EXiT architetti associati's Family Chapel:
http://www.archdaily.com/74718/family-chapel-exit-architetti-associati/#more-74718
Inspiration for what I'm currently working on for my "house as thesis". A space that isn't about space, but rather what the space allows people to feel and experience. A blank canvas for thought, recollection, and discovery.
Friday, August 27, 2010
[the senses].
I've been giving thought to the presence of the senses in nostalgia and memory. Memory is kept alive in the vessel of the body through what I understand to be mainly a sense of feeling and visual recollection. In other words, you remember an event through how it made you feel, and how that event looked in the mind. But, can you remember how something smelled or tasted? I for one, cannot draw up a memory of an exact scent or taste. I know that I could recognize it if it occurred in the present, but scent and taste seem to be more elusive in memory. Sound and touch are a bit more complicated. I can recall how something sounded or felt, though I cannot actually hear it in my head or feel it in my fingers with the same effect as in the present.
"Allegory of the Five Senses" Gerard de Lairesse
http://en.wikipedia.org/wiki/File:1668_G%C3%A9rard_de_Lairesse_-_Allegory_of_the_Five_Senses.jpg
"Allegory of the Five Senses" Gerard de Lairesse
http://en.wikipedia.org/wiki/File:1668_G%C3%A9rard_de_Lairesse_-_Allegory_of_the_Five_Senses.jpg
Thursday, August 26, 2010
[the bridge].
With the completion of the readings and the development of my lexicon in place, it is time to reveal some of my thoughts and inspirations toward the semester's work.
I entered the summer with a broad idea of my interests and fascinations within the discipline and through self investigation coupled with summer readings, I've begun to hone in on certain concepts for the development of my thesis. More specifically, my general interests include history and psychology. More specifically, I'm interested in Classical and Renaissance history and space psychology. More specifically, I'm interested in the idea of nostalgia and memory and how it is elicited by design, captured, or recreated.
With that in mind, I plan to begin my thesis journey with an investigation of memory and space. I'm fascinated by the emotive qualities of the mind and how we hold onto certain memories of time and space, while excluding others, and how space, design, and environment shape those memories and recollections.
I entered the summer with a broad idea of my interests and fascinations within the discipline and through self investigation coupled with summer readings, I've begun to hone in on certain concepts for the development of my thesis. More specifically, my general interests include history and psychology. More specifically, I'm interested in Classical and Renaissance history and space psychology. More specifically, I'm interested in the idea of nostalgia and memory and how it is elicited by design, captured, or recreated.
With that in mind, I plan to begin my thesis journey with an investigation of memory and space. I'm fascinated by the emotive qualities of the mind and how we hold onto certain memories of time and space, while excluding others, and how space, design, and environment shape those memories and recollections.
Friday, August 13, 2010
sloterdijk [air/condition].
TERM [surrealism].
"Surrealism," as a period of artistic and theoretical thematics, can be viewed as visualizing modernistic impulses. In other words, the surrealist movement provided a physically present reading of an evolving creativity in thought, social culture, and of course art. The artistic work represented visuals collected from the unconscious; the work broke free of creative latency in a "revolution" of sorts. Sloterdijk explains that surrealism's purpose was, "to render the content of dreams and deliriums objective" (p. 76), and to use, "technical objects not in the conditions specific to them but as symbolic draperies" (p. 74). This methodology resulted in artistic creations that challenged mediocrity and rivaled normalcy. In short, surrealism gave the arts a, "right to be mad" (p.83).
TERM [psychoanalytic].
Perhaps the term "psychoanalytic" can be used in the definition of "surrealism." Likewise, concepts that collectively define a surrealist idea can also be applied to the definition of psychoanalytic. Though, one term is not a synonym for the other. Psychoanalytic can be differentiated by its roots in Freudian psychology. Psychoanalysis can be seen as a, "strategy for reading signs and manipulating background givens" (p. 82). It is a topic which delves into the explainable and unexplainable past and provides subjective readings into the confused present. Yet, similar to surrealism, psychoanalysis delves into the "unconscious" to produce explanations, connections, and symbolic attributions in revolutionary ways. Like surrealism, it becomes a methodology to explain the unexplainable and make sense of the mind's madness.
ADDITIONAL NOTES.
Though I chose two terms that occurred in the first portion of the reading, I wanted to briefly address the latter half of the text which dealt with authorship of the atmosphere. Sloterdijk discussed the collective atmospheric organ which is controlled by all creatures at all scales. The atmosphere's life is given through each organism, meaning that the whole is comprised of many small assemblies. Yet, the atmosphere's condition is entirely out of one individuals control, since a simple change can have a ubiquitous effect on the whole. Thus, holding control over the all-encompassing entity (authorship) seems entirely possible and impossible at once.
"Surrealism," as a period of artistic and theoretical thematics, can be viewed as visualizing modernistic impulses. In other words, the surrealist movement provided a physically present reading of an evolving creativity in thought, social culture, and of course art. The artistic work represented visuals collected from the unconscious; the work broke free of creative latency in a "revolution" of sorts. Sloterdijk explains that surrealism's purpose was, "to render the content of dreams and deliriums objective" (p. 76), and to use, "technical objects not in the conditions specific to them but as symbolic draperies" (p. 74). This methodology resulted in artistic creations that challenged mediocrity and rivaled normalcy. In short, surrealism gave the arts a, "right to be mad" (p.83).
TERM [psychoanalytic].
Perhaps the term "psychoanalytic" can be used in the definition of "surrealism." Likewise, concepts that collectively define a surrealist idea can also be applied to the definition of psychoanalytic. Though, one term is not a synonym for the other. Psychoanalytic can be differentiated by its roots in Freudian psychology. Psychoanalysis can be seen as a, "strategy for reading signs and manipulating background givens" (p. 82). It is a topic which delves into the explainable and unexplainable past and provides subjective readings into the confused present. Yet, similar to surrealism, psychoanalysis delves into the "unconscious" to produce explanations, connections, and symbolic attributions in revolutionary ways. Like surrealism, it becomes a methodology to explain the unexplainable and make sense of the mind's madness.
ADDITIONAL NOTES.
Though I chose two terms that occurred in the first portion of the reading, I wanted to briefly address the latter half of the text which dealt with authorship of the atmosphere. Sloterdijk discussed the collective atmospheric organ which is controlled by all creatures at all scales. The atmosphere's life is given through each organism, meaning that the whole is comprised of many small assemblies. Yet, the atmosphere's condition is entirely out of one individuals control, since a simple change can have a ubiquitous effect on the whole. Thus, holding control over the all-encompassing entity (authorship) seems entirely possible and impossible at once.
Thursday, August 5, 2010
easterling [introduction].
TERM [network _____].
"Network" can be used to describe the systematic organization of any number of different topics, modes, theories, etc. Hence, the term "network [fill in the blank]" might be appropriately completed using the following: architecture/design/planning/process/analysis/theory/etc. Regardless of the specific subject, a network defines itself through its constituent parts. The individual pieces that make up a network can be dependent, independent, static, or dynamic and yet still contribute to the overall fabric of intelligent connectivity. The "network _____" is the bigger picture, the deeper meaning, the encompassing reality behind the study of simply one object.
TERM [generic optimization].
Heterogeneous to homogeneous, independent to dependent, compartmentalize to generalize, defining to unifying - these terms describe the shift from the specific to the common. Such movement is the result of a desire for "generic optimization" following the theory that mass production and simplification produces efficiency, clarity, and idealized performance. (This conversation can be linked to the previous post on the term "routinization" from De Landa.) Yet, the generic can only be defined in light of the eccentricities that remain/are born after generic optimization occurs. The exception proves the rule, so to speak - you cannot define one without the presence of the other. So while the banal may prove to be idealized, the rouge eccentricities that float along the perimeter are responsible for constantly challenging, testing, and proving the status quo. After all, optimization is ever changing (thanks to market economics), and therefore demands that certain eccentricities are absorbed into the generic mass, evolving it ever so slightly enough to continue its propulsion forward.
ADDITIONAL NOTES.
Do generic optimizations make life easier for the indecisive, uncertain, or over-indulged? Are they limiting to the progress of individuality? Which outweighs which? Perhaps it depends on the individual personality deciding, and if they fall into the category of the generic or the eccentric...
"Network" can be used to describe the systematic organization of any number of different topics, modes, theories, etc. Hence, the term "network [fill in the blank]" might be appropriately completed using the following: architecture/design/planning/process/analysis/theory/etc. Regardless of the specific subject, a network defines itself through its constituent parts. The individual pieces that make up a network can be dependent, independent, static, or dynamic and yet still contribute to the overall fabric of intelligent connectivity. The "network _____" is the bigger picture, the deeper meaning, the encompassing reality behind the study of simply one object.
TERM [generic optimization].
Heterogeneous to homogeneous, independent to dependent, compartmentalize to generalize, defining to unifying - these terms describe the shift from the specific to the common. Such movement is the result of a desire for "generic optimization" following the theory that mass production and simplification produces efficiency, clarity, and idealized performance. (This conversation can be linked to the previous post on the term "routinization" from De Landa.) Yet, the generic can only be defined in light of the eccentricities that remain/are born after generic optimization occurs. The exception proves the rule, so to speak - you cannot define one without the presence of the other. So while the banal may prove to be idealized, the rouge eccentricities that float along the perimeter are responsible for constantly challenging, testing, and proving the status quo. After all, optimization is ever changing (thanks to market economics), and therefore demands that certain eccentricities are absorbed into the generic mass, evolving it ever so slightly enough to continue its propulsion forward.
ADDITIONAL NOTES.
Do generic optimizations make life easier for the indecisive, uncertain, or over-indulged? Are they limiting to the progress of individuality? Which outweighs which? Perhaps it depends on the individual personality deciding, and if they fall into the category of the generic or the eccentric...
Wednesday, August 4, 2010
de landa [geological history 1700-2000 ad].
TERM [positive feedback loop].
A "positive feedback loop" is an essential part to any surviving ecosystem. Each member of the network must work to support the others in such a way that the output of these energies perpetuates the life of the ecosystem. While trying to maintain this balance, participating units must be in a consistent state of adaptation and evolution. It is an active system which requires both give and take between members, "while some species complexify, others simplify" (de Landa, p. 75). de Landa uses the international Industrial Revolution to exemplify this point. The evolution from coal powered steam energy to electricity and the resulting societal impacts speaks to a system that is constantly adapting for the most efficient survival. In short, a positive feedback loop can be defined as a self-sustaining ecology.
TERM [routinization].
A "routinization" speaks to a move from a personalized, heterogeneous skill set to a mechanized, homogeneous process. Routinization was experienced when machine labor replaced hand crafts during the Industrial Revolution. The result was an increase in production efforts, efficiency, and the ability to interchange parts. However, less richness and diversity could be found in the product, removing the individual from the greater economy. A global shift toward routinization lead to a more sterile market, lacking flavor, interest, and diversity (at least in the products manufactured).
ADDITIONAL NOTES.
The "sterilization of information" ideas brought about on p. 98 are especially interesting. With the proliferation of information availability, somehow the product itself holds less weight, interest, and richness. Yet, we often look at the incredible possibility this access holds for the global society.
A "positive feedback loop" is an essential part to any surviving ecosystem. Each member of the network must work to support the others in such a way that the output of these energies perpetuates the life of the ecosystem. While trying to maintain this balance, participating units must be in a consistent state of adaptation and evolution. It is an active system which requires both give and take between members, "while some species complexify, others simplify" (de Landa, p. 75). de Landa uses the international Industrial Revolution to exemplify this point. The evolution from coal powered steam energy to electricity and the resulting societal impacts speaks to a system that is constantly adapting for the most efficient survival. In short, a positive feedback loop can be defined as a self-sustaining ecology.
TERM [routinization].
A "routinization" speaks to a move from a personalized, heterogeneous skill set to a mechanized, homogeneous process. Routinization was experienced when machine labor replaced hand crafts during the Industrial Revolution. The result was an increase in production efforts, efficiency, and the ability to interchange parts. However, less richness and diversity could be found in the product, removing the individual from the greater economy. A global shift toward routinization lead to a more sterile market, lacking flavor, interest, and diversity (at least in the products manufactured).
ADDITIONAL NOTES.
The "sterilization of information" ideas brought about on p. 98 are especially interesting. With the proliferation of information availability, somehow the product itself holds less weight, interest, and richness. Yet, we often look at the incredible possibility this access holds for the global society.
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