Jørn Utzon
Espansiva
Hellebæk, Denmark
1969
“The Espansiva system was designed to offer the user complete freedom of choice for planning their building as well as for extending and altering it at any time. […]
Each type of module configuration has different circulation within its larger composition. This allows the compositions to both inform and be informed by the configurations intended use. This flexibility of purpose was Utzon’s main concept while designing Espansiva.”
[x]
Espansiva
Hellebæk, Denmark
1969
“The Espansiva system was designed to offer the user complete freedom of choice for planning their building as well as for extending and altering it at any time. […]
Each type of module configuration has different circulation within its larger composition. This allows the compositions to both inform and be informed by the configurations intended use. This flexibility of purpose was Utzon’s main concept while designing Espansiva.”
[x]
❤3👍2
hold on to the
subject.
The mind
quite easily
wishes to
switch to the next
tangentially connected
thought or story.
*
Then,
before you know it
you are lost. Or
perhaps what you
want is
to be lost? We
don't know what we're
doing and
we're doing it.
*
We don't know
what we are
doing and
we are
doing it,
and everything is stolen
anyway.
From 'Cheap Lecture' by Jonathan Burrows and Matteo Fargion, commissioned by Cultureel Centrum Maasmechelen and Dans in Limburg, 2009.
'Cheap Lecture' is a rhythmic spoken performance with music, which borrows its structure from John Cage's 'Lecture On Nothing'. The shape of the text above is a visual image of the rhythm of the words when spoken, and each line represents a beat. The gaps between printed words suggest the flow or hesitation in our speaking, and an asterisk is a counted pause.
subject.
The mind
quite easily
wishes to
switch to the next
tangentially connected
thought or story.
*
Then,
before you know it
you are lost. Or
perhaps what you
want is
to be lost? We
don't know what we're
doing and
we're doing it.
*
We don't know
what we are
doing and
we are
doing it,
and everything is stolen
anyway.
From 'Cheap Lecture' by Jonathan Burrows and Matteo Fargion, commissioned by Cultureel Centrum Maasmechelen and Dans in Limburg, 2009.
'Cheap Lecture' is a rhythmic spoken performance with music, which borrows its structure from John Cage's 'Lecture On Nothing'. The shape of the text above is a visual image of the rhythm of the words when spoken, and each line represents a beat. The gaps between printed words suggest the flow or hesitation in our speaking, and an asterisk is a counted pause.
❤5
Lygia Clark
Diálogo: Óculos
1968
«Lygia Clark’s interest in researching human interplay and group-dynamic processes also led to her designing diverse objects that were applied as a means of discourse and communication. The «eyeglasses» […] not only help sharpen vision, they produce a new way of seeing.»
[x]
Diálogo: Óculos
1968
«Lygia Clark’s interest in researching human interplay and group-dynamic processes also led to her designing diverse objects that were applied as a means of discourse and communication. The «eyeglasses» […] not only help sharpen vision, they produce a new way of seeing.»
[x]
❤4👍1
“She had been born with the veil in her eye. A severe myopia stretched its mad dening magic between her and the world. She had been born with the veil in her soul. Spectacles are feeble forks only just good enough to catch little bits of reality. As the myopic people know, myopia has its shaky seat in judgment. It opens the reign of an eternal uncertainty that no prosthesis can dissipate.
From then on she did not know. She and Doubt were always inseparable: had things gone away or else was it she who mis-saw them? She never saw safely. Seeing was a tottering believing. Everything was perhaps. Living was in a state of alert.”
— Hélène Cixous, Jacques Derrida, Savoir from Veils
From then on she did not know. She and Doubt were always inseparable: had things gone away or else was it she who mis-saw them? She never saw safely. Seeing was a tottering believing. Everything was perhaps. Living was in a state of alert.”
— Hélène Cixous, Jacques Derrida, Savoir from Veils
❤3
“Struck by the apparition she burst out laughing. The laughter of childbirth. What was making her jubilant was the "yes, I'm here" of presence, non-refusal, non-retreat. Yes, said the world. Yes, said the timid bell tower behind the build ings. Yes I'm coming, said one window then another.
Is seeing the supreme enjoyment? Or else is it: no-Ionger-not-seeing?”
— Hélène Cixous, Jacques Derrida, Savoir from Veils
Is seeing the supreme enjoyment? Or else is it: no-Ionger-not-seeing?”
— Hélène Cixous, Jacques Derrida, Savoir from Veils
❤2
Pauline Oliveros
Wind Horse
Deep Listening Publications
1989
Wind Horse
Deep Listening Publications
1989
❤4
That it doesn't stop there
is also true for the stones.
The mountains expand, flow, pulse, roar, split,
although slowly.
But what does slow mean
to a mountain?
Energy under the earth's crust, under the cranium. Can you see how all of it is moving,
mixing, folding, expanding,
even what you don't see?
"The concept of totality
exists in theory, not in life.”
Just between us, there's a lot accumulating in the graves.
Science is also porous,
breathes with difficulty, scurries panicked
through its institution; even
the biologist, trainable and confused
like his guinea pig, searches
until he presses -so seldom!-
the triggering key.
Then a brief enlightenment,
an outpouring of luck,
flickering en route
to fresh gloominess.
From Thoughts on the Run I-V, Hans Magnus Enzensberger, trans. Rita Dove & Fred Viebahn, Poetry (October 1998)
is also true for the stones.
The mountains expand, flow, pulse, roar, split,
although slowly.
But what does slow mean
to a mountain?
Energy under the earth's crust, under the cranium. Can you see how all of it is moving,
mixing, folding, expanding,
even what you don't see?
"The concept of totality
exists in theory, not in life.”
Just between us, there's a lot accumulating in the graves.
Science is also porous,
breathes with difficulty, scurries panicked
through its institution; even
the biologist, trainable and confused
like his guinea pig, searches
until he presses -so seldom!-
the triggering key.
Then a brief enlightenment,
an outpouring of luck,
flickering en route
to fresh gloominess.
From Thoughts on the Run I-V, Hans Magnus Enzensberger, trans. Rita Dove & Fred Viebahn, Poetry (October 1998)
❤3