a design mode rarely taught, and indeed most often severely denounced."
For what it's worth, what John just wrote, "Which is why some argue that reason is too slow to be useful any more. Intuition and insight are speedier, but not as fast as illogic and madness." describes perfectly my position regarding design, and even more so art.
...primarily because you continually apply the standards of the real world to the virtual world with what appears to be a non-investigation of those [other] qualities or standards the virtual [so far] evokes wholly on its own. My leaning toward virtual extremism is at the same time a search for some "purism" within the virtual. I don't want the virtual to merely become a reflection of the real, and that is precisely because it seems that we are actually lucky enough to be living at a time when the whole notion of a virtual realm is becoming a viable other realm--a wonderful time when it is truly possible to begin delivering something that is above all NOT more of the same [o. s.].
John, as always, the flow/current/wave pattern of your emitted thoughts carry good highs and lows, provoking aboves and belows, and, this time at least, a co[s]mic ending[?]. (btw, I assume your quandom = my quondam.) Here's one of my favorite anecdotes relative to humor--Roland Barthes in his book entitled S/Z labels laughter as the highest, most effective form of castration. ha ha ha! OUCH ha ha ha! ha ha ha! OUCH OUCH OUCH Perhaps while you guys and some "others" work on electromagnetic architectures, I'll start working on a new thesis--castration architectures--beginning with a chapter called "concise history of the ballroom" and ending with a chapter called "she who laughs last at the sperm bank".
...see where architecture in cyberspace? will take you!
The author talks about how our brains developed: one of the very first parts of the brain was the development of the ability to protect ourselves: to determine whether, in a given situation, we should flee or not. Later, as the brain evolved, came the ability to not only spontaneously react to a given situation, but to *almost* simultaneously identify the thing we were fleeing or not fleeing from.
Example from the book: While walking in the woods, we see a wolf. Our brain immediately recognizes that sharp teeth, large size, angry wildness signifies something from which we should flee. A millisecond later, our brain says "That's a wolf!!!!" By then we are luckily already running away.
So saying that reason is "slow" may be correct, but isn't saying that it's "too slow to be useful" really a regression of our evolution? Should we try to throw out our ability to identify why we should react a certain way in order to simply react? Sounds chaotic to me.
Anyone out there read Blink and like to make a comparison? I think Steven has...
is not the same thing as reason. To start with, instinct is much quicker.
"Should architectural education begin teaching students how to design buildings that generate publicity? Of course, that includes doing a building correctly in terms of structure and function, however, getting publicity appears to be a new and already prevalent user demand that requires compliance as well. And isn't it common sense for architects to supply what the client asks for?
Then again, it really isn't the architecture or architect that generate the publicity. Rather, it is the advertisement driven publicity/news 'machine'."
"My feeling has been all along, however, that architects and architecture are well capable of generating their own publicity, but professional 'decorum' has for the most part made that attitude an ethically and aesthetically wrong position for architects to take. This 'wrongness' is really just a fabrication, an artificial restraint, and, as always, it is precisely at these artificial points where 'institutions' are the weakest, where the decay happens, where things begin to fall apart. I wholeheartedly advocate architects to embrace publicity as a new, additional ingredient that makes good architecture, the same as firmness, commodity, and delight make good architecture. Furthermore, I hope it takes less than twenty years for architects to begin creating and directing web sites that are just the same as television channels."
most architecture firms of any size have marketing departments. this, of course, doesnt mean that the marketing efforts they employ are creative or effective.
Aug 21, 07 11:44 am ·
·
Marketing an architectural firm and designing to generating publicity are not the same thing.
"Thus the city repeats its life, identical, shifting up and down on its empty chessboard. The inhabitants repeat the same scenes, with the actors changed; they repeat the same speeches with variously combined accents; they open alternative mouths in identical yawns. Alone, among all the cities of the empire, Eutropia remains always the same. Mercury, god of the fickle, to whom the city is sacred, worked this ambiguous miracle."
--Invisible ______
"It seems that Mamre, the place of settlement and burial of Abraham, within today's Hebron, is also the site of the Abraham's and Ishmael's circumcision."
--Architectural Foreskin Or Not
i agree, which is why the instant icon approach ie "Make Big Shiny Buildings With Holes In Them" is the way to go.
Aug 21, 07 12:28 pm ·
·
"Holy metabolic imagination, Batman!!!"
"Last night I watched the movie After Hours, and I think I recognized the couch in the Soho artist's loft. In fact, I'm pretty sure I sat in that very couch a number of times. Ron, wasn't that the couch that Jim D. gave you? Jim D. and I sat next to each other in fourth grade at St. Ambrose Catholic School (c.1966). We used to draw 'Batcaves' to entertain each other. Those long nonexistant drawings were probably the first building sections I ever drew. Anyone interested in buying some 'Batcave' drawing reenactments?"
--2002.01.27
As it turned out, I did sit in that couch on several occasions, just like they're doing.
Aug 21, 07 1:11 pm ·
·
Subject: Re: WTC Panoramas
Date: 2002.07.19 17:48
John wrote:
Some of the best coverage of WTC has been by those who are most distant from it, in the grand tradition of great art of disdainful simulacra. Anand aint bad at that Bollywooding of Hollywooding.
Steve (experimentally) adds:
But isn't it also true that India is a land full of continual ritual reenactments, as well as a land that has already been attacked, and indeed once substantially conquered by (fanatical?) Islamic expansionism?
Millions of people from India religiously step into the same Ganges all the time, while millions of people from all over the world religiously step into the same USA media flow all the time. Different wavelengths, but still big wavelengths all the same.
Over on the mis-guided ar e architects spiritual thread, some claim that architecture is a kind of religion for them. I had an insight into this yesterday when I heard a story on NPR about Catholic pilgrims crawling down a hundred-step stone staircase on their knees, bloodying themselves and pushing their physical/emotional limits in pursuit of their beliefs.
This is what we do in studio throughout school, right? Perhaps this is why so many architects claim architecture as a kind of religion. We did the physical penance, the suffered rite of passage, in school.
To: design-l
Subject: Re: the McMansion Effect ((space))
Date: 2003.10.05 14:47
To: design-l
Subjust: Re: test (poem?) by whomevers
Date: Sat, 17 Apr 1999 07:44:29
[architecture as interface comes with the architecture of schizophrenic interfacing...]
[buildings constantly move, doors can be windows, windows can be doors, stairs to Pilate are climbed annually on knees, walls may soon all talk, floors will mostly remain flat, ceilings with sprinklers are virtual skies that harbor emergency rain, roofs probably more than anything manifest architecture's shape, lights, camera, Africa, machines to create architecture with, furniture and painting as one, utilities that never fail (sic), plants, of course, grass gets high, sidewalk, siderun, sidecrawl, sidesit, sideroll-over, driveway complete with Jeep, garage sale as museum,..]
2003.10.05
..and then there's all the stuff that is now created and stored digitally, which sometimes gets put in digital museums.
Are the large homes and all their contents of today something like subliminal evocations of museums? "A man's home is his castle." And just look at how many actual castles and palaces are now actual museums.
"I want a McMuseum, hypersized."
Take a moment or two to count the 'collections' presently in your home.
[Could Quondam or Museumpeace get in the business of designing and executing museums for anyone that virtually wants one?]
joke from the early 1980s:
A: What comes after museum?
Q: pre-shrine
...and I just got back from the bi-weekly trip to the Russian-run produce mart within the strip mall at Bustleton Ave. and Red Lion Rd.
yahspch yahspch yahspch yahspch yahspch
da da da da da
Aug 22, 07 10:20 am ·
·
bah see vah
Aug 22, 07 10:22 am ·
·
Subject: memories of desire?
Date: 2000.11.13
I wanted to rent Paris, Texas, but it was out, so I rented Spetters and Ulysses' Gaze.
In watching Spetters (14 years since I last did so) I have to report the mistakes I made in my last post about that film. What's funny is the types of mistakes my memory made.
First of all the film's director's name is Verhoeven (not Vanderhoven). The boys are all 20 years old, (not teenagers). The farmer father does not chase his son on a tractor, rather pulls the "whore of Babylon's" Chevy Impala (I was right about that) out of a roadside ditch that the farmer's son stupidly backed into. The 'puritanical' farmer father does routinely beat his son, however (and the son has a definite sado-masochistic streak to him--he gets himself 'coiled up' in the 'sub-plot' within the under-construction subway).
Only two of the boys are amateur racers, while the farmer's son is an auto mechanic at the gas station.
And here's my favorite memory mistake: it is not extra long hotdogs that are the most popular item at the "whore's" luncheon business, rather it is 'croquettes' (or something spelled like that) which, unknown to the customers, are made of canned dog food. [Obviously serving the question, "is real fast food actually any better?"]
Overall, I was correct that Spetters is a nimiety of vehicles. It's like Two for the Road on multiple steriods.
After now being well re-acquinted with both films, what's really interesting is the difference the 1970s made. The change in 'style' From Two for the Road (1967) to Spetters (1980) is very noticable, and the fact that both films are 'vehicular' heightens the changes. There is one very weird coincidence between the two films, however. The stationwagon in Spetters is also driven by a family (husband, wife, a boy and a girl), and the hero of the film has his paralyzing motorcycle accident because the husband in the stationwagon throws a bag of orange peels out the car window while he's driving. Perhaps it really isn't odd that the stationwagon and the nuclear family come to represent conformity in both films, but they also come to represent the 'death' of the free (wheeling) spirit.
Alas, I finished watching Spetters and then began to watch Ulysses' Gaze (which I've never seen before but have the soundtrack of for two years now), and the pace went from 75 MPH to 5 MPH. I haven't finished watching the film yet, but it looks like one might be able to anaylyze the 'vehicles' in it as well. But it won't surprise me if the notion of "film" itself turns out to be Ulysses' Gaze's primary vehicle.
--QBVS2
John wrote:
After about 3 months of this continuing professional education I feel completed rejuvenated and proud to be an architect. There is nothing better in the whole wide world, never has been, never will be. I can't believe I get paid so handsomely for doing something I would gladly do for love. And my clients and co-workers are angels, just perfect.
and Steve adds:
Yes, it is a wonderful world we live in (and abuse, but who cares as long as one makes contributions to Museumpeace, or is it Greenpeace that you're supposed to send money to?), and my new co-workers at www. quondam. com are truly un-believable. There's being [FOG], so talented, so created, (err, I mean creative), a leading specialist in architectural vaporware; and Rita Novel, literate to the max, a walking encyclopedia on 1980s magazines (when and where the 21st century really began); and finally, ultimately, the incomparable Dick Hertz, designer of future fashion, author of The Theory Masturbation of Fashion, Even.
ps
Anyone here on the list read that new book entitled The Architecture of Nimiety: An Abundance of Redundance in Architectural Education, Theory and Practice? I heard conflicting reports that it is either exactly 197 words long, or 197 pages long, or 197 chapters long. One critic hailed it as "a monument to 'deja vu all over again', absolute proof that what comes around is usually what was missed the first few times it came around."
Dick Hertz, "Mutual Market Jerking" in The Architecture of Nimiety: An Abundance of Redundance in Architectural Education, Theory and Practice (Philadelphia: www. quondam. com, Winter 2001).
And on the notion of architecture as a religion, and given the sexual overtones throughout this thread, I began to wonder whether sex is a religion. And this morning I wondered if it was indeed sex that first sparked the idea of religion!
post...pick up some drugs at the market (but they didn't have the combination ground meat I wanted)...this post...breakfast and then off to take some flowers to the cemetery...
"...a shift into spontaneous mode,
a design mode rarely taught, and indeed most often severely denounced."
For what it's worth, what John just wrote, "Which is why some argue that reason is too slow to be useful any more. Intuition and insight are speedier, but not as fast as illogic and madness." describes perfectly my position regarding design, and even more so art.
...primarily because you continually apply the standards of the real world to the virtual world with what appears to be a non-investigation of those [other] qualities or standards the virtual [so far] evokes wholly on its own. My leaning toward virtual extremism is at the same time a search for some "purism" within the virtual. I don't want the virtual to merely become a reflection of the real, and that is precisely because it seems that we are actually lucky enough to be living at a time when the whole notion of a virtual realm is becoming a viable other realm--a wonderful time when it is truly possible to begin delivering something that is above all NOT more of the same [o. s.].
John, as always, the flow/current/wave pattern of your emitted thoughts carry good highs and lows, provoking aboves and belows, and, this time at least, a co[s]mic ending[?]. (btw, I assume your quandom = my quondam.) Here's one of my favorite anecdotes relative to humor--Roland Barthes in his book entitled S/Z labels laughter as the highest, most effective form of castration. ha ha ha! OUCH ha ha ha! ha ha ha! OUCH OUCH OUCH Perhaps while you guys and some "others" work on electromagnetic architectures, I'll start working on a new thesis--castration architectures--beginning with a chapter called "concise history of the ballroom" and ending with a chapter called "she who laughs last at the sperm bank".
...see where architecture in cyberspace? will take you!
my creative juices dont start to flow until 8pm...till 6amish
b
I'm reading a book about the brain and happiness right now: Stumbling on Happiness.
The author talks about how our brains developed: one of the very first parts of the brain was the development of the ability to protect ourselves: to determine whether, in a given situation, we should flee or not. Later, as the brain evolved, came the ability to not only spontaneously react to a given situation, but to *almost* simultaneously identify the thing we were fleeing or not fleeing from.
Example from the book: While walking in the woods, we see a wolf. Our brain immediately recognizes that sharp teeth, large size, angry wildness signifies something from which we should flee. A millisecond later, our brain says "That's a wolf!!!!" By then we are luckily already running away.
So saying that reason is "slow" may be correct, but isn't saying that it's "too slow to be useful" really a regression of our evolution? Should we try to throw out our ability to identify why we should react a certain way in order to simply react? Sounds chaotic to me.
Anyone out there read Blink and like to make a comparison? I think Steven has...
is not the same thing as reason. To start with, instinct is much quicker.
"Should architectural education begin teaching students how to design buildings that generate publicity? Of course, that includes doing a building correctly in terms of structure and function, however, getting publicity appears to be a new and already prevalent user demand that requires compliance as well. And isn't it common sense for architects to supply what the client asks for?
Then again, it really isn't the architecture or architect that generate the publicity. Rather, it is the advertisement driven publicity/news 'machine'."
"My feeling has been all along, however, that architects and architecture are well capable of generating their own publicity, but professional 'decorum' has for the most part made that attitude an ethically and aesthetically wrong position for architects to take. This 'wrongness' is really just a fabrication, an artificial restraint, and, as always, it is precisely at these artificial points where 'institutions' are the weakest, where the decay happens, where things begin to fall apart. I wholeheartedly advocate architects to embrace publicity as a new, additional ingredient that makes good architecture, the same as firmness, commodity, and delight make good architecture. Furthermore, I hope it takes less than twenty years for architects to begin creating and directing web sites that are just the same as television channels."
What were you doing January 23rd 2001? Blinking?
most architecture firms of any size have marketing departments. this, of course, doesnt mean that the marketing efforts they employ are creative or effective.
Marketing an architectural firm and designing to generating publicity are not the same thing.
"Thus the city repeats its life, identical, shifting up and down on its empty chessboard. The inhabitants repeat the same scenes, with the actors changed; they repeat the same speeches with variously combined accents; they open alternative mouths in identical yawns. Alone, among all the cities of the empire, Eutropia remains always the same. Mercury, god of the fickle, to whom the city is sacred, worked this ambiguous miracle."
--Invisible ______
"It seems that Mamre, the place of settlement and burial of Abraham, within today's Hebron, is also the site of the Abraham's and Ishmael's circumcision."
--Architectural Foreskin Or Not
Drawings! Find the drawing! Now!
i agree, which is why the instant icon approach ie "Make Big Shiny Buildings With Holes In Them" is the way to go.
"Holy metabolic imagination, Batman!!!"
"Last night I watched the movie After Hours, and I think I recognized the couch in the Soho artist's loft. In fact, I'm pretty sure I sat in that very couch a number of times. Ron, wasn't that the couch that Jim D. gave you? Jim D. and I sat next to each other in fourth grade at St. Ambrose Catholic School (c.1966). We used to draw 'Batcaves' to entertain each other. Those long nonexistant drawings were probably the first building sections I ever drew. Anyone interested in buying some 'Batcave' drawing reenactments?"
--2002.01.27
As it turned out, I did sit in that couch on several occasions, just like they're doing.
Subject: Re: WTC Panoramas
Date: 2002.07.19 17:48
John wrote:
Some of the best coverage of WTC has been by those who are most distant from it, in the grand tradition of great art of disdainful simulacra. Anand aint bad at that Bollywooding of Hollywooding.
Steve (experimentally) adds:
But isn't it also true that India is a land full of continual ritual reenactments, as well as a land that has already been attacked, and indeed once substantially conquered by (fanatical?) Islamic expansionism?
Millions of people from India religiously step into the same Ganges all the time, while millions of people from all over the world religiously step into the same USA media flow all the time. Different wavelengths, but still big wavelengths all the same.
Over on the mis-guided ar e architects spiritual thread, some claim that architecture is a kind of religion for them. I had an insight into this yesterday when I heard a story on NPR about Catholic pilgrims crawling down a hundred-step stone staircase on their knees, bloodying themselves and pushing their physical/emotional limits in pursuit of their beliefs.
This is what we do in studio throughout school, right? Perhaps this is why so many architects claim architecture as a kind of religion. We did the physical penance, the suffered rite of passage, in school.
To: design-l
Subject: Re: the McMansion Effect ((space))
Date: 2003.10.05 14:47
To: design-l
Subjust: Re: test (poem?) by whomevers
Date: Sat, 17 Apr 1999 07:44:29
[architecture as interface comes with the architecture of schizophrenic interfacing...]
[buildings constantly move, doors can be windows, windows can be doors, stairs to Pilate are climbed annually on knees, walls may soon all talk, floors will mostly remain flat, ceilings with sprinklers are virtual skies that harbor emergency rain, roofs probably more than anything manifest architecture's shape, lights, camera, Africa, machines to create architecture with, furniture and painting as one, utilities that never fail (sic), plants, of course, grass gets high, sidewalk, siderun, sidecrawl, sidesit, sideroll-over, driveway complete with Jeep, garage sale as museum,..]
2003.10.05
..and then there's all the stuff that is now created and stored digitally, which sometimes gets put in digital museums.
Are the large homes and all their contents of today something like subliminal evocations of museums? "A man's home is his castle." And just look at how many actual castles and palaces are now actual museums.
"I want a McMuseum, hypersized."
Take a moment or two to count the 'collections' presently in your home.
[Could Quondam or Museumpeace get in the business of designing and executing museums for anyone that virtually wants one?]
joke from the early 1980s:
A: What comes after museum?
Q: pre-shrine
a little quondam history of the steps
Thank you for that, supernal.
...and I just got back from the bi-weekly trip to the Russian-run produce mart within the strip mall at Bustleton Ave. and Red Lion Rd.
yahspch yahspch yahspch yahspch yahspch
da da da da da
bah see vah
Subject: memories of desire?
Date: 2000.11.13
I wanted to rent Paris, Texas, but it was out, so I rented Spetters and Ulysses' Gaze.
In watching Spetters (14 years since I last did so) I have to report the mistakes I made in my last post about that film. What's funny is the types of mistakes my memory made.
First of all the film's director's name is Verhoeven (not Vanderhoven). The boys are all 20 years old, (not teenagers). The farmer father does not chase his son on a tractor, rather pulls the "whore of Babylon's" Chevy Impala (I was right about that) out of a roadside ditch that the farmer's son stupidly backed into. The 'puritanical' farmer father does routinely beat his son, however (and the son has a definite sado-masochistic streak to him--he gets himself 'coiled up' in the 'sub-plot' within the under-construction subway).
Only two of the boys are amateur racers, while the farmer's son is an auto mechanic at the gas station.
And here's my favorite memory mistake: it is not extra long hotdogs that are the most popular item at the "whore's" luncheon business, rather it is 'croquettes' (or something spelled like that) which, unknown to the customers, are made of canned dog food. [Obviously serving the question, "is real fast food actually any better?"]
Overall, I was correct that Spetters is a nimiety of vehicles. It's like Two for the Road on multiple steriods.
After now being well re-acquinted with both films, what's really interesting is the difference the 1970s made. The change in 'style' From Two for the Road (1967) to Spetters (1980) is very noticable, and the fact that both films are 'vehicular' heightens the changes. There is one very weird coincidence between the two films, however. The stationwagon in Spetters is also driven by a family (husband, wife, a boy and a girl), and the hero of the film has his paralyzing motorcycle accident because the husband in the stationwagon throws a bag of orange peels out the car window while he's driving. Perhaps it really isn't odd that the stationwagon and the nuclear family come to represent conformity in both films, but they also come to represent the 'death' of the free (wheeling) spirit.
Alas, I finished watching Spetters and then began to watch Ulysses' Gaze (which I've never seen before but have the soundtrack of for two years now), and the pace went from 75 MPH to 5 MPH. I haven't finished watching the film yet, but it looks like one might be able to anaylyze the 'vehicles' in it as well. But it won't surprise me if the notion of "film" itself turns out to be Ulysses' Gaze's primary vehicle.
--QBVS2
Subject: Re: PBL Knowledge
Date: Fri, 1 Sep 2000 12:51:48 -0400
John wrote:
After about 3 months of this continuing professional education I feel completed rejuvenated and proud to be an architect. There is nothing better in the whole wide world, never has been, never will be. I can't believe I get paid so handsomely for doing something I would gladly do for love. And my clients and co-workers are angels, just perfect.
and Steve adds:
Yes, it is a wonderful world we live in (and abuse, but who cares as long as one makes contributions to Museumpeace, or is it Greenpeace that you're supposed to send money to?), and my new co-workers at www. quondam. com are truly un-believable. There's being [FOG], so talented, so created, (err, I mean creative), a leading specialist in architectural vaporware; and Rita Novel, literate to the max, a walking encyclopedia on 1980s magazines (when and where the 21st century really began); and finally, ultimately, the incomparable Dick Hertz, designer of future fashion, author of The Theory Masturbation of Fashion, Even.
ps
Anyone here on the list read that new book entitled The Architecture of Nimiety: An Abundance of Redundance in Architectural Education, Theory and Practice? I heard conflicting reports that it is either exactly 197 words long, or 197 pages long, or 197 chapters long. One critic hailed it as "a monument to 'deja vu all over again', absolute proof that what comes around is usually what was missed the first few times it came around."
Subject: Re: market
Date: Sun, 17 Sep 2000 13:23:56 -0400
Dick Hertz, "Mutual Market Jerking" in The Architecture of Nimiety: An Abundance of Redundance in Architectural Education, Theory and Practice (Philadelphia: www. quondam. com, Winter 2001).
Do I smell a forthcoming second edition?
I think that's what is going on between BP and U.S. Representatives Pete Vislcosky, D-Ind., and Judy Biggert, R-Ill.
Excellent sense of smell, lb.
And on the notion of architecture as a religion, and given the sexual overtones throughout this thread, I began to wonder whether sex is a religion. And this morning I wondered if it was indeed sex that first sparked the idea of religion!
post...pick up some drugs at the market (but they didn't have the combination ground meat I wanted)...this post...breakfast and then off to take some flowers to the cemetery...
What is that Viennese building anyway?
I feel like I should know that Viennese building, but it's just auf der Spitze meiner Zunge.
Excuse me, I'm going to go "seek god"....
Block this user
Are you sure you want to block this user and hide all related comments throughout the site?
Archinect
This is your first comment on Archinect. Your comment will be visible once approved.