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Not everybody can live on a secluded parcel of land in the Hollywood Hills. But for a long time, Shulman's potent images helped convince Southern Californians that their goal should be to live in a single-family house with a private garden somewhere -- even if it were to be built by companies like the Irvine Corp. on property a lot more than two miles from Hollywood Boulevard.

For all those reasons, the documentary operates, however indirectly, as a long proof in support of what might be called Shulman's Law of Unintended Consequences.

Shulman's best photographs undoubtedly qualify as art. But he was very much an artist for hire, and his work was in nearly every case patently promotional, as he was happy to admit. What remains out there, waiting to be tackled, is the question of what, in the broadest sense, he was promoting -- and what the runaway success of that effort has meant for architecture and for Los Angeles.
via things
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26 abandoned gas stations (interesting if you can pretend its not art)


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all69




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esh

WHARTON ESHERICK Hammer-handle chair with burgundy leather webbed seat.

from rago
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Détournement, the reuse of preexisting artistic elements in a new ensemble, has been a constantly present tendency of the contemporary avant-garde, both before and since the formation of the SI. The two fundamental laws of détournement are the loss of importance of each detourned autonomous element — which may go so far as to completely lose its original sense — and at the same time the organization of another meaningful ensemble that confers on each element its new scope and effect.

Détournement has a peculiar power which obviously stems from the double meaning, from the enrichment of most of the terms by the coexistence within them of their old and new senses. Détournement is practical because it is so easy to use and because of its inexhaustible potential for reuse. Concerning the negligible effort required for détournement, we have already noted that "the cheapness of its products is the heavy artillery that breaks through all the Chinese walls of understanding" (A User's Guide to Détournement, May 1956). But these points would not by themselves justify recourse to this method, which the same text describes as "clashing head-on against all social and legal conventions." Détournement has a historical significance. What is it?

"Détournement is a game made possible by the capacity of devaluation," writes Jorn in his study Detourned Painting (May 1959), and he goes on to say that all the elements of the cultural past must be "reinvested" or disappear. Détournement is thus first of all a negation of the value of the previous organization of expression. It arises and grows increasingly stronger in the historical period of the decomposition of artistic expression. But at the same time, the attempts to reuse the "detournable bloc" as material for other ensembles express the search for a vaster construction, a new genre of creation at a higher level.
SI
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rago fall 09 auction online catalog

thx ree
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Venom and Eternity, or Treatise on Slime and Eternity (1951)


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Self-healing Concrete

via vz
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lichtenberg figures

via vz
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rockpile


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habitat bucks restore


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american routes archive / whole lot of good shit in this archive of ten years worth of shows

pipe dreams archive

american public media


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emerson: coen+partners


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brett king builder bucks co pa


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gio ponti in praise of architecture (1960) free read or down load @ internet archive


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enzo mari Autoprogettazione

goog pics
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city of signs

via things mag
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ipod/computer speakers: klipsch promedia 2.1 $150.00 vs bose music monitor $399

srs iwow plug-in
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Daring to Look presents never-before-published photos and captions from Dorothea Lange’s fieldwork in California, the Pacific Northwest, and North Carolina during 1939. Lange’s images of squatter camps, benighted farmers, and stark landscapes are stunning, and her captions—which range from simple explanations of settings to historical notes and biographical sketches—add unexpected depth, bringing her subjects and their struggles unforgettably to life, often in their own words.

When Lange was dismissed from the Farm Security Administration at the end of 1939, these photos and field notes were consigned to archives, where they languished, rarely seen. With Daring to Look, Anne Whiston Spirn not only returns them to the public eye, but sets them in the context of Lange’s pioneering life, work, and struggle for critical recognition—firmly placing Lange in her rightful position at the forefront of American photography.
via vz
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cubehse

justin found this one
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heres a quiz. lets say you are on top of a mountain. where is eye level? i say eye level would be looking straight across to another mountain top of the same height. a certain party i know says its the horizon line regardless of the horizons lines relation to sea level. im prepared to be wrong here, but curious about the answer since this certain party is almost always right. heres all i found.


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mandles


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What is a Traveling clock, a Carriage clock, and a Coach clock, and what is the difference between them, since they have the same function? The aim of this article is not so much to offer new information to specialists, but rather to explain and clarify the subject to a general public, providing a background for the upcoming sale of the historically important Le Bon clock, featured in the April sale.

We know for certain that in order to function correctly, a watch, whether worn on the person or intended for traveling, had to include an autonomous moving force (the main spring). This was originally a helicoidal spring, and later a spiral (main spring). It had to possess enough autonomy to guarantee a sufficiently long duration of timekeeping, and to allow it to be transported while maintaining a relatively constant moving force.

It is not particularly relevant to this article to determine whether the first to adopt the spring as a moving force for a horological object was the architect Filippo Brunelleschi (1377-1446), quoted in Vasari in 1410, Jean de Paris, watchmaker to Louis XI, or, according to the Germans, Peter Henlein (c.1480-1542).

It does, however, seem to me to be essential for a detailed analysis of the origins of traveling clocks, to understand the difference between the names used to identify the various types of clocks, and to review, in this manner, their history. In order to remain accurate, it is necessary to take into account the many appellations used in the horological jargon and the various interpretations given in the past. The latter often derive from translations of historical documents, and offer descriptions that are often extremely brief, which only creates uncertainty. I would also like to emphasize the fact that horology is a mathematical and geometrical science, despite the many various interpretations of the product throughout the centuries. Though it is sometimes enthusiastically interpreted in too idealistic a manner, it always remains strictly logical. The few known horological “curiosities” are anomalies which give credit to the true inventions, the discoveries of which make the field even more fascinating and surprising. Let us go back to the beginnings of portable horology. The first travel clocks emerged around 1400 ; these early traveling clocks were referred to as simply l’horloge de voyage in French. It goes without saying that a trave- ling clock must function when it is being transported from one place to another. It is equally evident that the name pendulette de voyage, in the French language, could only be used after 1657, that is after the invention of the pendulum by Huygens, who published his work in a book called “Horologium”. All agree, whether it be the French or English horologists, that the modern Traveling Clock, or Carriage Clock, began in 1798, when A.L.Breguet sold his first carriage clock, or pendulette de voyage to General Napoleon Bonaparte, a few weeks before his departure for the Egyptian campaign. (See Antiquorum “The Art of Breguet”, April 1991, lot 10)

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the barns collections new location in philly


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