«Visible Language» – The Journal for Research on the Visual Media of Language Expression
Volume IX, Number 4, Autumn 1975
The MIT Press, Cambridge, MA
[х]
Volume IX, Number 4, Autumn 1975
The MIT Press, Cambridge, MA
[х]
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“Each poetic word is thus an unexpected object, a Pandora’s box from which fly out all the potentialities of language; it is therefore produced and consumed with a particular curiosity, a kind of sacred relish. This Hunger of the Word, common to the whole of modern poetry, makes poetic speech terrible and inhuman. It initiates a discourse full of gaps and full of lights, filled with absences and over-nourishing signs, without foresight or stability of intention, and thereby so opposed to the social function of language that merely to have recourse to a discontinuous speech is to open the door to all that stands above Nature.”
— Roland Barthes,Writing Degree Zero, trans. Annette Lavers and Colin Smith (New York: Hill and Wang, 1998)
— Roland Barthes,Writing Degree Zero, trans. Annette Lavers and Colin Smith (New York: Hill and Wang, 1998)
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Dip me in him
like the rose in the vase
up to my eyes,
to my brow,
to the crown of my fair hair –
roll him through me,
flowing round,
like the kissing seas
of the Pacific.
Who cares if the night and the dawn perish,
the light of the moon and the sun–
only make him sink in me
like the music of a violin.
When it touches my heart
I will play the sweetest part –
him.
Dip Me In Him, Maria Pawlikowska-Jasnorzewska, trans. Barbara Bogoczek & Tony Howard
like the rose in the vase
up to my eyes,
to my brow,
to the crown of my fair hair –
roll him through me,
flowing round,
like the kissing seas
of the Pacific.
Who cares if the night and the dawn perish,
the light of the moon and the sun–
only make him sink in me
like the music of a violin.
When it touches my heart
I will play the sweetest part –
him.
Dip Me In Him, Maria Pawlikowska-Jasnorzewska, trans. Barbara Bogoczek & Tony Howard
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We Had the Experience but Missed the Meaning
Laida Lertxundi
2014
Laida Lertxundi
2014
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“Exactly what makes a building memorable is hard to pin down. It’s certainly not merely fulfilling a practical function-all buildings do that. Beauty? Architecture is an art, yet we rarely concentrate our attention on buildings as we do on plays, books, and paintings. Most architecture, a backdrop for our everyday lives, is experienced in bits and pieces-the glimpsed view of a distant spire, the intricacy of a wrought-iron railing, the soaring space of a railroad station waiting room. Sometimes it’s just a detail, a well-shaped door handle, a window framing a perfect little view, a rosette carved into a chapel pew. And we say to ourselves, ‘How nice. Someone actually thought of that.‘”
— Witold Rybczynski, How Architecture Works: A Humanist’s Toolkit
— Witold Rybczynski, How Architecture Works: A Humanist’s Toolkit
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Dennis Oppenheim, Two Stage Transfer Drawing
Boise, Idaho
1971
"As Erik runs a marker along my back, I attempt to duplicate the movement on the wall. His activity stimulates a kinetic response from my sensory system. He is, therefore, drawing through me. Sensory retardation or disorientation makes up the discrepancy between the two drawings, and could be seen as elements that are activated during this procedure. Because Erik is my offspring, and we share similar biological ingredients, my back (as surface) can be seen as a mature version of his own...in a sense, he contacts his own future state."
Boise, Idaho
1971
"As Erik runs a marker along my back, I attempt to duplicate the movement on the wall. His activity stimulates a kinetic response from my sensory system. He is, therefore, drawing through me. Sensory retardation or disorientation makes up the discrepancy between the two drawings, and could be seen as elements that are activated during this procedure. Because Erik is my offspring, and we share similar biological ingredients, my back (as surface) can be seen as a mature version of his own...in a sense, he contacts his own future state."
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