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It would be equally pointless to imagine that any architectural project could be reduced, either in analysis or design, to a definitive map that could account for all the forces at play, to a totalizing diagram of formal, psychological, and social relations. The convergence of discourses and economies at the nexus of subject, space, site, or program provides an opportunity not to resurrect an ultimate truth-value of "Site" or "Program," but to utilize each force against itself, against the other forces, and against the entire project. The nostalgia of current "contextualism" can be interrogated by architecturally utilizing past or present aspects of the context to simultaneously problematize the object by the site and the site by the object. The naive problem-solving of sixties behavorialism can be similarly interrogated by architecturally utilizing the program to question certain institutional practices. In all cases, any representation of these forces will always be one of many possible representations.
Yet if we interpret everything in terms of machines and the effects of machines, if everything flows and merges, how are we going to get a grip? Here the diagram plays a fundamental role. Deleuze borrows the concept from Michel Foucault, who employs the word in Surveiller et punir (1975) with respect to panopticism. Foucault observed that the panoptical prison had a function that went beyond that of the building itself and the penitentiary institution, exercising an influence over all of society. Stressing the function of these machines, which produced various behaviours, he discovered this coercive action in workshops, barracks, schools and hospitals, all of which are constructions whose form and function were governed by the principle of the panoptical prison. According to Foucault, the diagram 'Is a functioning, abstracted from any obstacle... or friction [and which] must be detached from any specific use'.9 The diagram is a kind of map that merges with the entire social field or, in any case, with a 'particular human multiplicity'. Deleuze thus describes the diagram as an abstract machine. 'It is defined by its informal functions and matter and in terms of form makes no distinction between content and expression, a discursive formation and a non-discursive formation. It is a machine that is almost blind and mute, even though it makes others see and speak.'10
The concept of radical immanent criticism is inspired by traditions drawn from film, literature and theatre, from the ideas of the International Situationists and from recent studies of the urban field and of social theory. It is a form of criticism that tries to unmask the representation of institutions, but without disqualifying that representation or the predominant visual culture in its own right. 'Unmasking' is not something you do in order to uncover an authentic ideal unsullied by the spectacle, but to break the representation open. The aim is to be able to see realities that are free of a simulation where nothing matters any more. Seeking the authentic is a praiseworthy starting point, but a quest for authenticity that depends on the negation of spectacle is a hopeless, naIve struggle. It is more fruitful to seek a constant unmasking of all kinds of institutional values that reside and hide in our society of the spectacle. This implies that movement, dialogue and conflict are primary. Hope lies in the permanent unmasking of alienation. After all, in everyday life there will always be alienation. And without alienation there can be no philosophy
Architecture: the Essay
via architexturez>>criticism and architecture
by Georges Bataille
Architecture is the expression of the very soul of societies, just as human physiognomy is the expression of the individuals’ souls. It is, however, particularly to the physiognomies of official personages (prelates, magistrates, admirals) that this comparison pertains. In fact it is only the ideal soul of society, that which has authority to command and prohibit, that is expressed in architectural compositions properly speaking. Thus great monuments are erected like dikes, opposing the logic and majesty of authority against all disturbing elements: it is in the form of cathedral or palace that Church or State speaks to the multitudes and imposes silence upon them. It is, in fact obvious that monuments inspire social prudence and often even real fear. The taking of the Bastille is symbolic of this state of things: it is hard to explain this crowd movement other than by the animosity of the people against the monuments that are their real master. Moreover, each time that architectural composition turns up somewhere other than in monuments, whether it is in physiognomy, costume, music, or painting, one may infer a prevailing taste for divine or human authority. The great compositions of certain painters express the desire to force the spirit into an official ideal. The disappearance of academic construction in painting is, on the contrary, the opening of the gates to expression (hence even exaltation) of psychological processes that are the most incompatible with social stability. This, to a large extent, explains the strong reactions provoked for more than half a century by the progressive transformation of painting that, up until then, was characterised by a sort of hidden architectural skeleton.
It is obvious, moreover that mathematical organisation imposed on stone is none other than the completion of an evolution of earthly forms, whose meaning is given, in the biological order, by the passage of the simian to the human form. The latter already presenting all the elements of architecture. In morphological progress men apparently represent only an intermediate stage between monkeys and great edifices. Forms have become more and more static, more and more dominant. The human order form the beginning is, just as easily, bound up with architectural order, which is no more than its development. And if one attacks architecture, whose monumental productions are at present the real masters of the world, grouping servile multitudes in their shadows, imposing admiration and astonishment, one is, as it were, attacking man. One whole earthly activity at present, doubtless the one that is most brilliant in the intellectual order, demonstrates, moreover, just such a tendency, denouncing the inadequacy of human pre-dominance: thus, strange as it may seem when concerning a creature as elegant as the human being, a way opens up—indicated by painters—in the direction of bestial monstrosity; as if there were no other possibility of escaping the architectural chain gang.
In Documents # 2, May, 1929. Paris.
Architecture's place in art history: Art or adjunct?
In a community discussion of the look of Chicago led by a working group of three faculty and three visiting journalists from the University of Chicago's Franke Institute for the Humanities, W.J.T. Mitchell observed that he and his fellow faculty tend to take the local built environment for granted, depending on newcomers to provoke them to notice its qualities. Invoking Walter Benjamin's observation in his essay of 1936 "The Work of Art in the Age of Mechanical Reproduction," Mitchell concluded that Benjamin remains correct in claiming that we receive architecture in a state of distraction. (1) In this case, however, distraction was not working through architecture in the sense in which Benjamin imagined it working, to redemptive revolutionary effect. Here it was the contemplative reporters for Time, the New York Times, and the Chicago Tribune who had the most to say about how buildings engage problems of visual culture, while the faculty related to their own built environment in a mode of distraction unharne ssed to empowering revelation. (2)
Customers who bought this book also bought:
Anonymous: Enigmatic Images from Unknown Photographers by Robert Flynn Johnson
Snapshots: The Eye of the Century by Christian Skrein
Photobooth by Babbette Hines
Americans in Kodachrome 1945-1965 by Guy Stricherz
Forget Me Not: Photography and Remembrance by Geoffrey Batchen
Southern Californialand: Mid-Century Culture in Kodachrome by Charles Phoenix
other pictures - the snap*shot collection of thomas walther
sol lewitt photo grids
Bush to Cities: DROP DEAD
The news is all bad. And it's nearly impossible to focus when confronted with the 99th article about the soaring deficit, the Bush administration's efforts to privatize Social Security, or the latest multibillion-dollar request for funding the Iraq war. The numbers are incomprehensible, the arguments read like boilerplate, and it's tempting to tune it all out. Better to let the policy wonks in Washington squabble.
So here's a headline from the Washington Post, January 14, 2005: "Bush Plans Sharp Cuts in HUD Community Efforts." It makes your eyes glaze over, doesn't it? It's one of those stories that is easier to skip. After all, what's it got to do with you? But read on: "The White House will seek to drastically shrink the Department of Housing and Urban Development's $8 billion community branch, purging dozens of economic development projects, scrapping a rural housing program, and folding high-profile antipoverty efforts into the Labor and Commerce departments, administration officials said yesterday."
“Corruption in large-scale public projects is a daunting obstacle to sustainable development,” said Peter Eigen, Chairman of Transparency International (TI), launching the TI Global Corruption Report 2005 today. “Corruption in procurement plagues both developed and developing countries,” Eigen added. “When the size of a bribe takes precedence over value for money,” he said, “the results are shoddy construction and poor infrastructure management. Corruption wastes money, bankrupts countries, and costs lives.” TI is the leading international non-governmental organisation combating corruption worldwide.
“Funds being poured into rebuilding countries such as Iraq must be safeguarded against corruption,” Eigen said today. “Transparency must also be the watchword as donors pledge massive sums for reconstruction in the countries affected by the Asian tsunami,” he added. The Global Corruption Report 2005, with a foreword by Francis Fukuyama, includes a special focus on construction and post-conflict reconstruction, and highlights the urgent need for governments to ensure transparency in public spending and for multinational companies to stop bribing at home and abroad.
‘Monuments of corruption’ from the Global Corruption Report 2005:
The Lesotho Highlands Water Project, in which US$2 million were allegedly paid in bribes by Acres International and 11 other international dam-building companies.
The Cologne incinerator project in Germany, where US $13 million was allegedly paid in bribes during the construction of a US$ 500 million waste incineration plant.
The Yacyretá hydropower project on the border of Argentina and Paraguay, built with World Bank support, is flooding the Ibera Marshes. Due to cost overruns, the power generated by Yacyretá is not economic and needs to be subsidised by the government. According to the head of Paraguay’s General Accounting Office, US$1.87 billion in expenditures for the project ‘lack the legal and administrative support documentation to justify the expenditures’.
The reservoir of the Bakun dam in Sarawak, Malaysia, which will submerge 700 km2 of tropical rain forest. The mandate to develop the project went to a timber contractor and friend of Sarawak’s governor. The provincial government of Sarawak is still looking for customers to consume the power to be generated by the project.
The Bataan nuclear power plant in the Philippines, built at a cost of more than US $2 billion. The contractor, Westinghouse, admitted paying US $17 million in commissions to a friend of former president Marcos. The reactor sits on an active fault line, creating a major risk of nuclear contamination if the power plant ever becomes operational.
The Bujagali dam in Uganda, which is currently being investigated for corruption by the World Bank and four different governments after a British subsidiary of the Norwegian construction company, Veidekke, admitted paying a bribe to a senior Ugandan civil servant. The cumulative environmental impacts of Bujagali and other dams on the Nile have never been assessed.
2005 pritzker to t mayne - hopefully selma can tell us if this is a good thing
mapping sitting
If New York's Madison Avenue and Hollywood's Vine Street could meet, that imaginary intersection would provide the perfect vantage point for TCM's look at product placement in the movies. This promotional tactic, in which a real commercial product is seen in a fictional film, is thought of as a relatively recent development, perhaps dating to the prominent appearance of Hershey Food Corporation's Reese's Pieces in 1982's E.T. The Extra-Terrestrial. Truth is, Hollywood has always worked closely with various industries in promoting the consumption of their products. With this festival, TCM looks at how these relationship evolved; creating subtle advertisements and allowing certain products to become associated with particular actors and films.
The work, measuring 66 by 32 feet, was a gigantic blue-and-white striped drape that hung from the top of the rotunda. It was Mr. Buren's contribution to the Sixth Guggenheim International, an important exhibition that signaled the arrival of a post-Pop generation of artists who fabricated artworks from rubber, lead, fluorescent tubes and plywood. Led by Dan Flavin and Donald Judd, 5 of the 17 artists in the show complained that Mr. Buren's big banner would prevent viewers at certain vantage points from seeing their works and demanded it be removed. The day before the opening, the museum capitulated, and it was taken away.
gypsy lore
hand made
permanent wtc path terminal
The Movies of Yves Klein.
Yves Klein (1928 - 1962) was not a director, but during his practice,
he asked professionals from the Gaumont Studio in Paris to shoot some
of his performances and ephemeral pieces. These films have been
recently restored for the Yves Klein Archives by the Pompidou Center in
Paris.
Yves Klein Practices Judo in Japan; Yves Klein working on his murals
for the Gelsenkirchen Opera; "Anthropometries of the Blue Period"
Performance at Gallerie de France; "Dimanche 27 Novembre" Edition of
the Newspaper; Yves Klein producing anthropometries with a model; Yves
Klein testing the Air Roof; Presentation of the Air Architecture
project during the show "Antagonisms 2"; "Yves Klein: Propositions
Monochromes" Exhibitions at C.Allendy and I.Clert; Exhibition of the
Void at Iris Clert Gallery; Opening of the Gelsenkirchen Opera; Sponge
Reliefs; "Monochrome and Fire" Show in Krefeld, Prototype of the Fire
Column and Wall; Yves Klein producing Fire Paintings; Wedding of
Rotraut Uecker and Yves Klein; Studio/Apartment of Yves Klein.
rat rod pick of the day 2
rat rod pick of the day
“A photograph is a secret about a secret The more it tells you the less you know."
--d.arbus
rat rod pick of the day
bag house