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andy warhol's tv


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goldsmith >>>Oh fuck, let them, let them! Oh geez let them who cares! We have nothing to lose. I mean who cares. Like I said there should be many more of those. Who gives a shit! None of it matters. It's like punk rock. It's like punk rock. Who gives a shit, we'll burn tomorrow. We're not in it for--there is no future plan for it other then for it just to grow and become much better. Now somebody could just come in and say, "I want to take the site and have my staff go through and permission everything. We'll contact people. We'll pay people. We'll permission. We'll do the whole thing. Come on board we'll get the whole thing legit. We'll give you a salary and you'll keep directing it." At that point I don't know. But as that stands now it's a little bit of a joke.

Google scanning books? There's ulterior motives there man. It's sort of cool, but it's sort of not. I mean they're not doing it to benefit humanity. They're not practicing utopian politics. And I think the publishers have every right to be suspicious. You know, this is a huge corporation; they've got something else in mind. And again it's that other scale of economy that doesn't have anything to do with us really. And believe they ain't going to be scanning books that were produced in editions of one hundred that make absolutely no sense--guarantee! They ain't going to be scanning little books of Lyn Hejinian language poetry--I guarantee it.

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vito acconci 1973 with willoughby sharp

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One of the strangest stories in modern architecture is that of Le Corbusier’s obsession with a villa (modernistically named E 1027) by the Irish designer Eileen Gray at Cap Martin in the south of France.

Gray was a hugely talented but little-known designer whose reputation today far outstrips the one that she had during her career. (As if to underline how far, last month an armchair by Gray fetched an astonishing €22m [$28bn] at the Paris auction of Yves Saint Laurent’s collection.) Le Corbusier was the most famous and influential architect of the century. Yet Le Corbusier was so drawn to Gray’s villa that, after staying there, he returned to the site to build himself a cabanon, a retreat or hut of the most elemental kind.

A replica of that hut now stands in the loft of the Royal Institute of British Architects, the Art Deco Florence Hall. But it is a strange object. Reproducing the interior only, it appears as a blind black box, its creators – the Italian furniture manufacturer Cassina – having apparently decided that the log cabin non-aesthetic of its exterior was somehow unnecessary.

This seems odd to me, as it embodies such an obvious, if subconscious, memory of Le Corbusier’s Swiss roots. Entering the tiny space feels a little like walking into a fun-fair ghost house and, indeed, it reveals a space haunted by the contradictory dreams of modernism.

Le Corbusier, imaginer of a world of towers in parkland, of elevated walkways and endless freeways, of the destruction of central Paris to create boulevards of terrifying but monumental banality, and inspirer of the worst high-rise housing in the world, built his primitive hut in 1952.

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the warhol econcomy

andy died in 1987 and took this socio/ecco/cultural model with him


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TV and its role in popularizing modernism in America (this is a huge overstatement)


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What does it mean to destroy a building? How do we read a damaged version of Le Corbusier's Villa Savoye at Poissy? For architecture historian Andrew Herscher, destruction is a type of language, a "form of design" that is "at least as significant as any of the elements from which buildings are constructed for living, for the living." [1] But let us take this further. If a building calls attention to itself when it has ceased to exist, is there a middle ground, an intermediate representational stage that not only forecasts a language of destruction, but that also evokes the purely conceptual urgings that inspired the design of the building in the first place?
detroit


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More recently at 7 World Trade Center there were constraints and requirements such as making the electronic wall blast proof, and this slowed me—constructively. I could think more about how the piece should look and about what content it should offer for this tragic but optimistically restored site.The newest complicated sculptural LED arrays require that I try to marry form, function, information, beauty, time, transcendence, realism, legibility, phantoms and more—and then make sure the stuff works. It’s routine for function or lack thereof to affect the look, for the look to demand better function, for the shape to change content, for the content to require different colors, for the programming to need more speed, and around we go. But I attend to what has failed in the course of the electronics and then use what has come to be right. Sometimes it’s a relief these days to make the silk-screened paintings that are relatively simple to produce.

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stillmen




untitled (still men) bill schwarz 2009
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modelmaker


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aaron used equipment bensonville ill

via nightly business report
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spaceinvading archscraperegator


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studio silja rantanen

via bellostes
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george ohr cup and saucer


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tnco


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IH scout


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tidy barn conversion


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god will fuck you up

thx vz
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history of bucks county pennsylvania


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Red Hot Ale

Adapted from L’Ecole at the French Culinary Institute

3 ounces amber ale

1 ounce Cognac

1/4 ounce simple syrup

1/4 ounce lemon juice

3 dashes orange bitters

Dash of salt

Heat a clean fireplace poker — an old, seasoned one is best — in the hot coals of a fire until glowing. Combine all ingredients in a mixing glass, then carefully lower the red-hot tip into the glass. If the poker is hot enough, the alcohol will spontaneously ignite. Don’t fret too much if ignition doesn’t occur — you’ll still get the caramel-like flavor. Hold the poker there until the boiling begins to subside, then remove the poker and serve immediately.

Yield: 1 serving
thx ed tringali
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the beacon beckons


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new old barns


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yestermorrow

thx re
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vinalhaven contemporary cape / old harbor views 395k


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