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In the Guggenheim, your eye is usually drawn away from the art to its soaring center space. Buren reverses this in a very John Cage way. Having the walls empty creates a void that the eye and mind fill. Unexpected things come into high focus: cracking walls, paint swellings and serrations, dust bunnies, and missing and broken panes of glass. The Guggenheim comes alive in new ways, entropy emerges as an aesthetic quality, and the whole museum turns into a living Thomas Struth photograph. You can make out where parts of "The Aztec Empire" exhibition recently were, or where Matthew Barney climbed the parapet. Not only is this fairly thrilling and wistful, it makes you recognize how every detail is crucial in the delivery mechanisms of art that we call museums.

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design*sponge throws shit fit
"wrong sponge"? wait till she hears about design losing its edge.


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45 k trailer
hot 45k singlewide


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Design's cutting edge has been removed because there are too many children at the table now for anything sharp, and the fashion heat of only a few years ago - which generated singles-only magazines like Wallpaper, with its label-lust crossovers from clothing to interior design - has become a usable stylishness, as in casual work clothes that translate easily to the occasional party.

Wallpaper's place in the sun has become Dwell's, with its young family-values version of high design: the return of domesticated thinking like Mary and Russel Wright's. And not coincidentally, of prefabricated housing: a prefab FlatPak house, designed by Charlie Lazor, a Minneapolis architect, was exhibited as a product, the largest piece of furniture at the fair.

But in terms of design's potential to invent and imagine, to solve and foresee, to anger or excite, it's a post-fab, as in fabulous, moment. The proliferation of makeover shows on television, on which your home can be shown the door in 30 commercially interrupted minutes, makes it clear just how shallow the pool of thought is in contemporary design.

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Early film-makers delighted in capturing cities on screen. Their work takes us on a tram ride back in time, says Patrick Keiller . Until the mid-1900s, most films were one to three minutes long, and consisted of one or very few unedited takes. The Lumière company's films, for example, are typically 48 to 52ft long and last about a minute. They were made by exposing a complete roll of film, usually without stopping. Most were actualities, not fiction. Cinematographers would sometimes pause if there was a lull in the action, or if the view was blocked, but other kinds of editing were unusual. The reconstruction of time by joining individual shots together was an aspect of film-making that began to dominate only after about 1907.

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Shigeru Ban is called the "paper architect." Mister Ban is an architect in Tokyo known for his designs of temporary shelters made of paper. Many of his designs, such as the "Paper Log House," are built with used cardboard tubes.

Mister Ban designed such houses for people in Kobe, Japan, after the nineteen ninety-five earthquake there. He also designed a community gathering place. More recently, his paper houses provided shelter for people in Turkey and India after earthquakes hit those countries.

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screen goo via alex

also ran : shoe goo

gunge : read at your own risk


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