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Electronic Music Foundation
Vint Synth
Hitchhiker's Guide to the Moon
Off Grid
Felix Wankel father of the rotary engine
remember The Alamo
Moshe Safdie and associates
In Every Dream Home a Heartache
Exquisite Corpse
"Among Surrealist techniques exploiting the mystique of accident was a kind of collective collage
of words or images called the cadavre exquis (exquisite corpse). Based on an old parlor game, it
was played by several people, each of whom would write a phrase on a sheet of paper, fold the
paper to conceal part of it, and pass it on to the next player for his contribution.
The technique got its name from results obtained in initial playing, "Le cadavre exquis boira le
vin nouveau" (The exquisite corpse will drink the young wine). Other examples are: "The
dormitory of friable little girls puts the odious box right" and "The Senegal oyster will eat the
tricolor bread." These poetic fragments were felt to reveal what Nicolas Calas characterized as
the "unconscious reality in the personality of the group" resulting from a process of what Ernst
called "mental contagion."
At the same time, they represented the transposition of Lautréamont's classic verbal collage to a
collective level, in effect fulfilling his injunction-- frequently cited in Surrealist texts--that "poetry
must be made by all and not by one." It was natural that such oracular truths should be similarly
sought through images, and the game was immediately adapted to drawing, producing a series of
hybrids the first reproductions of which are to be found in No. 9-10 of La Révolution surrealiste
(October, 1927) without identification of their creators. The game was adapted to the
possibilities of drawing, and even collage, by assigning a section of a body to each player, though
the Surrealist principle of metaphoric displacement led to images that only vaguely resembled
the human form. One, by three hands, begins with a spider, which gives way to a man's torso
the feet of which are formed by two jugs. Other, more interesting cadavres exquis were
reproduced in a special issue of Variétés titled "Le Suréalisme en 1929" (fig. 288). One of these
begins with a woman's head by Tanguy, which dissolves in to a jungle scene by Max Morise,
returning to a female anatomy schematically indicated by Miró, and terminating in "legs" in the
form of a fishtail and an engineer's triangle by Man Ray."
Outhouse
Koolhaas
OURHAUS
treehaus
microhaus
frontierhaus
Papa John Phillips
Pay Pack & Follow
The Botany Of Desire
a plant's-eye view of the world
untitled ('70s nude) 2001 six images
"In New York City we don't always have a tree available or a
place to drive a tent stake. And we don't tie off to cars because
someone might steal the car and drive off with the rig dragging
behind it. A funny sight it may be, but it plays havoc on a
production schedule. We use Mafia blocks. Mafia blocks??? Three
foot square cement blocks that weigh about 2,000 pounds apiece.
They even have a tie off point cast in them. Get a forklift to
drop them where you need them and you're in business. I'll leave
the reasoning behind the name choice to your imagination."
Alternative Building Systems
Containers as Structures - In the summer of 1995, Walt Disney Studios leased 180 containers. The units were stacked and secured to create (4) 85' x 120'
movie screens in New York’s Central Park. The container "screens" were used for the world premiere of the "movie"
Pocahontas. Later in the summer, the same concept was adopted by the
Vatican for the Pope’s visit to New York. Containers provided
large screens which carried the Pope’s mass in Central Park.
Add N To (X)
Fug Tuli
Pranksters
The 60's Literary Tradition and Social Change
Reading Room
Wilderness and the Hyperreal
The weariness of irony leads us to seek intensities of experience