective action. And of course language is an important part of it because language is very deeply connected to our human capacity to understand ourselves and the world. And so dialog is a way of engaging in discursive practices in language that is tied to action. And that is tied to reflection upon that action, so that we become conscious actors using that language as a tool to transform ourselves and to transform the world.
I am facing backwards, being thrown forward, fixed. The smaller, closer details are just whipping blurs, but the red mountains and the black factories. The power lines stretching over the under-used farms: They stand still long enough.
The ocean is something else entirely.
I’ve been on trains most days this week, again today. I’m going to the south, to Calabria, to the instep of the boot, to a minor city on the coast. There I’ll be by the water to eat fish and hot peppers, go up in the mountains, go down between the monolithic concrete pillars that support the autostrade soaring stuck above. As with much of my time away from whatever’s home at the time, the occasion for my going is a person I just met, a near-stranger who says, I want to show you this place I’m from, I want to show you all that is here as opposed to elsewhere. And I’m learning quickly to never say no to this, to become more iron and less intending flesh, more susceptible to magnets of hospitality and not knowing, of contingent encounters that have nothing to do with what we plan or don’t plan to do.
Desire is the petty show of resistance we put up in the face of plans made for us, curving tracks on which we are yanked ahead…
Excerpts (On staying still and moving along) Roman Letters, Evan Calder Williams Oslo Editions 2012
Added to Library
Avoiding some modern habits that shape the projects of Price and Alexander, another kind of artistic endeavor, not reliant on either the digital prosthetic or the predictable cybernetic system, can address this new global infrastructure space. This is not a new but an extra art and mode of making in which the action is the form. Action is not necessarily movement but is rather embodied in relationship, relative position and potential in organizations. Action is immanent in the disposition of an organization. There is no prescription for architecture, only a technique for performing it. Active forms design a disposition—a set of capacities for shaping space over time. Active forms are forms for handling forms.
Keller Easterling An Internet of Things
At the very beginning of my conscious life, in my efforts to obtain and grasp the solidity to which my innate demand for plentitude impelled me, I tried above all to the capture the essence of matter by looking for it in it’s most closely defined and concentrated and heaviest forms. Then it was that my newly born attraction to the world of rocks began to produce the beginning of what was to be a permanent broadening of the foundations of my interior life. The truth is I’ve never been able to feel at home, even at the peak of my spiritual trajectory, unless immersed in an ocean of matter.
A building has to be able to stand so you can’t do entirely without rational thinking. Weights, structures, joints have to work, that’s obvious. But rationalism isn’t an absolute, you have to see rationalism within a larger context. No one is against rationalism, no one denies it, and there is no substitute for it either. But you do have to be aware of the coordinates that connect the rational element with the broader horizon, with life itself. With corruption, destruction, death, birth, whatever. With the rain that suddenly falls that nobody expected.
“Porcelain enameling is the process of fusing a thin layer of glass to a metal object to prevent corrosion and to enhance its beauty. The base item is low carbon sheet iron formed in the shape of a utensil by pressing or drawing by spinning and by trimming. Handles spouts and ears are welded or riveted in place. The base item is cleaned by pickling in acid. A coating mixture of ground glass, clay and water is applied and dried. The ware is then fired in a furnace.”
Other names for this cook ware are granite ware, agate ware, glazed ware, granite steel ware, enamel ware and speckle ware.
Types of cooking utensils that were covered with this glaze were endless. Typical pieces were kettles, teapots, roasters, pots, pans, utensils, plates,cups, bowls, wash basins, pitchers and chamber pots. There were also butter churns, rolling pins, high chair trays, table tops, and toy cooking sets. Porcelain enamelware’s use was extended to stoves, iceboxes and sinks.
1) all theory is transient & after the fact of writing
2) writing never eliminates the need for action but action can sometimes eliminate the need for writing
3) where action eliminates the need for writing research can function to discover new uses for potentially outdated forms & techniques
4) where writing & action are necessary research can function to find new ways to unify them
5) all manifestos are simply statements of progressive awareness
6) all research is symbiotic & cannot exist separate from writing
7) no form or technique exists separate from what is said
first manifesto (may 1972) lost. second manifesto of the Toronto Research Group january 5 1973
Steve McCaffery & bpNichol
excerpt The Kids of the Book Machine, 1992 Talonbooks
Added to Library
Wright felt very strongly about the connection to the desert. He said: “Arizona needs its own architecture… Arizona’s long, low, sweeping lines, uptilting planes. Surface patterned after such abstraction in line and color as find “realism” in the patterns of the rattlesnake, the Gila monster, thechameleon, and the saguaro, cholla or staghorn – or is it the other way around—are inspiration enough.”
Architecture, as I have come to know it, is the art of building, and if it communicates any message of significance, it does so through construction. Construction not just in the sense of building, not just as a practical necessity, but in the way that we see it, the way we understand it as a manifestation of science, as an object to which we intuitively respond, as a part in a history that we know. I believe that architecture communicates many things, but it does not do so, or does not do so well, by mere association.
Insofar as it communicates an idea about place, it does so through an understanding of scale. Insofar as architecture communicates spirituality, it does so through weight. Insofar as it communicates an idea about society, it does so through joints. Insofar as it suggests something from beyond, something different from, even something contradictory from it’s own reality, it does so using it’s own construction as a point of departure.
from The Architectural Detail, Edward R. Ford
2011 Princeton Architectural Press
Added to Library
CHRISTOPHER ALEXANDER: The thing that strikes me about your friend’s building — if I understood you correctly — is that somehow in some intentional way it is not harmonious. That is, Moneo intentionally wants to produce an effect of disharmony. Maybe even of incongruity.
PETER EISENMAN: That is correct.
CHRISTOPHER ALEXANDER: I find that incomprehensible. I find it very irresponsible. I find it nutty. I feel sorry for the man. I also feel incredibly angry because he is fucking up the world.
Peter Eisenman and Christopher Alexander discuss architecture.
On one of the slides from our first visit to four corners country, there in a building. That was not why we took that shot; the intention was to photograph “Phone Booth Mesa” (more properly “Chimney Rock,” but every fifth outcrop in the Southwest seems to be called that!) on the way up from Shiprock to Cortez. Neither of us remembers seeing any buildings in the foreground of that view; but there it is: one standard, off-the-peg, industrially-produced Butler building with an air conditioner unit on it’s flatly pitched roof. It is finished in an inoffensive tan color, but that doesn’t make it any less outstandingly visible against the background of sagebrush. Why then does the eye of memory not see it? It must be that it is such a usual building in a landscape where only the exotic or the outrageous in architecture tends to look at home and be remembered.
Scenes in America Deserta-Reyner Banham 1982
Added to library
“I learned that rhetoric and the instruments of graphic design or advertising could stop working in service of a client so as to become vehicles of personal expression, where “I” try to become all of you, my neighborhood, my city, my country, my time.”
…but there are some others, like Melquiades Herrera, who lived a permanent performance, in which there was no real difference between his life and his work. He mastered the art of everyday life as art, not as a metaphor, not as subject matter for art, not as an action that only happens for an audience. There’s almost no documentation of his work/life, and he never claimed to be making an artwork. For him it was evident, by itself.
Excerpt- Mousse 34-Abraham Cruzvillegas
What is it about beautiful vistas of mountains, about the infinite horizon of the ocean, about a cathedral? There are certainly physiological and neuroscientific bases to that feeling, and I am convinced — I know — that these things can be measured. And that’s the exciting new frontier for me, to ask exactly that question.
I am often asked if the furniture is art, since almost ten years ago some artists made art that was also furniture. The furniture is furniture and is only art in that architecture, ceramics, textiles and many things are art. We try to keep the furniture out of art galleries to avoid this confusion, which is far from my thinking. And also to avoid the consequent inflation of the price. I am often told that the furniture is not comfortable, and in that not functional. The source of the question is in the overstuffed bourgeois Victorian furniture, which as I said, never ceased. The furniture is comfortable to me. Rather than making a chair to sleep in or a machine to live it, it is better to make a bed. A straight chair is best for eating or writing. The third position is standing.
Alain de Botton is a philosopher who likes the best of religion, but doesn’t believe in God. So he’s created “The School of Life,” a secular community in London. He explains why wisdom and ritual shouldn’t be reserved just for believers.
The Third Industrial Revolution will not only radically alter our economy, but also our social and political lives. The engine of the first industrial revolution, the railroad, and the defining feature of the second industrial revolution, fossil fuels, all require centralized management and massive concentrations of capital – the essence of modern capitalism. The third industrial revolution requires less. Author and economist Jeremy Rifkin tells Piya Chattopadhyay how an “energy internet” spread across millions of homes and offices will usher in a new era of decentralized, lateral power.
If we had an unconditional basic income as a subsistence allowance, many of today’s regulatory measures that link work to income would no longer be necessary. Moreover, this basic income would eliminate the commodity character of human productivity
“American Visions,” an eight-part series on American art written and narrated by Time magazine art critic Robert Hughes, is both an account of American life and a tribute to American art that will likely propel thousands of the not-yet-converted into museums and galleries, antiques shows and auction rooms to see (and inevitably shop) for themselves. Filmed in 100 locations around the country, covering everything from Quaker to Shaker, George Washington to Bierstadt, Remington to Warhol, and the skyscrapers of New York City, Hughes has applied his considerable wit and imagination to the problem of revealing how art records and preserves both points of view and ways of life. It is American history told through art, not merely a history of art. It offers a perspective that is refreshingly elevating and inclusive.
The Shock of the New
Something there is that doesn’t love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun,
And makes gaps even two can pass abreast.
The social responsibility of business is to increase its profits
The idea that maximizing shareholder value is eroding the economy and favouring a gross short-sightedness.
its got dystopia, ants, the desert and looks amazing:
Under capitalism, objects are created, bought, and sold as myriad commodities. But if we were to think about life after capitalism, what might our relationship to things be? Art historian Christina Kiaer discusses the innovations of Russian Constructivist artists in the early years of the Soviet Union and their attempts to reconfigure art, everyday objects, and human desire in a new society.
The allure of post and beam goes far beyond function.
Beams, posts and the substantial metal connectors that join them define the soul of a structure. As design elements, they may appear traditional or contemporary, but never trendy or transitory. They do not fly by night. They speak with authority, permanence, stability, steadfastness. They say,
“I am here to stay.”
Mies van der Rohe’s Seagram Building is not a friendly building. It is a building that tells you what to do and how to behave. We can brush those claims aside but they are real. Bauhaus tableware dominates its surroundings. It doesn’t go well with anything else. It doesn’t get along with other styles. You can’t put Bauhaus furniture in a room with other kinds of furniture. It looks wrong and it feels insane. A Bauhaus room wants to be all Bauhaus.
This brings up another undeniable fact. There is something deeply satisfying about an all- Bauhaus room in an all-Bauhaus building. The scary fact about Bauhaus is that its practitioners made the claim to totality and then damn near pulled it off. A Bauhaus city might really be a better city, maybe the best city. But you’d have to destroy everything else to find out. No one ever had the balls to try. No community has ever been able to live up to the demands of Bauhaus. The closest we’ve ever gotten is in the widespread infiltration of Ikea. A hybridized stepchild of Bauhaus, Ikea designs manage to blend the basic utilitarianism of Bauhaus with an accommodation to color and ornament that allows an Ikea room to contain non-Ikea items.
But the original Bauhaus was not interested in that kind of compromise. Whenever I look at original Bauhaus creations I thus feel an essential fear. I am being challenged, attacked, called out. That is a side of Bauhaus that doesn’t go away, no matter how ecumenical a tale of the movement we try to tell. Bauhaus is a 20th-century beast. It will tear you apart and reconstruct you if given half the chance. Appreciate its brilliance, but don’t forget to be afraid, very afraid.
Do not weep. Do you not see the greatness of our age resides in our very inability to create new ornament? We have gone beyond ornament, we have achieved plain, undecorated simplicity. Behold, the time is at hand, fulfillment awaits us. Soon the streets of the cities will shine like white walls! Like Zion, the Holy City, Heaven’s capital. Then fulfillment will be ours.
Adolf Loos has no pity for ornament.
If we do not notice that we live in a bureaucratic society, that is because bureaucratic norms and practices have become so all-pervasive that we cannot see them, or, worse, cannot imagine doing things any other way.
… There’s no better way to seduce someone than by being impenetrable. To love the Fall is to love something that you can never explain…
Sasha Frere-Jones on the allure of the Fall.
Alain de Botton makes a contention that most modern architecture is an abject denial of reality.
The end of the world does not have to necessarily be apocalyptic and reveal the truth of human existence. Rather, we know life as non-teleological, as having no unifying divine or historical plan that we could contemplate and upon which we could rely. Indeed, we know ourselves to be involved in an uncontrollable play of material forces that makes every action contingent. We watch the permanent change of fashions. We watch the irreversible advance of technology that eventually makes any experience obsolete. Thus we are called, continually, to abandon our skills, our knowledge, and our plans for being out of date. Whatever we see, we expect its disappearance sooner rather than later. Whatever we plan to do today, we expect to change tomorrow.
Boris Groys for e-flux
Venture capitalist millionaire Nick Hanauer on how the rich should be taxed, not the middle class.
It is astounding how significantly one idea can shape a society and its policies. Consider this one.
If taxes on the rich go up, job creation will go down.
This idea is an article of faith for republicans and seldom challenged by democrats and has shaped much of today’s economic landscape.
A Great Thunder. An open letter to striking students.
CHRISTIAN NADEAU, May 17, 2012
Christian Nadeau is a professor in the Philosophy Department of Université de Montréal.
This letter was originally published in French here:http://journal.alternatives.ca/fra/journal-alternatives/publications/dossiers/opinions/article/un-grand-tonnerre-lettre-ouverte?lang=fr and distributed in the above video.
Please allow me firstly to address you as a group in its entirety and not solely to your spokespeople, nor to those the media label as your “leaders”, an expression that reflects the moronic servility of our current era. I wish to speak to the student movement’s activists.
I am writing you this letter in order to salute you and to humbly ask that you help us follow through with your endeavor. Your struggle is becoming the rebirth of of the left in Quebec, asleep for years thanks to the privilege of the few and dizzied by its own prefabricated rhetoric. You are liberty’s workers. You have denounced the sugary splendor of our artificial paradise. You have reminded us of what a nation is when it is at its best: a great act of confidence. You spoke to us, you offered us your hand even when we did not answer. But it is not too late. We will first be a few hundred, then thousands who will work alongside you. The question of violence remains, which is the wall between us. But what violence do we speak of precisely?
How do you grasp the schauung in the weltanschauung, and the geist in the zeitgeist? Where is the boundary between the “New Aesthetic” and a new aesthetic?
So far, the best evidence that something has really changed is of this kind. Imagine you were walking around your own familiar neighborhood with some young, clever guy. Then he suddenly stops in the street, takes a picture of something you never noticed before, and starts chuckling wryly. And he does that for a year, and maybe five hundred different times.
That’s the New Aesthetic Tumblr. This wunderkammer proves nothing by itself. It’s a compendium of evidence, a heap of artifacts, and that evidence matters. It’s a compilation of remarkable material by creative digital-native types who are deeply familiar with the practical effects of these tools and devices.
The New Aesthetic/ New Politics #4
The field describes a space of propagation, of effects. It contains no matter or material points, rather functions, vectors and speeds. It describes local relationsLondon of difference within fields of celerity, transmission or careering points, in a word, what Minkowski called the world.
– Sanford Kwinter, 1986
From object to field: field conditions in architecture and urbanism,in Practice: Architecture, Technique and Representation, (London: Routledge, 2009)
Shock of the New is a 1980 documentary series by Robert Hughes that was broadcast by the BBC in the United Kingdom and by PBS in the United States. It addressed the development of modern art since the Impressionists and was accompanied by a book of the same name; its combination of insight, wit and accessibility are still widely praised. The eight programmes focused on these themes:
(1) “Art’s love affair with the machine”;
(2) “The powers that be” (covering the period 1914 to 1930s);
(3) “The landscape of pleasure”, 1870s to 1950s;
(4) “Trouble in utopia”, 1890s to 1960s;
(5) “The threshold of liberty”, 1880s to 1940s;
(6) “The view from the edge”, 1830s to 1970s;
(7) “Culture as nature”, 1910s to 1970;
(8) “The future that was”, 1840s to 1970s.
Disorientation is the current malaise of the teen-ager. With nothing to do and nowhere to go, the teen-ager lives through a time of disorientation, restlessness, and confrontation.
The Macmillan Company 1970
866 Third Avenue, New York, N.Y. 10022
Book Design: Gary Fujiwara
Added to Library
A program about Politics, Society, and Ideas
The Five Flements philosophy – Miles on Norman
We had just gotten back from a trip to the British Isles. Norman thought he was going to have a heart attack and wanted to see Europe before he died. He later found out that it was just anxiety.
Pinar & Viola:
You have a great interest for the vernacular, can you explain what it means to you?
The vernacular is done with great care imagination and love. It’s done with the endeavor that people have. It’s like the history of two masons, one is lying bricks, the other one is building a cathedral. The vernacular is about how people feel about what they are doing. Human beings decorate themselves, it’s part of our evolution, we started with painting our caves. You can compare it to animals. For sexual attraction they grow beautiful hair.
Buster Keaton builds his very own heart & home in “One Week”.
Not all concrete is ugly, hard, cold and difficult to work with. There exists a whole range of light weight concretes “which have a density and compressive strength very similar to wood.They are easy to work with, can be nailed with ordinary nails, cut with a saw, drilled with woodworking tools, easily repaired . We believe that ultra-light weight concrete is one of the most fundamental bulk building materials of the future.” A Pattern Language
Andrew Zimmern via
1. Trumpet Concerto in E-Flat Major
2. Nature Boy – Miles Davis
3. A Hard Day’s Night – The Beatles
4. In C – Terry Riley
5. Main Titles (from Blade Runner) – Vangelis
Listen to Craig Hodgett’s top five.
Our present financial ethos no longer even resembles conventional capitalism, which at least implies a brutal Darwinian free-for-all, however one-sided and unfair. Instead, we have a situation where the banks seem to be an untouchable monarchy beyond the reach of governmental restraint, much like the profligate court of Charles I.
Alan Moore on the appropriation of V for Vendetta’s main character in the Occupy protests.
A rocket stove mass heater or rocket mass heater, is an innovative and efficient space heating system developed from the rocket stove, a type of hyper-efficient wood-burning stove, named in the 70’s, but dating back millenia in concept, and the masonry heater. Wood is gravity fed into a ‘J shaped’ combustion chamber, from where the hot gases enter a heavily insulated metal or fire-brick vertical secondary combustion chamber, the exhaust from which then passes along horizontal metal ducting embedded within a massive cob thermal store. The thermal store is large enough to retain heat for many hours and typically forms part of the structure of the building. They have proved to be popular with natural buildings and within permaculture designs; they are normally self-built and are not yet recognized by all building codes which regulate the design and construction of heating systems within buildings. via
America always gives me the feeling of real asceticism. Culture, politics – and sexuality too – are seen exclusively in terms of the desert, which here assumes the status of a primal scene. Everything disappears before that desert vision. Even the body, by an ensuing effect of undernourishment, takes on a transparent form, a lightness near to complete disappearance. Everything around me suffers this same desertification. But this radical experimentation is the only thing that enables me to get through and produces that astral quality I have not found anywhere else.
The Reanimation Library was established in order to:
build a collection of resources that inspire the production of new creative work
pan for gold in the sediment of print culture
emphasize the visual content of books
encourage collaboration among human beings
call attention to the generative potential of libraries
contribute to our cultural commons and gift economy
explore pathways between digital and analog worlds
You are invited to join the library in these endeavors.
Rounding out the library themed trifecta of posts is the Reanimation Library.
HEY THAT IS GREAT THAT YOU KNOW OF A DURAN DURAN SONG THAT I ALSO ENJOY OR PERHAPS I DO NOT BUT I LIKE THAT YOU ENJOY IT ALTHOUGH EITHER WAY WHAT ACTUALLY MATTERS IS MERELY THAT MY APPROVAL WILL BE REGISTERED BY YOU AND BY OTHERS WHO PERHAPS DO NOT KNOW ME AND THAT AFTER ALL IS WHAT IS FRIENDSHIP IS IT NOT.
And yet . . . it could vanish any day. Beggars can’t be choosers and we gladly take whatever is offered to us. We don’t run on the most stable of servers or on the swiftest of machines; crashes eat into the archive on a periodic basis; sometimes the site as a whole goes down for days; occasionally the army of volunteers dwindles to a team of one. But that’s the beauty of it: UbuWeb is vociferously anti-institutional, eminently fluid, refusing to bow to demands other than what we happen to be moved by at a specific moment, allowing us flexibility and the ability to continually surprise our audience . . . and even ourselves.
Kenneth Goldsmith on the complexities of operating an archive that is free and open to all.
Though libraries live on (and are among the least-corrupted democratic institutions), the freedom to browse serendipitously is becoming rarer. Now that many research libraries are economizing on space and converting print collections to microfilm and digital formats, it’s becoming harder to wander and let the shelves themselves suggest new directions and ideas. Key academic and research libraries are often closed to unaffiliated users, and many keep the bulk of their collections in closed stacks, inhibiting the rewarding pleasures of browsing. Despite its virtues, query-based online cataloging often prevents unanticipated yet productive results from turning up on the user’s screen. And finally, much of the material in our collection is difficult to find in most libraries readily accessible to the general public.
via the Prelinger Library.
Documentary on BEST stores designed by SITE inc.
Q: What is your role?
A: My role… I see myself as an entertainer…
Abbey’s Road, an interview with Edward Abbey in 1982.
B. V. Doshi worked in Paris then for four years with Le Corbusier. He returned to Ahmedabad to supervise Le Corbusier’s work. His studio, Vastu-Shilpa (environmental design), was established in 1955. Doshi worked closely with Louis Kahn and Anant Raje, when Kahn designed the campus of the Indian Institute of Management, Ahmedabad. In 1958 he was a fellow at the Graham Foundation for Advanced Studies in the Fine Arts. He then started the School of Architecture (S.A) in 1962. via
burlap-crete – homemade concrete cloth…
At the end of Biosphere 2 the ants destroyed the cockroaches. They then proceeded to eat through the silicone seal that enclosed the world. Through collective action the ants worked together and effectively destroyed the existing system. They then marched off into the Arizona desert. Who knows what they got up to there.
TV PARTY is the TELEVISION SHOW that’s a COCKTAIL PARTY but which is also a POLITICAL PARTY.
The United Nations says the world’s population will reach seven billion sometime today, although the US Census Bureau says it’ll happen sometime in March. Regardless of the date, there are some reasons for optimism as well as predictions of doom and gloom. We hear some of both — from the US, China, India and sub-Saharan Africa.
Andrew Revkin, Joel Cohen, Deborah Seligsohn, Patrick French with Warren Olney
The conscious mind gives us one way of making sense of our environment. But the unconscious mind gives us other, more supple ways. The cognitive revolution of the past thirty years provides a different perspective on our lives, one that emphasizes the relative importance of emotion over pure reason, social connections over individual choice, moral intuition over abstract logic, perceptiveness over I.Q. It allows us to tell a different sort of success story, an inner story to go along with the conventional surface one.
Some days ago you emailed to me a transcript of an address that Slavoj Zizek gave to the Wall St protesters about the worth and justification for changing our social and government systems and what follows is my commentary on these protests and his viewpoint. Perhaps it is a “blog”? Whilst the protests have become world wide they are quickly running out of steam because they lack the credibility of a solution, a policy, or a goal other than the vague notion that the system has to be changed—-but for what? The rantings of Slavoj Zizek are just that, rabel rousing, when what is needed is a well thought out road map, a manifesto, for change and regulation of the imperfect system that we have. To call for a whole change of our system of government i.e. to dump our democratic capitalist system would be gross folly unless you have a workable and socially just alternative. We know that Russian and Chinese communist/socialist systems become totalitarian and repressive party dictatorships so we have yet to find a better fairer workable system—perhaps the Scandinavian countries with their blending of capitalism and socialism have something to teach us about a better system? Any way the protesters are fortunate to be living in countries that permit freedom of expression and assembly! It is to their credit that they have so far been generally peaceful. There is no doubt that there is justifiably present pent up anger and disappointment with the failings of the present system especially in relation to the failure of the banking system to kerb the greed that gave rise to malpractices and fraud and the consequent recession we continue world wide to endure. There are other contributing ingredients too like: High levels of youth unemployment that means school leavers and graduates are unable to find satisfactory work and become the restless unemployed. A growing disparity of incomes between people at the top and people at the bottom. This is common to all developed western countries so we have an excessively rich strata of a few and an impoverished many with all shades inbetween which is bound to give rise to social discontent. Government cut backs in spending especially on social services, education and health that impact on the majority of any population create anger. Everyone has forgotten that our elected governments over borrowed in times of prosperity which we enjoyed and now have to pay back the borrowings e.g. the Greeks! So the cut backs were inevitable, but the further down the economic totem pole you are the more hurt you proportionally suffer. I believe that the growing levels of social injustices will eventually culminate in major political changes to our system for the better. It is an incremental progression achieved in a democratic process which be it imperfect it is peaceful. My point here is evidenced by the social changes achieved over the past century.
End of musings—-Love DADXX
NOTES ON PRACTICE: STUBBORN STRUCTURES AND INSISTENT SEEPAGE IN A NETWORKED WORLD
In a sense this implies a three-stage encounter that we are ascribing between the practitioner and her world. First, a recognition of the fact that instances of art practices can be seen as contiguous to a ‘neighbourhood’ of marginal practices embodied by the figures of the five transgressors. Secondly, that ‘seeing’ oneself as a practitioner, and understanding the latent potentialities of one’s practice, might also involve listening to the ways in which each of the five transgressive figures encounters the world. Finally, that what one gleans from each instance of transgression can then be integrated into a practice which constitutes itself as an ensemble of attitudes, ways of thinking, doing and embodying (or recuperating) creative agency in a networked world.
Raqs Media Collective
It is not our desire to participate in violence, but it is even less our desire to lose.
(Letter of Solidarity From Cairo)
Police Fire Tear Gas at Occupy Protesters in Oakland
Thinking, Fast and Slow
Charlie Rose – A discussion about Occupy Wall Street
From Tahrir to Wall Street: Egyptian Revolutionary Asmaa Mahfouz Speaks at Occupy Wall Street
You’re creating a vision of the sort of society you want to have in miniature.
Ezra Klien with David Graeber
Remembering Andre Gunder Frank While Thinking about the Future
Interview with Chris Hedges
For building is not merely a means and a way toward
dwelling—to build is in itself already to dwell.
I’ve been standing on the side of life, watching it float by.
I want to swim in the river. I want to feel the current.
—Mamah Borthwick Cheney
Mamah on her clandestine love affair with Frank Lloyd Wright
Milk crates invariably leave full and return empty. They are part of a loop that, as a continuum of contiguous, melded information units, can remain active forever. If the world stood still, the loop that milk crates sketch out in the city would continue to flow, defying entropy and apocalypse. If one crate exits the loop, due to loss or damage, another simply takes its place. The loop is like a tide cycle or a whirlpool. Its indifference, its inwardness, the silence generated by its centripetal flows, should terrify us. It is monstrous in the way its energy absorbs all forms and meanings. As objects move in this flow, their contours, weights, surfaces, articulations, and inscribed data (date of production, type of plastic, percentages of recycled material, ownership markings) dissolve. It’s as if they move under such pressure that they are rendered liquid-like and incorporated into a perpetual spiral of activity.
“In the mountains of California, above the Mojave lies a plateau overlooking the desert, sloping to the East, facing the morning sun, into the West where San Gorgonio’s snow-capped peak reflects the glow of the setting sun. Here, The Institute of Mentalphysics is planning and building its city. Moved by a sense of the tranquil nobility and eternal beauty of the desert, I have planned, not a city of asphalt, paving and steel, or of tight mechanical grid and congested living barracks [but] a city of the Desert, spacious, free-sweeping; its broad floor carpeted by myriads of desert blossoms; its residents dwelling at peace, and sharing with the soil, sky, and trees, their joy of living, its centuries old Joshua trees standing like sentinels above its homes.”
—Lloyd Wright, Architect
A spirit duplicator (also referred to as a Ditto machine in the United States or Banda machine in the United Kingdom) was a low-volume printing method used mainly by schools and churches. It was also used by members of science fiction fandom and early comic book fandom to produce fanzines. Sheets printed on such a machine were sometimes called ditto sheets, or just dittos in the U. S. (an example of a genericized trademark). The term “spirit duplicator” refers to the alcohols which were a major component of the solvents used as “inks” in these machines. They are sometimes confused with the mimeograph, which is actually a different technology.
The duplicator used two-ply “spirit masters”. The first sheet could be typed, drawn, or written upon. The second sheet was coated with a layer of wax that had been impregnated with one of a variety of colorants. The pressure of writing or typing on the top sheet transferred colored wax to its back side, producing a mirror image of the desired marks. (This acted like a reverse of carbon paper.) The two sheets were then separated, and the first sheet was fastened onto the drum of the (manual or electrical) machine, with the waxed side out.
There is no ink used in spirit duplication. As the paper moves through the printer, the solvent is spread across each sheet by an absorbent wick. When the solvent-impregnated paper comes into contact with the waxed original, it dissolves just enough of the pigmented wax to print the image onto the sheet as it goes under the printing drum.
. . . is how to serve up an ice cream in such a way that he [the customer] loses the desire to eat it for the rest of his life. Or an ice cream that, once it has been bought, grows bigger than him and humiliates him. Or that becomes a piece of the world surrounding him and frightens him . . . In short, an ice cream with no alternatives: either you eat it or it eats you. Or rather: it starts to eat you as soon as you have finished it. And then we think: apple-bombs, poisonous sweets, false information, in short Trojan blankets, beds, or horses that are brought into the house and destroy everything in it.
from The Complete Works of Andrea Branzi
The “Skid Row”1 of Los Angeles is a portion of the area in downtown Los Angeles east of the Financial District and the Historic Downtown Center, partially overlaying the core of the downtown Industrial District. It is generally referred to by the City as part of the “Central City East” area, a fifty-block sector of downtown bounded by Main Street (west), Third Street (north), Alameda Street (east) and Seventh Street (south), although Skid Row’s boundaries are actually somewhat fluid.
Wharton Esherick House & Studio, 1520 Horsehoe Trail, Malvern (Chester County, Pennsylvania)
The year was 1913. The 25-year-old, academy-educated artist returned to Philadelphia, packed up his new wife and their few belongings and dropped out of the city forever, retreating into rural Pennsylania to live the simple life and devote all energies to his goal of becoming a successful modern painter.
That quest would be become his greatest failure, yet open the door to his true vocation.
After reaching Paoli in 1913, the Eshericks settled into a spartan existence. Using the crude tools of a colonial farmer and any materials he could scavenge, Wharton made the dilapidated house and barn watertight. The couple dressed in the sturdy clothes of peasants, read by the light of kerosene lanterns, baked bread in a wood stove and grew their own vegetables. Wharton wandered the woods and slopes to commune with nature and find subjects for his paintings. They both read voraciously, with a steady stream of books, magazines and newspapers available at the other end of a morning’s brisk walk to the nearby railroad station village… •
“I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartanlike as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and to be able to give a true account of it in my next excursion. For most men, it appears to me, are in a strange uncertainty about it, whether it is of the devil or of God, and have somewhat hastily concluded that it is the chief end of man here to ‘glorify God and enjoy him forever.”
Henry David Thoreau
“The wind will not stop. Gusts of sand swirl before me, stinging my face. But there is still too much to see and marvel at, the world very much alive in the bright light and wind, exultant with the fever of spring, the delight of morning. Strolling on. it seems to me that the strangeness and wonder of existence are emphasized here, in the desert , by the comparative sparsity of the flora and fauna: life not crowded upon life as in other places but scattered abroad in spareness and simplicity, with a generous gift of space for each herb and bush tree, each stem of grass, so that the living oraganism stands out bold and brave and vivid against the lifeless sand and barren rock. The extreme clarity of the desert light is equaled by the extreme individualism of desert life-forms. Love flowers best in openness and freedom.”
The idea of Gesamtkunstwerk—a German word for “total art-work”—has long since gone the way of all 19th century Romantic ideals, into the trash-heap of history. It began with the belief that art really mattered in human society, morally and politically. This belief was rooted in the great value the ruling classes had always given to art as a symbol of their wealth and power, but also to its place in religions important to European history. It was only natural, therefore, that at the beginning of the modern age, many believed that newly emerging industrialized democracies, both capitalist and socialist, needed not only their own new forms of art, but also new forms of integrating the arts, as had been done in the great cultures of the past. Architecture, painting, sculpture had indeed been brought together in the important buildings of most ancient civilizations, such as Egyptian and Greek temples, as well as in Medieval cathedrals, Renaissance palaces, and Baroque churches, and were combined there with music and both religious and secular rituals and performances. Total art-works. The most notable modernist attempts to accomplish the same were at the Bauhaus and the Russian Constructivists, though were each defeated by political forces—but that is another story.
Today, art is a commodity separated from itself, so to speak, in order to break it down into salable units. Modernism never found its Gesamtkunstwerk.
At a certain stage of my life, I fervently believed that architecture could sponsor a reunification of the arts, in the service of both public and private life, even though it would have to do so very much against all tendencies and trends. Vestiges of this have remained throughout the succeeding years—in System Wien, for example—but never in such an ambitious and hopeful a form as these drawings. Auf wiedersehen, old friend!
Via: Lebbeus Woods
What Happened to Obama?
By Drew Westen
Published in the NYTimes, August 6, 2011
IT was a blustery day in Washington on Jan. 20, 2009, as it often seems to be on the day of a presidential inauguration. As I stood with my 8-year-old daughter, watching the president deliver his inaugural address, I had a feeling of unease. It wasn’t just that the man who could be so eloquent had seemingly chosen not to be on this auspicious occasion, although that turned out to be a troubling harbinger of things to come. It was that there was a story the American people were waiting to hear — and needed to hear — but he didn’t tell it. And in the ensuing months he continued not to tell it, no matter how outrageous the slings and arrows his opponents threw at him.
The stories our leaders tell us matter, probably almost as much as the stories our parents tell us as children, because they orient us to what is, what could be, and what should be; to the worldviews they hold and to the values they hold sacred. Our brains evolved to “expect” stories with a particular structure, with protagonists and villains, a hill to be climbed or a battle to be fought. Our species existed for more than 100,000 years before the earliest signs of literacy, and another 5,000 years would pass before the majority of humans would know how to read and write.
Stories were the primary way our ancestors transmitted knowledge and values. Today we seek movies, novels and “news stories” that put the events of the day in a form that our brains evolved to find compelling and memorable. Children crave bedtime stories; the holy books of the three great monotheistic religions are written in parables; and as research in cognitive science has shown, lawyers whose closing arguments tell a story win jury trials against their legal adversaries who just lay out “the facts of the case.”
“Simply the best made tent in America”
“we should direct our view outwards, away from ourselves, into the world, not into the distance, but onto those things that are neat, within a hand’s reach.”
— Goethe via Paul Renner.
Alone in the Wilderness – Dick Proenneke
“It may be when we no longer know what to do, we have come to our real work, and that when we no longer know which way to go, we have begun our real journey.”
— WENDELL BERRY
via REFERENCE LIBRARY.