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Space Time Play

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Have you ever wondered what’s behind a perfect Tetris-wall?
Have you ever freed a 3D world from terrorists?
Have you ever made polygon friends in networked fantasy realms?
And do you know what happens when these games never end?

The richly illustrated texts in “Space Time Play” cover a wide range of gamespaces: from milestone video and computer games to virtual metropolises to digitally-overlaid physical spaces. As a comprehensive and interdisciplinary compendium, “Space Time Play” explores the architectural history of computer games and the future of ludic space. More than 140 experts from game studies and the game industry, from architecture and urban planning, have contributed essays, game reviews and interviews. The games examined range from commercial products to artistic projects and from scientific experiments to spatial design and planning tools.

“Space Time Play” is not just meant for architects, designers and gamers, but for all those who take an interest in the culture of digital games and the spaces within and modeled after them. Let’s play!

Written by Luca

June 14th, 2008 at 9:07 am

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Atlas of Radical Cartography

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An Atlas of Radical Cartography
Edited by Lize Mogel and Alexis Bhagat
Published by the Journal of Aesthetics & Protest Press

Purchase online at www.joaap.org
An Atlas of Radical Cartography is a collection of 10 maps and 10 essays about social issues from globalization to garbage; surveillance to extraordinary rendition; statelessness to visibility; deportation to migration. It pairs artists, architects, and designers with writers to address the role of the map as a political agent. An Atlas of Radical Cartography makes an important contribution to a growing cultural movement that traverses the boundaries between art, cartography, geography and activism.

Maps by:
An Architektur | the Center for Urban Pedagogy (CUP) | Ashley Hunt | Institute for Applied Autonomy | Pedro Lasch | Lize Mogel | Trevor Paglen & John Emerson | Brooke Singer | Jane Tsong | Unnayan

Essays by:

Kolya Abramsky | Sebastian Cobarrubias & Maribel Casas-Cortes | Alejandro De Acosta | Avery F. Gordon | Institute for Applied Autonomy | Sarah Lewison | Jenny Price, Ellen Sollod, D.J. Waldie, Paul Kibel | Heather Rogers | Jai Sen | Visible Collective & Trevor Paglen

This beautiful boxed set containing ten unbound 17²x22² maps and a 160-page book of essays is immediately available from the Journal of Aesthetics and Protest Press @ www.joaap.org.
It is available to bookstores worldwide in January 2008 through Distributed Art Publishers (DAP) @ www.artbook.com.

Written by Luca

January 17th, 2008 at 3:33 pm

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Simone de Beauvoir (1908-1986) on “The Second Sex – 25 years later”

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French philosopher, novelist, and essayist, Simone de Beauvoir was born 100 years ago.

Her work “The Second Sex “was originally published as a two-volume book in France. “It was begun in October it 946 and finished in June 1949; but I spent four months of 1947 in America, and America Day by Day kept me busy for six months”. Quickly published in America to the bad translation by Howard Parshley, (basic familiarity with the French language, and a minimal understanding of philosophy) much of Beauvoir’s book was mistranslated, cut, distorting much of her intended message.

To understand better her revolutionary understanding and exploring the womanhood , excerpts from John Gerassi Interview The Second Sex 25 years later of 1976, follow:

Gerassi. It’s now about twenty-five years since The Second Sex was published. Many people, especially in America, consider it the beginning of the contemporary feminist movement. Would you …

Beauvoir. I don’t think so. The current feminist movement, which really started about five or six years ago, did not really know the book. Then, as the movement grew, some of the leaders took from it some of their theoretical basis. But The Second Sex in no way launched the feminist movement. Most of the women who became very active in the movement were much too young in 1949-50, when the book came out, to be influenced by it. What pleases me, of course, is that they did discover it later. Sure, some of the older women – Betty Friedan, for example, who dedicated The Feminine Mystique to me – had read it and were perhaps influenced by it somewhat. But others, not at all. Kate Millet, for example, does not cite me a single time in her work. They may have become feminists for the reasons I explain in The Second Sex; but they discovered those reasons in their life experiences, not in my book.

***

In writing The Second Sex I became aware, for the first time, that I myself was leading a false life, or rather, that I was profiting from this male-oriented society without even knowing it. What had happened is that quite early in my life I had accepted the male values, and was living accordingly. Of course, I was quite successful, and that reinforced in me the belief that man and woman could be equal if the woman wanted such equality. In other words, I was an intellectual. I had the luck to come from a sector of society, the bourgeoisie, which could afford not only to send me to the best schools but also to allow me to play leisurely with ideas. Because of that I managed to enter the man’s world without too much difficulty. I showed that I could discuss philosophy, art, literature, etc., on “man’s level.” I kept whatever was particular to womanhood to myself. I was then reinforced by my success to continue. As I did, I saw I could earn as good a living as any male intellectual and that I was taken as seriously as any of my male peers. Being who I was, I then found that I could travel by myself if I wanted to, that I could sit in cafés and write and be as respected as any male writer, and so on. Each stage fortified my sense of independence and equality. It became, therefore, very easy for me to forget that a secretary could in no way enjoy the same privileges. She could not sit in a café and read a book without being molested. She was rarely invited to parties for “her mind.” She could not establish credit or own property. I could. More importantly still, I tended to scorn the kind of woman who felt incapable, financially or spiritually, to show her independence from men. In effect, I was thinking, without even saying it to myself, “if I can, so can they.” In researching and writing The Second Sex I did come to realize that my privileges were the result of my having abdicated, in some crucial respects at least, my womanhood. If we put it in class economic terms, you would understand it easily: I had become a class collaborationist. Well, I was sort of the equivalent in terms of the sex struggle. Through The Second Sex I became aware of the struggle needed. I understood that the vast majority of women simply did not have the choices that I had had, that women are, in fact, defined and treated as a second sex by a male-oriented society whose structure would totally collapse if that orientation was genuinely destroyed. But like economically and politically dominated peoples anywhere, it is very hard and very slow for rebellion to develop. First, such peoples have to become aware of that domination. Then they have to believe in their own strength to change it. Those who profit from their “collaboration” have to understand the nature of their betrayal. And finally, those who have the most to lose from taking a stand, that is, women like me who have carved out a successful sinecure or career, have to be willing to risk insecurity – be it merely ridicule – in order to gain self-respect. And they have to understand that those of their sisters who are most exploited will be the last to join them. A worker’s wife, for example, is least free to join the movement. She knows that her husband is more exploited than most feminist leaders and that he depends on her role as the housewife-mother to survive himself. Anyway, for all these reasons, women did not move. Oh yes, there were some very nice, very wise little movements which struggled for political promotions, for women’s participation in politics, in government. I could not relate to such groups. Then came 1968, and everything changed. I know that some important events happened before that. Betty Friedan’s book for one, was published before ’68. In fact, the American women were well on the move by then. They, more than any other women, and for obvious reasons, were most aware of the contradictions between the new technology and the conservative role of keeping women in the kitchen. As technology expands – technology being the power of the brain and not of the brawn – the male rationale that women are the weaker sex and hence must play a secondary role can no longer be logically maintained. Since technological innovations were so widespread in America, American women could not escape the contradictions. It was thus normal that the feminist movement got its biggest impetus in the very heartland of imperial capitalism, even if that impetus was strictly one of economics, that is, the demand for equal pay for equal work. But it was within the anti-imperialist movement itself that real feminist consciousness developed. Whether in the anti-Vietnam War movement in America or in the aftermath of the 1968 rebellion in France and other European countries, women began to feel their power. Having understood that capitalism leads necessarily to domination of poor peoples all over the world, masses of women began to join the class struggle – even if they did not accept the term “class struggle.” They became activists. They joined the marches, the demonstrations, the campaigns, the underground groups, the militant left. They fought, as much as any man, for a nonexploiting, nonalienating future. But what happened? In the groups or organizations they joined, they discovered that they were just as much a second sex as in the society they wanted to overturn. Here in France, and I dare say in America just as much, they found that the leaders were always the men. Women became the typists, the coffee-makers of these pseudorevolutionary groups. Well, I shouldn’t say pseudo. Many of the movement’s male “heavies” were genuine revolutionaries. But trained, raised, molded in a male-oriented society, these revolutionaries brought that orientation to the movement as well. Understandably, such men were not voluntarily going to relinquish that orientation, just as the bourgeois class isn’t going to voluntarily relinquish its power. So, just as it is up to the poor to take away the power of the rich, so it is up to women to take away power from the men. And that doesn’t mean dominate men in turn. It means establish equality. As socialism, true socialism, establishes economic equality among all peoples, the feminist movement learned it had to establish equality between the sexes by taking power away from the ruling class within the movement, that is, from men. Put another way: once inside the class struggle, women understood that the class struggle did not eliminate the sex struggle. It’s at that point that I myself became aware of what I have just said. Before that I was convinced that equality of the sexes can only be possible once capitalism is destroyed and therefore – and it’s this “therefore” which is the fallacy – we must first fight the class struggle. It is true that equality of the sexes is impossible under capitalism. If all women work as much as men, what will happen to those institutions on which capitalism depends, such institutions as churches, marriage, armies, and the millions of factories, shops, stores, etc.. which are dependent on piece work, part-time work. and cheap labor? But it is not true that a socialist revolution necessarily establishes sexual equality. Just look at Soviet Russia or Czechoslovakia, where (even if we are willing to call those countries “socialist”, which I am not) there is a profound confusion between emancipation of the proletariat and emancipation of women. Somehow, the proletariat always end up being made up of men. The patriarchal values have remained intact there as well as here. And that – this consciousness among women that the class struggle does not embody the sex struggle – is what is new. Yet most women in the struggle know that now. That’s the greatest achievement of the feminist movement. It’s one which will alter history in the years to come.

***

Women on the right do not want revolution. They are mothers, wives, devoted to their men. Or, if they are agitators at all, they want a bigger piece of the pie. They want to earn more, elect more women to parliaments, see a woman become president. They fundamentally believe in inequality, except they want to be on top rather than on the bottom. But they will fit fine into the system as it is or as it will change a bit to accommodate such demands. Capitalism can certainly afford to allow women to join an army, allow women to join a police force. Capitalism is certainly intelligent enough to let more women join the government. Pseudosocialism can certainly allow a woman to become secretary-general of its party. Those are just reforms, like social security or paid vacations. Did the institutionalization of paid vacations change the inequality of capitalism? Did the right of women to work in factories at equal pay to the men change the male orientation of the Czech society? But to change the whole value system of either society, to destroy the concept of motherhood: that is revolutionary.

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A feminist, whether she calls herself leftist or not, is a leftist by definition. She is struggling for total equality, for the right to be as important, as relevant, as any man. Therefore, embodied in her revolt for sexual equality is the demand for class equality. In a society where the male can be the mother, where, say, to push the argument on values so it becomes clear, the so-called “female intuition” is as important as the “male’s knowledge” – to use today’s absurd language – where to be gentle or soft is better than to be hard and tough, in other words, in a society where each person’s experiences are equivalent to any other, you have automatically set up equality, which means economic and political equality and much more. Thus, the sex struggle embodies the class struggle, but the class struggle does not embody the sex struggle. Feminists are, therefore, genuine leftists. In fact, they are to the left of what we now traditionally call the political left.

***

The struggle is just beginning, and in the early phases it makes life much harder. Because of the publicity the word “liberation” is on the tip of the tongue of every male, whether aware of sexual oppression of women or not. The general attitude of males now is that “well, since you’re liberated. Let’s go to bed.” In other words, men are now much more aggressive, vulgar, violent. In my youth we could stroll down Montparnasse or sit in cafés without being molested. Oh, we got smiles, winks, stares, and so on. But now it’s impossible for a woman to sit alone in a café reading a book. And if she’s firm about being left alone when the males accost her, their parting remark is most often salope [bitch] or putain [whore].
There’s much much more rape now. In general, male aggressiveness and hostility has become so common that no woman feels at ease in this town, and from what I hear in any town in America. Unless, of course, women stay at home. And that’s what lies behind this male aggressiveness: the threat which, in male eyes, women’s liberation represents has brought out their insecurity, hence their anger resulting that they now tend to behave as if only women who stay at home are “clean” while the others are easy marks. When women turn out not to be such easy marks, the men become personally challenged, so to speak. Their one idea is to “get” the woman.

***

Intellectual women, young women who are willing to risk marginalization, the daughters of the rich when they are willing and capable to discard their parents’ value system: these women, yes, are freer. That is, because of their education, life-style, or financial resources, such women can withdraw from the harsh competitive society, live in communes or on the fringes, and develop relations with other similar women or men sensitive to their problems and feel freer. In other words, as individuals, women who can afford it for whatever reason can feel freer. But as a class women certainly are not freer, precisely because, as you say, they do not have economic power. There are all sorts of statistics these days to prove that the number of women lawyers, politicians, doctors, advertising executives, etc., is increasing. But such statistics are misleading. The number of powerful women lawyers and executives is not. How many women lawyers can pick up a phone and call a judge or government official to fix anything or demand special favors? Such women must always operate through established male equivalents. Women doctors? How many are surgeons, hospital directors? Women in government? Yes, a few, tokens. In France we have two. One, serious, hardworking, Simone Weil, is Minister of Health. The other, Françoise Giroud, who is the Minister in charge of women is strictly a showpiece, meant to placate bourgeois women’s needs for integration into the system. But how many women control Senate appropriations? How many women control the editorial policy of newspapers? How many are judges? How many are bank presidents, capable of financing enterprises? Just because there are many more women in middle-level positions, as journalists say, in no way means they have power. And even those women must play the male game to succeed. Now, that doesn’t mean that I do not believe that women have not made progress in the struggle. But the progress is the result of mass action. Take the new abortion law proposed by Simone Veil. Despite the fact that abortions will not be covered by the national health program and hence will be more available to the wealthy than to the poor, the law is certainly a great step forward. But for all the seriousness with which Simone Veil fought for such a law, the reason she could present it is because thousands of women have been agitating all over France for such a law, because thousands of women have publicly claimed that they have had abortions (thus forcing the government to either prosecute them or change the law), because hundreds of doctors and midwives have risked prosecution by admitting they have performed them, because some were tried and fought the issue in the courts, etc. What I’m saying is that, in mass actions, women can have power. The more women become conscious of the need for such mass action, the more progress will be achieved. And, to return to the woman who can afford to seek individual liberation, the more she can influence her friends and sisters, the more that consciousness will spread, which in turn, when frustrated by the system, will stimulate mass action. Of course, the more that consciousness spreads, the more men will be aggressive and violent. But then, the more men are aggressive, the more women will need other women to fight back, that is, the more the need for mass action will be clear. Most workers of the capitalist world today are aware of the class struggle, whether they call themselves Marxists or not, in fact, whether they even heard of Marx or not. And so it must become in the sex struggle. And it will.

***

We must derive our theory from practice, not the other way around. What really is needed is that a whole group of women, from all sorts of countries, assemble their lived experiences, and that we derive from such experiences the patterns facing women everywhere. What’s more, such information should be amassed from all classes, and that’s doubly hard.

Edit from Simone de Beauvoir Interview 1976; Southampton University;

Written by Ilari Valbonesi

January 9th, 2008 at 8:51 am

Georg Baselitz – Remix Paintings

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“If you’re remixing popular music you change the rhythm or the sound-What I do is something entirely different. I have thought for a long time about what to call what I do. I liked the word ‘remix’ because it comes from youth culture.

What I could never escape was Germany, and being German.”

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GEORG BASELITZ, Auftritt am Sandtreich II – bei + 30 C (Remix), 2006
Oil on canvas

Georg Baselitz is one of Germany’s most prolific and well-known living artists. Born in Saxony in 1938 – painter, draughtsman, printmaker and sculptor. Selecting subject matter (figures, animals, birds, landscapes and still-lifes) and placing them in dramatic settings, Baselitz’ works also place the viewer in a world of heightened self-consciousness to confront the being with the brutalities of history and the human tragedies.

He also partakes of a particular rebel sensibility and – like Camus Homme révolté - examines several countercultural figures and movements to cast anti-heroes as a strategy to liberate the subject matter, from the grotesque one, to the broken soldiers of the Fracture paintings and the inverted figures of the disturbing upside-down paintings.

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Baselitz’s first solo exhibition at Galerie Werner & Katz, Berlin, caused a public scandal. Two of the pictures, “The Big Night Down The Drain”/ “Die große Nacht im Eimer” (1962/63) and the “Naked Man”/ “Nackter Mann” (1962), are seized by the public prosecutor. The ensuing court case does not end until 1965. Again in 1980, at the German pavilion at the Venice Biennale, he caused a stir with a monumental carved wooden figure, which appeared to making a Hitlerian salute. as well as the sixteenth century German woodcuts and African sculptures.

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Georg Baselitz photographed by Lothar Wolleh, Mülheim, 1971

Remix Paintings is title of the exhibition of recent paintings by Georg Baselitz at Gagosian Gallery – New York
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In the recent Remix Paintings, Baselitz has revisited the most provocative aspects of his own history, such as Die grosse Nacht im Einer and Die grossen Freunde, and made new versions or interpretations of them, with the experience of hindsight. Enlarged and rapidly painted with swathes of bright, transparent hue across white canvas and explosive, meandering lines, the Remix paintings are radical transubstantiations – part-caricature, part-ghost– of their muted, more ponderous predecessors. The spontaneity with which they are executed gives rise to mnemonic flashes of things in the past, present, and future. The references to Hitler, once ambiguous, are now clearly articulated. The impulse to improve, clarify, and update is clearly evident, but the haunting, fleeting quality of the Remix work has also to do with a mature artist’s meditations on time, presence, failure and possibility.

Gagosian Gallery
555 West 24th Street – New York

Opening reception for the artist: Friday, November 9th, from 6 to 8 pm

Gagosian Gallery
555 West 24th Street – New York

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Written by Ilari Valbonesi

November 9th, 2007 at 9:47 am

The Sun also Rise. “El Andi”, Tauromachia and other Fiesta Brava

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Video Debut of young torero Andrés Roca Rey, El Andi, at Segunda Corrida de la Feria del Señor de los Milagros 2007, filmed by Danny Alarcón – TorosTV

The sun rises and the sun sets, and to its place it yearns and rises there.

Kohelet – Chapter 1, 5

In 1925, Hemingway attended the festival of San Fermin in Pamplona and began a lifelong fascination with Spain and bullfighting. The Sun Also Rises, published in 1926, was inspired by that first trip to Pamplona. The title is taken from the first chapter of Ecclesiastes, Hemingway’s favourite book of the Old Testament. Hemingway’s book is also known with the title: Fiesta.

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Bullfighting traces its roots to prehistoric bull worship and sacrifice. Tauromachy (tauromachia the “fighting of a bull)” is a name for the sacrifice ritual and also for the iconic central action of Mithras, the savior-god of Mithraism. It is also another term for bullfighting, or tauromachy as found in toreo, corrida de toros or tauromaquia.

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The conventional Spanish bullfight is mainly descended from the original Andalusian style where the cape was of prime importance. The Basque-Navarre style was quite common in the early 19th century and painter Francisco de Goya left some famous etchings depicting such events.

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The modern style of Spanish bullfighting is credited to Juan Belmonte (1892-1962) the greatest matador of all time who introduced a daring and revolutionary style, in which he stayed within a few inches of the bull throughout the fight. Although extremely dangerous (Belmonte himself was gored on many occasions), his style is still seen by most matadors as the ideal to be emulated.

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Today, bullfighting remains similar to the way it was in 1726, when Francisco Romero, from Ronda, Spain, used the estoque, a sword, to kill the bull, and the muleta, a small cape used in the last stage of the fight. Spanish-style bullfighting is called corrida de toros (literally running of bulls) or fiesta brava (the ferocious festival). In traditional corrida, three toreros, or matadores, each fight two bulls, each of which is at least four years old and weighs 460-600 kg.
Each matador has six assistants — two picadores (”lancers”) mounted on horseback, three banderilleros (”flagmen”), and a mozo de espada (”sword page”). Collectively they comprise a cuadrilla (”entourage”).

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The aesthetic of bullfighting is based on the interaction of the man and the bull.

“Bullfighting is the only art in which the artist is in danger of death and in which the degree of brilliance in the performance is left to the fighter’s honour.”

(Ernest Hemingway, Death in the afternoon)

The bullfight used to be a cruel demonstration of style, technique and courage by its participants. While there is usually no doubt about the outcome, the bull is not viewed as a sacrificial victim — it is instead seen by the audience as a worthy adversary, deserving of respect in its own right. Bulls learn fast and a bullfight may be viewed as a race against time for the matador, who must display his bullfighting skills before the animal learns what is going on and begins to thrust its horns at something other than the cape.

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Nowadays Bullfighting is banned in many countries; people taking part in such activity would be liable for terms of imprisonment for animal cruelty. In Spain, national laws against cruelty to animals have abolished most archaic spectacles of animal cruelty, but specifically exempt bullfighting.

Bullfighting has been criticized by animal rights activists as a gratuitously cruel blood sport: The bull suffers severe stress or a slow, painful death. A number of animal rights or animal welfare activist groups undertake anti-bullfighting actions in Spain and other countries. In Spanish, opposition to bullfighting is referred to as antitaurina.

INTERNATIONAL MOVEMENT AGAINST BULLFIGHT

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PERU ANTITAURINO

At the moment there is a big ANTITAURINO manifestation going on in Acho, Peru.

PERU ANTITAURINO is an activist group undertake anti-bullfighting actions in Peru. The Organisation is planning a Manifestación Nacional on Sunday 25 November, to ask for:

- the creation of a National Committe dedicates to the Animal Protection and the Reglamentación de la Ley N° 27265.

- the Modification of the Animal Rights Law of (Protección a los Animales) against the promotion of bullfighting.

* Conformación del Comité Nacional de Protección a los Animales y la Reglamentación de la Ley N° 27265.

* Modificación de la Ley de Protección a los Animales mediante el proyecto de Ley 00496-2006/CR, presentado en octubre del 2006 por el congresista José Urquizo Magia; que busca cambiar el artículo que exceptúa a las corridas de toros por habérsele considerado un espectáculo cultural según el INC, situación que ha cambiado, pues el 13 de abril del 2005 el TRIBUNAL CONSTITUCIONAL resolvió que éste no era un espectáculo cultural y que el Estado tenía “el deber de no promover tales espectáculos”. Esta resolución se ha convertido en un argumento inapelable para este proyecto, el cual se encuentra en espera para su próximo debate en el congreso.

PERÚ ANTITAURINO

peruantitaurino@hotmail.com

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Written by Ilari Valbonesi

November 7th, 2007 at 1:18 pm

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Thus Spoke Stanley Kubrick

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The Stanley Kubrick Exhibition will take place in Rome at Palazzo delle Esposizioni from October 6, 2007 to January 6, 2008. The exhibition in a co-operation between ¬ Deutsches Filmmuseum and the ¬ Deutsches Architektur Museum in Frankfurt am Main which, shows primary material – for the first time accessed – from the Kubrick Archives: iconographic items from all of his films, costumes, special effects documentation, camera equipment and extensive working and research documents. Architecture, design and contemporary art form a keynote in the sections on 2001: A SPACE ODYSSEY and A CLOCKWORK ORANGE.

Also sprach Zarathustra, op. 30 is a symphonic poem by Richard Strauss, composed in 1896 and inspired by the book of the same title by Friedrich Nietzsche. It was first performed in Frankfurt, with the composer conducting. It was used in Stanley Kubrick’s 1968 film 2001: A Space Odyssey and as Elvis Presley’s and pro wrestler Ric Flair’s entrance music. The introduction is one of the most recognized pieces of music of the last 125 years.

Kazakova & Dmitriev

Thus Spoke Zarathustra (German: Also sprach Zarathustra), subtitled A Book for All and None (Ein Buch für Alle und Keinen), was composed by German philosopher Friedrich Nietzsche, in four parts between 1883 and 1885. It famously declares that “God is dead”, elaborates Nietzsche’s conception of the will to power, and serves as an introduction to his doctrine of eternal return.
“ O man, take care!
What does the deep midnight declare?
“I was asleep—
From a deep dream I woke and swear:—
The world is deep,
Deeper than day had been aware.
Deep is its woe—
Joy—deeper yet than agony:
Woe implores: Go!
But all joy wants eternity—
Wants deep, wants deep eternity.”
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Written by Ilari Valbonesi

October 5th, 2007 at 9:38 am

Posted in Design

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Folk’s Design

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Folk's Design

It’s alla about the people adaptation and inspiration to the materials they have: Vladimir Archipo, a young russian, collected since many years a lot of tools made of re-used material. The Wall was down, the Communism was falling, but people still needed the tools for their daily lives. Vladimir Archipo collected thounsands of tools and handmade objects just for their beauty. He collected them and also he recorded the story behind every object, realizing a wonderful book called Home-Made: Contemporary Russian Folk Artifacts .

Folk's Design

There’s also a web arsenal of all this artifacts, just in russian, but you can just surf it for pleaseure and beauty.

Here some examples taken from the Kevin Kelly’s blog:

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Television aerial Aleksandr Tarasov, Ramenskoye, Moscow region, 1980. Made from table lamp base, textolite, a conductor, screws.
This is a television aerial, for the 33rd channel, which in the period between 1978 and 1980 was transmitted in Leningrad. There weren’t any antennas for sale and the magazine Radio published some different plans for making them. Basically this antenna was made using a sketch from this magazine. Instead of cutting it out of a sheet of metal I took a piece of fibreglass laminate, which is plastic with foil on one side. And the tracks were cut out from foil according to the sizes published in Radio. As for the base, I used a base from a table lamp – it was necessary to fix it on with something. There’s nothing miraculous about this construction, I was more amazed that Arkhipov saw something in it. I consider it to be a very simple thing, made for a purpose between other jobs. The signal from the antenna is received through this cable and then sent to the TV. The cable has to correspond with the elements of the antenna in order to effectively transmit the signal coming from the antenna. Apart from that, this cable has to go around the antenna in a certain way so that the wave resistance in the current of the cable connecting the antenna matches the ‘line’. Well, here you need to use your wits. How can you lay this cable around the antenna? Around the edges some openings were drilled and thread was put into them and then with the method they use in radio electronic equipment it was tied on. They bind sausages up like that. And because of this it reminds some people of plaits, or a sausage.

Folk's Desig
Badminton Shuttlecock. Made from Plastic bottle, cloth, elastic band– Gennadii Konychev, Ryazan region, 2000
I took a plastic bottle and cut out something looking more or less like a shuttlecock. These stabilisers are supposed to be the feathers. And to soften the impact I covered the end with soft pieces of material and an elastic band.

Written by Luca

July 12th, 2007 at 11:33 am

Posted in Design

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Minimal at Liminal

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Plato, Phaedrus

>[258e] You ask if we want to question them? What else should one live for, so to speak, but for such pleasures? Certainly not for those which cannot be enjoyed without previous pain, which is the case with nearly all bodily pleasures and causes them to be justly called slavish.

Socrates

We have plenty of time, apparently; and besides, the locusts seem to be looking down upon us as they sing and talk with each other in the heat.

[259b] perhaps they will be pleased and give us the gift which the gods bestowed on them to give to men.

Phaedrus

What is this gift? I don’t seem to have heard of it.

Socrates

It is quite improper for a lover of the Muses never to have heard of such things. The story goes that these locusts were once men, before the birth of the Muses, and when the Muses were born and song appeared, some of the men were so overcome with delight

[259c] that they sang and sang, forgetting food and drink, until at last unconsciously they died. From them the locust tribe afterwards arose, and they have this gift from the Muses, that from the time of their birth they need no sustenance, but sing continually, without food or drink, until they die, when they go to the Muses and report who honors each of them on earth. They tell Terpsichore of those who have honored her in dances, and make them dearer to her;

Plato

[259d] they gain the favor of Erato for the poets of love, and that of the other Muses for their votaries, according to their various ways of honoring them; and to Calliope, the eldest of the Muses, and to Urania who is next to her, they make report of those who pass their lives in philosophy and who worship these Muses who are most concerned with heaven and with thought divine and human and whose music is the sweetest. So for many reasons we ought to talk and not sleep in the noontime.

Phaedrus

Yes, we ought to talk.

American Minimal Music, or “repetitive music,” frequently refers to the compositions of La Monte Young, Terry Riley, Steve Reich and Philip Glass, who all began their careers in the early 1960s. Minimal music focuses on the audible transformation of small musical phrases through repetition and the execution of processes determined by the composer.
All Minimal music lacks narrative structure. The music discards traditional harmonic schemes of tension and relaxation, and formal structures of cause and effect. Minimal music is inherently performative. It is about the process of experiencing sounds as they transform in the moment. Thus, the listener must discard regular listening habits if one is to experience the ecstatic effect of the music.

Written by Ilari Valbonesi

July 2nd, 2007 at 10:31 am

Posted in Uncategorized

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