Schwarz
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Mac Low is probably the most controversial of the many great poets of the legendary "New American Poetry" generation, those literary artists born in the '20s and weighted with names like Beat and Projective, New York School and San Francisco Renaissance. He has certainly been the hardest to assimilate into the predominantly humanist, self-expressive orientation of postwar poetry. Seen from the point of view of the visual and performing arts, Mac Low's work may appear less abrasive; and yet there is no visual or performing or conceptual artist whose word works approach the complexity, ingenuity, and density of Mac Low's, not even his many Fluxus associates, or his longtime comrade and instructor in the art of chance, John Cage. It is not that Mac Low's work is better than his contemporaries'–he himself rejected such forms of evaluation–but his work's significance for the development of poetry and for our understanding of verbal language is without parallel.
"BUILT during the Great Depression by dint of an irresistible force named Frank Hague - the prevailing political boss here for a period of 40 years - the eight colossal buildings of the Jersey City Medical Center now stand empty and sorry-looking on a rise near Journal Square that overlooks Manhattan and the Statue of Liberty."
frankenpine
mt airy lodge at auction
Sturtevant
MUSEUM FüR MODERNE KUNST
FRANKFURT
Through March 05
One of the art world's greatest éminences terribles, Sturtevant has for over forty years been charting the unruly interiors and exteriors of the visible. Curator Mario Kramer takes over the entirety of the Museum für Moderne Kunst with about 140 multi-media works for what's being billed as the artist's first retrospective—but let me assure you, Sturtevant don't want no retrospective, since her endeavor has always been exposing contrafactual immanence, eternally returning. Sadly, this landmark exhibit won't travel, so let's hope some staunch American museum takes heed and brings this artist and her work home. With an essay by Bernard Blistène and an interview by John Waters, the catalogue will expose brutal truths, and, licking the shiny boot of beauty, we like it that way.
—Bruce Hainley for art forum
alexander house
crackers dont drink the orange kool-aid
homework
beck(y)
icosavillage pods
from ready made magazine via vz
It's hard to believe that anyone interested in urban planning is unaware of Critical Mass, but just in case, here's the nutshell history and "definition:" Back in 1992, a number of folks in San Francisco posited themselves along Market Street, holding signs that read "Make Room for Bikes," while encouraging passing cyclists to join them that Friday night for a bike ride through the city. A few people showed up for the initial ride that September night, so they decided to do it again the following month. More riders showed up in October, more in November, and so on. Since then, crowds averaging one thousand cyclists (often quite a bit more) crowd Justin Herman Plaza on the Embarcadero for what has become a monthly San Francisco staple. The phenomenon has spread around the globe to about 300 different cities.
Susette Kelo and several other homeowners filed a lawsuit after city officials announced plans to bulldoze their residences to clear the way for a riverfront hotel, health club and offices. The residents refused to move, arguing it was an unconstitutional taking of their property.
The dance floor that helped to fuel the '70s disco craze goes up for auction on April 1, with bids expected both in a live sale and on the Internet's eBay site.
The 1977 movie earned Travolta an Oscar nomination for his portrayal of Tony Manero, a 19-year-old Brooklyn paint-store clerk whose mundane existence is forgotten when he takes to the dance floor every Saturday.
The floor, which has more than 300 colored, flashing lights under a Perspex surface, had been a fixture in the 2001 Odyssey nightclub since the movie was made.
Architectural critic for the New Republic, Martin Filler has been studying the rebuilding efforts at the World Trade Center site. As a result of his research he believes that both Daniel Libeskind, architect of the Freedom Tower and Michael Arad, designer of the Memorial, have been made obsolete participants in the rebuilding effort.
originator of surf photography tom blake
don james pre-war surf photography
john "doc" ball
shotgun golf
childs not all first-rate
AFTER struggling to fix up a brownstone in Harlem for the last 16 months, Meyghan Hill, a model and actress, and her husband, Daniel Scarola, a ballroom dancing instructor, are thinking about giving up and moving out. But what may drive them away is not the neighborhood, which they have come to love, nor their four-family house, where they have painstakingly stripped a century of varnish and paint from doors and balusters, but the shock of a tax notice they received last month from the New York City Department of Finance.
The notice indicated that the taxes on their 19-foot-wide house, only $4,100 when they bought it, would be going up in July to about $23,600, a fivefold increase of $19,000 - more, they say, than they can possibly afford after paying their hefty mortgage. Right now, they have no tenants
monuments of passaic
video stream princeton lecture archive
via tesugen blog / lots of good science/art architecture (see previous schwarz post) poly sci and eno material in his archives
Wanted: Umberto Eco Quote On Architecture
I'm translating a text I've written into English, in which I'm quoting Umberto Eco from the Swedish translation of his out of print La struttura assente. In this book, Eco devotes several chapters to a discussion on semiotics and architecture. The passage I'm quoting, and would like the English translation of, can be found on the first page of the major chapter titled “Function and the Sign” (or something equivalent).
Here's my attempt at a translation:
Jeffrey Lewis History of Punk on the Lower East Side - Stream it in: Realaudio or MP3. It's a nine-minute tour de force tracking New York punk from Harry Smith to the New York Dolls
hissssssssssssssssssss
Billy Klüver
In the first part of the paper I will discuss how the universalist attitude toward town planning, as stated in Le Corbusier’s La Charte d’Athènes (1943), was challenged by the younger CIAM members who were looking for an approach that would take into account the individual, as expressed in their “Statement on Habitat/Doorn Manifesto” (1954). In the second part I will examine the manner in which they balanced this thinking with universalist ideal as demonstrated in the project they presented at CIAM 9 (1953) and CIAM 10 (1956). In the third section I will examine their stance against universalization as expressed in their critique of the CIAM “grid,” both as an epistemological framework and method of presentation. The protagonists who made contributions to this new way of thinking are referred to as the ‘younger members’ before September 1954 – when they were first recognized as Team 10.