More, of course, contributed to the confusion both by writing to Erasmus on September 3, 1516, "I'm sending you my nowhere, which is nowhere well written" and including a prefatory poem that points out, "The Ancients called me Utopia or Nowhere because of my isolation. . . . Deservedly ought I to be called by the name of Eutopia or Happy Land."
After including the double into the story, Dostoevsky cleverly reduplicates the plots. Golyadkin generously befriends the lonely and impoverished double, who narrates a story remarkably similar to the one Golyadkin himself had told in the beginning. Moved by his namesakes plight, Golyadkin bestows the patronage upon the younger man that he has also been seeking. Soon, however, the double usurps Golyadkin's position at work, ingradiates himself with his employers, and besmirches his reputation. The imposter seems at once virtuous and sinister, achieving the success Golyadkin has been pursuing vainly.
He is a cosmic scapegoat in being the first to die in their little community.
Jul 14, 09 11:30 am
...the Athenian master craftsman and inventor, Daedalus, was given a commission by King Minos of Crete to build a labyrinth, a prison for the man-bull monster, the Minotaur. Later, Minos imprisoned Daedalus and his son, Icarus, in the labyrinth. The two escaped on wings made by Daedalus of wax and feathers, but Icarus flies too close to the sun, his wings melt, and he falls into the sea.
"So an afterlife does not exist for us per se, but instead an afterlife occurs for that which exists between us. When an alien civilization eventually bumps into Earth, they will immediately be able to understand what humans were about, because what will remain is the network of relationships: who loved whom, who competed, who cheated, who laughed together over road trips and holiday dinners. Each person's ties to bosses, brothers, and lovers are etched into the electronic communiqués. The death switches simulate the society so completely that the entire social network is reconstructable. The planet's memories survive in zeros and ones." from "Death Switch"
Don't underestimate the oblivion of a deleted archive, however.
2000.01.03:
PD writes:
What about the notion of life? In order to call a composition as a work of architecture there must be a life in it. A life around it does not make it architecture, I think. The composition must embrace a life style, must be an accompaniment of a life style but not be the focus of it. The objects which are for perception only, cannot be called architecture. They are called sculpture.
SL replies:
What PD writes comes across as very true as a reasonably way to approach "what is architecture?" as opposed "what is sculpture?" And for the most part I agree with the notion that architecture accommodates life. So I then ask if this 'definition' must be broadened to include all built forms that once accompanied life and a life style, but over time have come to no longer do so. I am thinking of ancient ruins, be they Stonehenge, the Pyramids, the Parthenon, the cave temples of India, etc. These are commonly referred to as examples of architecture, yet today they are clearly "objects which are for perception only." Have these architectures become architecture/sculpture hybrids? Furthermore, no one now lives in Le Corbusier's Villa Savoye, nor, it might be argued, does the life style around which the Villa Savoye was designed to accompany now exist. Is the Villa Savoye a master work of modern architecture that is now an "object which is for perception only?" Or is it merely that the 'life style" the Villa Savoye now accompanies is one where great buildings (if they're lucky) become cultural shrines, where the buildings now accommodate our 'perceptual worship'?
How much of life is really spent in perceptual worship?
"Meanwhile, the question posed in 1918 by the Hermitage's first commissar and futurist Nikolai Punin, "Is a Museum a Shrine or a Factory?" is yet to be answered." from Content
Aug 2, 09 2:34 pm ·
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inspiring Maya Linked Hybrid edge
More, of course, contributed to the confusion both by writing to Erasmus on September 3, 1516, "I'm sending you my nowhere, which is nowhere well written" and including a prefatory poem that points out, "The Ancients called me Utopia or Nowhere because of my isolation. . . . Deservedly ought I to be called by the name of Eutopia or Happy Land."
After including the double into the story, Dostoevsky cleverly reduplicates the plots. Golyadkin generously befriends the lonely and impoverished double, who narrates a story remarkably similar to the one Golyadkin himself had told in the beginning. Moved by his namesakes plight, Golyadkin bestows the patronage upon the younger man that he has also been seeking. Soon, however, the double usurps Golyadkin's position at work, ingradiates himself with his employers, and besmirches his reputation. The imposter seems at once virtuous and sinister, achieving the success Golyadkin has been pursuing vainly.
He is a cosmic scapegoat in being the first to die in their little community.
...the Athenian master craftsman and inventor, Daedalus, was given a commission by King Minos of Crete to build a labyrinth, a prison for the man-bull monster, the Minotaur. Later, Minos imprisoned Daedalus and his son, Icarus, in the labyrinth. The two escaped on wings made by Daedalus of wax and feathers, but Icarus flies too close to the sun, his wings melt, and he falls into the sea.
remembering "journey motifs"
then what does this has to do with lambert & blinn in Maya?
its not their fault that u feel lost^^
"So an afterlife does not exist for us per se, but instead an afterlife occurs for that which exists between us. When an alien civilization eventually bumps into Earth, they will immediately be able to understand what humans were about, because what will remain is the network of relationships: who loved whom, who competed, who cheated, who laughed together over road trips and holiday dinners. Each person's ties to bosses, brothers, and lovers are etched into the electronic communiqués. The death switches simulate the society so completely that the entire social network is reconstructable. The planet's memories survive in zeros and ones."
from "Death Switch"
Don't underestimate the oblivion of a deleted archive, however.
2000.01.03:
PD writes:
What about the notion of life? In order to call a composition as a work of architecture there must be a life in it. A life around it does not make it architecture, I think. The composition must embrace a life style, must be an accompaniment of a life style but not be the focus of it. The objects which are for perception only, cannot be called architecture. They are called sculpture.
SL replies:
What PD writes comes across as very true as a reasonably way to approach "what is architecture?" as opposed "what is sculpture?" And for the most part I agree with the notion that architecture accommodates life. So I then ask if this 'definition' must be broadened to include all built forms that once accompanied life and a life style, but over time have come to no longer do so. I am thinking of ancient ruins, be they Stonehenge, the Pyramids, the Parthenon, the cave temples of India, etc. These are commonly referred to as examples of architecture, yet today they are clearly "objects which are for perception only." Have these architectures become architecture/sculpture hybrids? Furthermore, no one now lives in Le Corbusier's Villa Savoye, nor, it might be argued, does the life style around which the Villa Savoye was designed to accompany now exist. Is the Villa Savoye a master work of modern architecture that is now an "object which is for perception only?" Or is it merely that the 'life style" the Villa Savoye now accompanies is one where great buildings (if they're lucky) become cultural shrines, where the buildings now accommodate our 'perceptual worship'?
How much of life is really spent in perceptual worship?
"Meanwhile, the question posed in 1918 by the Hermitage's first commissar and futurist Nikolai Punin, "Is a Museum a Shrine or a Factory?" is yet to be answered."
from Content
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