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"We're going through something very similar in real estate that we did with stocks," said Robert J. Shiller - a professor of economics at Yale, whose prescient book on stocks, "Irrational Exuberance" (Princeton University Press, 2000), appeared just a few months before technology stocks began their slide. "It's driven by the same forces: that investments can't go bad; that it has the potential to make you rich; that you'll regret it if you don't do it; that it looks expensive but is really not."
"With the push of a button, Clackamas High School staff can put the almost 2,000-student school in lockdown. Teachers also can lock themselves and students inside classrooms in an emergency. Clear lines of sight throughout the building allow monitoring of large swaths of interior space."
CINEMA ZERO at S I
film screening /
to change a thing into a different thing
curated by Amy Granat
Wed Mar 30 2005 / 7:30 pm
The S I is pleased to announce a collaboration with Cinema Zero, presenting a program of experimental films, selected by founding member Amy Granat. Please join Cinema Zero and the S I for this special event.
FILM PROGRAM
Marie Menken
HURRY!HURRY!
16mm, color, sound, 3 min.
Standish Lawder / soundtrack: Terry Riley
CORRIDOR (1968-70)
16mm, b&w, sound, 23 minutes
Jud Yalkut
THE GODZ (1966)
16mm, color, sound, 9 min.
Standish Lawder / soundtrack: Robert Withers
RAINDANCE (1972)
16mm, color, sound, 16 minutes
TOTAL RUNNING TIME approx 55 minutes
Cinema Zero, founded in 2004, fosters experimental cross-collaborations. Drawing from the collaborations and events at "Degree Zero / A Certain American Scene," a series organized in Grenoble by Olivier Mosset in the autumn of 2004, Cinema Zero has continued to strengthen is mission of fostering collaboration and experimentation with its Winter Solstice Program, featuring a film program curated by Amy Granat and an exhibition by Paul-Aymar Morgue d'Algue. This winter, dancer/choreographer Felicia Ballos and Amy Granat performed at Lombard-Fried and, through March 26, artist Rich Aldrich and Granat have an installation on view at Olivier Kamm in the exhibition KA/VH : RA/AG. Ballos and artist Anna Craycroft are currently working on developing a dance performance for fall 2005 that will be presented at the S I.
37 Short Fluxus Films Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Films by Nam June Paik, Dick Higgins, George Maciunas, Chieko Shiomi, John Cavanaugh, James Riddle, Yoko Ono, George Brecht, Robert Watts, Pieter Vanderbiek, Joe Jones, Eric Anderson, Jeff Perkins, Wolf Vostell, Albert Fine, George Landow, Paul Sharits, John Cale, Peter Kennedy, Mike Parr, Ben Vautier.
"Erik Satie and his cronies, after begging everyone in the gallery to ignore them, broke out into what they called Furniture Music-that is, background music-music as wallpaper, music to be purposely not listened to. The patrons of the gallery, thrilled to see musicians performing in their midst, ceased talking and politely watched, despite Satie's frantic efforts to get them to pay no attention."
hillbilly multiple
gender drinking
trailer in the expanded field
totally eclipsed
*sound*warning
see marfa tx
MG truike
bowery restaurant supply
chefs catalog
les switch bldg
Everywhere I go, no matter what I do, there is always some drunk lady screaming, ‘Aflac!’
Hitler's chief architect, Albert Speer, oversaw Prora's design competition, which was won by Clemens Klotz - more on the strength of his party connections than his architectural talent. Nazi architecture tended towards either monumental classical modernism - such as Speer's famous Nuremberg grounds - or the folksy, resolutely German Heimatstil. But Prora is neither of these. Its precedents were modernism's bold experiments with the "linear city", in which all urban functions were organised into an infinitely extensible system, leaving clear landscape on either side. Ivan Leonidov proposed such a plan for the Russian mining town of Magnitogorsk, as did Le Corbusier with his Plan Obus design for Algiers. In practical terms these ideas were almost science fiction but Prora made them real. Behind the hotel block would have been a mini town of sanctioned leisure facilities: gymnasium and swimming pool; concert hall; movie theatre, and as the centrepiece, a festivity hall large enough for all 20,000 visitors. Tellingly the latter was handled by a dif ferent architect, Erich zu Putlitz, in a stripped-down classical style more in keeping with Nazi tastes.
Like his mentors, Niemeyer was a Modernist. Modernist architects strove to create disorientating environments that were self-contained and separate from their surroundings. Like the painters they associated with, they attempted to shock people into reevaluating their middle-class world view. Le Corbusier, one of the founders of the movement, tried to achieve this effect through the creation of what he called "Radiant Cities," made up of homogeneous concrete slab buildings which sat on columns, surrounded by parkland and ribboned with superhighways. Architects around the world incorporated modernist principles into their projects for the next several decades, but no one was able to build an entire radiant city. Then, in 1956, the President of Brazil, Jucilino Kubitchek, announced that he was going to commission the building of a new capital in a desolate area of rolling scrubland. Urban planner Lucio Costa won the bid and Oscar Niemeyer was commissioned as the chief architect.
rip john delorean
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