29 de octubre de 2014
My brother and my sister...Don't speak to me; but I don't blame them. I don't blame them.
My brother and my sister...Don't speak to me; but I don't blame them. I don't blame them.
My brother and my sister...Don't speak to me; but I don't blame them. I don't blame them.
[Blake]
My brother is nonexistent...Don't speak to me; but I don't blame them. I don't blame them.
My brother is nonexistent...Don't speak to me; but I don't blame them. I don't blame them.
My brother is nonexistent...Don't speak to me; but I don't blame them. I don't blame them.
[Blake]
My brother's nonexistent...go cross on me; but I don't lame them. I don't lame them.
My brother's nonexistent...go cross on me; but I don't lame them. I don't lame them.
My brother's nonexistent...go cross on me; but I don't lame them. I don't lame them.
[Blake]
May be this is too anticlimactic to go on. Bur I have just read Radical Cities and I feel exasperated. I have been hoping for a bright future of cohesion...Reality is no such.
Yes, there's the mess, and cohesion is discourse based. To talk is not to walk, as it is not to.
Begin and being waiting, is a situation in which you would like not to be. It is true that I was been lied, and sold a paradigm of masculinity to hike the mountain of glory. As it very clearly says in risk assessment forms; which is the highest risk? Climbing and finding your calamities.
Poetry is long dead, as long as the population finds no refuge in words, and yet words can construct the biggest lies. As Latour would have said, or so I believe, is that one of the biggest tasks of humanity is to remember itself that it has never existed, but that its a construct to itself. We have brave people ready to relinquish their present in favor of a brighter future...But what happens when the light has run out of power. Light will be then one of the most extraordinary moments to witness.
I believe not in Pain. And yet I am full of bleeding wounds. It is important to state that we live in no vacuum, still, we believe in the self-made man.
There's a limit to your love...
[Blake]
If this is a stream of consciousness, I have to admit that it flows. I would like to believe that the riverbed is no mold, and that as water I can run free. Delusion.
I also have to admit that I wanted to believe that the men in the corner would give me their hand in case I needed help. Cynical.
I found they stepped on me with their bike, threatening me to flatten me into a two dimensional plane of shame. I must say I want not to become a pane. Alvaro is left the Country
[Can I have a break here?]
I can understand no longer what Blake is saying in this song...
Maybe you wanted to restore to OkCupid to avoid socio-economical determinism. You have then given yourself to algorithmic determinism. And it works. You might now praise your newfound reality. I have for so, no condoms left.
late.
Just before I got lost you said, I have constantly overstepped never be on the wall. On the back of the cartoon closer, and the blue TV skin. I drove to CanadaaAAAAA. Your face gets twice, Holy Wineee! You can drink a case of you darling, I would still be on my feet. I'm lonely painter, along a box of paints...Devil
[Blake]
Maybe it's no easy to write in this state of mind. But its difficult not to confound the song and reality. There might be there no binary. Difficult task to undo oneself. To recover the child deep inside. The cavernous past has long runaways which is difficult to trial. I have for so, no words.
I like Cage's idea, that reality might speak for myself. But then, as the right-wing-on-top-of-the-game might wonder as to why the dissolution of the self. I have for so no answer. I cannot vocalize reality in a way that is both satisfactory and appealing. It is for so a form of Art-Tis-Try. A new brand of skin sensitive cosmetics. But how then, avoid the space of corporate life.
Please fold down...For the cos-s-s-s-down. Press in you testion-down. To be hold. Please. Crease your praise, tell him lies. That you are not on your own...OOhh watching this. Faith in pray. I see yoursmmm.
[Blake]
end of music.
I wouldn't go as far as to say that this borrows anything from Jane Rendell's Golden/Helvetica speech, I am not even claiming there was one. All that I was hoping to say, has been rightfully so, been said.
xoxo
18 de octubre de 2014
Reimagining architectural audiences
You might be thinking then; what does it mean to reimagine the audiences of architecture?
My first feeling is that there is a consumerist logic to it. Meaning, there is a product, and an audience for it. Instead I would like to think of the audience as the inhabiting body, that circulates within. We are still in a problematic relationship, since the audience might not be experiencing an architecture, a space or a structure. We have to conclude that audience sits very close to spectatorship, and therefore eyes consume an architecture, space or a structure visually. It is roughly speaking, a consumption of data for the creation of new sensibilities, or expansion of awareness. Your environment is in fact designed, regulated and administered, which might not sound like a novelty, but the fact that you might be able to intervene opens new avenues of action, and creativity.
This act of opening up is what addresses the idea of imagination, and is subsequent reimagination. For so we need a present situation (now) and a projected (near) future. It is a projective activity that reworks the existing critically...and ups! I have accidentally dropped the word critical. I will define this word as the ability of the analysis of the existing (performed by individual(s) to perform changes that are perceived and thought to be for the better. This I cannot further explain here, so I will continue with architecture.
Architecture meaning, the inhabitation or use of space and the implications steaming from this use. This again I cannot explain further here.
There is one primordial factor missing here, which underlays my thinking and the posing of this question. (1) Is that this audience has the potential of becoming a participant in the creation and the establishing of this sensitivity. (2) Is that these transformations, when I talk audience, imply a sense of collectivity. I would love to delve into the differences between a Collective and a Multitude. But I would set for Collective for now. (3) Is that this permutating mode of sensitivity, means that it gets altered by the collective action of its components (i.e. individuals). This permutation of the self through collective means is what I would call subjectivation, which is by no means my thinking (refer to Deleuze or Virno or any writer that deals with psychoanalysis). (4) Last but not least, the implementation of a space that allows for these readings to evolve, means that if the location of this space manages to gather people from different backgrounds, and perspectives, the space widening its user base, the audience would not be only the architect, the scholar, the historian, but rather the pedestrian. What would happen then if these subjects face each other, for the creation of new discursive modes, or paths of exploration, on a collective mode?
17 de octubre de 2014
Sex 13 de octubre de 2014
I am currently working in the development of a piece of writing about What does to practice architecture critically mean. For so I am currently undergoing a literature review*, in which I explore the interpretations of the word critical in conceiving this aspect as a defining element in design-led work, which not necessarily follows the patronage model, i.e. A private client approaching a service provider; the Architect, but examples in which the idea of a critical practice enables new modes of operation within the discipline of architecture in relation to new audiences, or forms of patronage.
*(What is a literature review?The aim of a literature review is to show your reader that you have read, and have a good grasp of, the main published work concerning a particular topic or question in your field.)
