Showing posts with label Quote. Show all posts
Showing posts with label Quote. Show all posts

Monday, May 12, 2014

Vidler's Challenge


Anthony Vilder on the pending revistion of the history of Modernism in architecture, from  his book Histories of the Immediate Present, quoted in an upcoming paper I reviewd by Macarena de la Vega, doctoral student in architectural history at the University of Canberra, Australia: 
"We would need to reassess disruptive moments and figures, not as curiosities or embarrassments, nor as washed-up utopias, ...but as openings into the process, rather than the appearance, of modernity."

"We would also need to seriously reevaluate the sacred cows of modernity, whose work has become, too quickly, canonical, in order to detect the internal inconsistencies, the still-open questions lurking behind their monographical facades."
"Finally, we would need to open those ideas of "modernism" so prevalent after the Second World War that were proposed in order to tidy up the erratic field of the early avant-gardes and to provide rules for being modern in the era of reconstruction."
Histories of the Immediate Present:
Inventing Architectural Modernism
The MIT Press, Cambridge, Massachusetts, 2011, p 201

Monday, March 17, 2014

Philip Roth on Popular Culture


"The power in any society is with those who get to impose the fantasy. It is no longer, as it was for centuries throughout Europe, the church that imposes its fantasy on the populace, nor is it the totalitarian superstate.... Now the fantasy that prevails is the all-consuming, voraciously consumed popular culture, seemingly spawned by, of all things, freedom. The young especially live according to beliefs that are thought up for them by the society’s most unthinking people and by the businesses least impeded by innocent ends."
Philip Roth

 
Not sure I entirely agree, unless we can consider The Stones as high art with all the consequences. But it does open a debate.

Daniel Sandstrom
"My Life as a Writer"

Interview with Philip Roth
The New York Times
Sunday Book Review
 

March 2, 2014

Photo:
Philip Roth in 2012
Fred R. Conrad/The New York Times




Sunday, March 2, 2014

The Bald Beauty of Nefertiti


In the latest issue of his mimi-magazine Circo, Emilio Tuñón remembers Alejandro de la Sota, quoting in turn José Antonio Coderch on "The Bald Beauty of Nefertiti."
 "Coderch referred to "bald beauty" as the beauty that is the result of extracting each and every hair on the head of the queen, pointing out that this extraction was undergone 'in pain'. For architecture that would share the beauty of Nefertiti, formal renunciation implies the rejection of the unnecessary, even though the unnecessary is not necessarily without interest."

"In a certain sense, when Coderch talks about pain in relation to beauty, he appears to be talking about the renunciation of many things that he was sincerely interested in, in favor of the search for a beauty that was essentially out of reach."

"And it is precisely for this reason that bald beauty represented, for many Spanish architects of the second half of the 20th century, a melancholy renunciation of what might have been but wasn't to be, accompanied by a painful rejection of anything that wasn't really essential. A rejection, with an aroma of radical, aristocratic imposture, accompanied by a certain poetic air of feigned pain."
Emilio Tuñón
"I would prefer not to"
Circo 194. 2014

Photo
Head of a Meritaton Princess
Amarna Period
Egyptian Museum, Cairo 
From Antikforever.com

Translation: DC

Saturday, February 22, 2014

William S. Burroughs II


http://twelvebooks.com/wp-content/uploads/2012/05/burroughs.png
"You are not paid off to be quiet about what you know. You are paid not to find it out." 
William S. Burroughs

Quoted in:
Barry Miles
Call Me Burroughs
Twelve (Hachette Book Group), New York, 2014

Reviewed in:
Ann Douglas
King of Cool 
The New York Times Book Review
February 23, 2014

Saturday, January 4, 2014

Quote of the Month


"Some people use only the color white, or only 90 degrees. What defines their style is the sum of all their inhibitions. And I think we try to put ourselves in a position where we can be free to choose any weapon of choice in each and every case to match the context, the culture [and] the climate in the best possible way." 

Bjarke Ingels, asked about why his work supposedly doesn't have a recognizable style (although I would disagree). Good one to the solar plexus of uptight American practice.  

Quote from:
"Bjarke Ingels: An "Architect For A Moment Or An Era?"
NPR (National Public Radio), USA
January 03, 2014

I chosse Bjarke Ingels as Architect of the Year in December's Gentleman (Spanish edition).

(More goodbyes: this will be my last collaboration with the magazine, which closes with the January issue.)  

Arquitecto sin fronteras
Bjarke Ingels, Architect of the year
Gentleman, December 2013, page 24

Photo, Dan Bobkoff for NPR

Monday, April 15, 2013

Peter Schjeldahl on Richard Artschwager

 Quote
A few lapidary phrases by art critic Peter Schjeldahl on the Richard Artschwager retrospective at the Whitney Museum last fall, in The New Yorker of November 26, 2012:

On the cynical, media-wise state of things:
"...in culture, successful hype is prophetic and fashion is destiny".

On Artschwager's late work:
"Like other boundary-breakers, Artschwager was reduced to seeking, in vain, rules not yet broken. The immense knowingness known as post-modernism erased the horizon of conceivable novelty."

On his early work:
"Artschwager's discovery of beauty in tacky industrial materials ratified the deep program of Pop art: reconciling Americans to American culture, as it happened to be."

Let's let that sink in a minute.

Now this:
"And his wizardly way with frames and framelike constructions distilled the minimalist vision of art works as internal framing devices for the space around them, displacing aesthetic experience from the object's glamor to the viewer's self-consciousness."

Few can burn things down to their pithy best better than Peter Schjeldahl.


 Photo:  
Richard Artschwager
'Table' 
(1964) 
Melamine laminate on plywood
Steven Sloman/Richard Artschwager/Whitney Museum of American Art, New York via Bloomberg

Sunday, January 27, 2013

Notes on Writing: Juan Gelman



"Poetry is charred speech. Its words rise from those ashes that some call silence, but that twist and even crackle nonetheless."

Juan Gelman, the Argentinian poet, in a 1999 interview, quoted December 30, 2012 in  El País (not on their web).


Friday, March 2, 2012

America's Six Miillion


Reading List
Adam Gopnik writes in the January 30 New Yorker on the second largest city in the United States, with a population of over six million: its prisons.

Gopnik writes:
"....it was in Enlightenment-inspired America that the taste for long-term, profoundly depersonalized punishment became most aggravated. The inhumanity of American prisons was as much a theme for Dickens, visiting America in 1842, as the cynicism of American lawyers. His shock when he saw the Eastern State Penitentiary, in Philadelphia—a “model” prison, at the time the most expensive public building ever constructed in the country, where every prisoner was kept in silent, separate confinement—still resonates:
" 'I believe that very few men are capable of estimating the immense amount of torture and agony which this dreadful punishment, prolonged for years, inflicts upon the sufferers. . . . I hold this slow and daily tampering with the mysteries of the brain, to be immeasurably worse than any torture of the body: and because its ghastly signs and tokens are not so palpable to the eye and sense of touch as scars upon the flesh; because its wounds are not upon the surface, and it extorts few cries that human ears can hear; therefore I the more denounce it, as a secret punishment which slumbering humanity is not roused up to stay.' "
One of his interesting arguments:
"William J. Stuntz, a professor at Harvard Law School [in his book The Collapse of American Criminal Justice] ... suggests that the Bill of Rights is a terrible document with which to start a justice system—much inferior to the exactly contemporary French Declaration of the Rights of Man.... 

"The trouble with the Bill of Rights, he argues, is that it emphasizes process and procedure rather than principles....  Instead of announcing general principles—no one should be accused of something that wasn’t a crime when he did it; cruel punishments are always wrong; the goal of justice is, above all, that justice be done—it talks procedurally. You can’t search someone without a reason; you can’t accuse him without allowing him to see the evidence; and so on. This emphasis, Stuntz thinks, has led to the current mess, where accused criminals get laboriously articulated protection against procedural errors and no protection at all against outrageous and obvious violations of simple justice. You can get off if the cops looked in the wrong car with the wrong warrant when they found your joint, but you have no recourse if owning the joint gets you locked up for life. You may be spared the death penalty if you can show a problem with your appointed defender, but it is much harder if there is merely enormous accumulated evidence that you weren’t guilty in the first place and the jury got it wrong."
His solution:
"Epidemics seldom end with miracle cures. Most of the time in the history of medicine, the best way to end disease was to build a better sewer and get people to wash their hands. 'Merely chipping away at the problem around the edges' is usually the very best thing to do with a problem.... To read the literature on crime before it dropped is to see the same kind of dystopian despair we find in the new literature of punishment: we’d have to end poverty, or eradicate the ghettos, or declare war on the broken family, or the like, in order to end the crime wave. The truth is, a series of small actions and events ended up eliminating a problem that seemed to hang over everything. There was no miracle cure, just the intercession of a thousand smaller sanities. Ending sentencing for drug misdemeanors, decriminalizing marijuana, leaving judges free to use common sense (and, where possible, getting judges who are judges rather than politicians)—many small acts are possible that will help end the epidemic of imprisonment as they helped end the plague of crime."
 
Illustration: Eastern State Penitentiary, Philadelphia, 1829.
Image from Opacity.

Sunday, February 5, 2012

William S. Burroughs

"He believed that language was a virus that had achieved equilibrium with its human host, and that “blocks” of language and thought enforced convention, making it necessary to find techniques, from cut-ups to e-meters, to break the patterns."
From Luc Santes' review of  Rub Out the Words. The Letters of William S. Burroughs, 1959-1974 in this Sunday's New York Times.


Photo source: UBO (Unidentified Blog Object)

Friday, December 23, 2011

Ontology of the American City

Aleksandar Hemon
Quote
Aleksandar Hemon, "Mapping Home"  
The New Yorker, Dec 5, 2011. p. 40 - 49
"In the Sarajevo I knew, you possessed a personal infrastructure: your kafama [café], your barber, your butcher; the landmarks of your life (the spot where you fell and broke your arm playing soccer, the corner where you waited to meet the first of the many loves of your life, the bench where you first kissed her); the streets where people would forever know and recognize you, the space that identified you. Because anonymity was well nigh impossible and privacy literally incomprehensible (there is no word for "privacy" in Bosnian), your fellow-Sarajevans knew you as well as you knew them. If you somehow vanished, your fellow citizens could have reconstructed you from their collective memory and the gossip that had accrued over years. Your sense of who you were, your deepest identity, was determined by your position in a human network, whose physical corollary was the architecture of the city."
"Chicago, on the other hand, was built not for people to come together but for them to be safely apart. Size, power and the need for privacy seemed to be the dominant elements. Vast as it was, Chicago ignored the distinctions between freedom and isolation, between independence and selfishness, between privacy and loneliness. In this city, I had no human network within which to place myself. My displacement was metaphysical to precisely the same extend to which it was physical. But I couldn't live nowhere. I wanted from Chicago what I had got from Sarajevo, a geography of the soul."

Photo from The Guardian, Sept. 27, 2009, by Murdo Macleod