i have autotune and autoCAD and am going to be an urban planner or a pop star, or both.
“And architecture is always political, as it is the result of a complex structure of decision-making processes, both public and private in nature. Therefore, architecture also always produces new social realities as space structures relationships between people, be it in a positive or negative way.”
GESTERBINE, by mode:lina architektura & consulting
gesture + water + turbine
human gesture kinetics — human energy into energy for humanity.
Kawamura Ganjavian’s earshell is a piece of jewelry and sound enhancing device.
i am sorry for eating avocados from mexico
i am sorry for not recycling sometimes
i am sorry i don’t believe that a socialist revolution is possible/desirable
i am sorry if i seem to believe we’re in the post-political
i am sorry for loving lady gaga
A. Hoyuela, theory of the dérive. II., Cantabria, Spain, 2009
(via bremser)
If you see a whole thing — it seems that it’s always beautiful. Planets, lives… But up close a world’s all dirt and rocks. And day to day, life’s a hard job, you get tired, you lose the pattern.
Ursula K. Le Guin (1974)
(photo: maplebed)
(via unicornology: likeneelyohara)
future
Submissions due: March 12, 2010
Today’s future seems dark, dangerous and perhaps nearer than ever.
Whether it is awaited for hope and progress, or cursed for pre-destined change and catastrophic loss, what we think as future inscribes a limit onto the present; transforming and regulating ‘what it is,’ we ‘do’ as we know by ‘now.’
Future never arrives ‘as is.’
Without critique, future is dogma; a sovereign institution, a blind vector driving ‘what is now and present’ towards silent, monotone, and prescribed experiences.
Whether it is a revolt against the futures of the past or a curiosity towards the unknown, thresholds 38 invites methods, projects, practices and alternative kinds of critique that imagine unorthodox futures that can emerge from within this institution.
We call for other futures; introductions, utopias, dystopias, heterotopias and hope; new ways to handle unknowns, uncertainties and improbables in current cultural practice; radical speculations about the realities of a world that will always be destined to political, social, financial and ecological crises.
thresholds 38 - call for submissions
Things to take note of in this photo:
And its time to break for spring.
“Information is an activity. Information is a life form. Information is a relationship. Information is a verb not a noun. Information is an action which occupies time rather than a state of being which occupies physical space.”
listening to music from aging social activists is like getting a hug from your mom.
things can be sad, you know, sometimes, but tangled up in blue will always be there for you.
Lamp cord as decoration (or, decorating when you don’t have disposable income)
from Maisie Maud Broadhead, via
(via topographicblog)
My blog is boring lately and I know it. February has been a tumultuous and awful month (as always). I have spent so much time working that my alcohol tolerance has regressed to 16 year old drunk-off-half-a-Smirnoff-Ice levels. This has not made writing for the internet easier.
But it is now March. New England isn’t exactly having anything that I would call “spring,” so next week, I am seeking it out myself. I have this and this (…and this and this, and maybe an interview with this) that I am looking forward to. There are interesting stories in way/hay’s future, I promise.
(img: topographicblog)
“I’ve never understood why so many men have allowed themselves to be brainwashed by the feminazi myth machine into believing that rape is such a serious crime … Rape is simply sex. Women enjoy sex, so rape cannot be such a terrible physical ordeal.
To suggest that rape, when conducted without violence, is a serious crime is like suggesting that forcefeeding a woman chocolate cake is a heinous offence. A woman would be more inconvenienced by having her handbag snatched.
The demonisation of rape is all part of the feminazi desire to obtain power and mastery over men. Men who go along with the rape myth are either morons or traitors.”
Nick Eriksen, senior BNP leader (via Women more troubled by bag theft than rape, BNP candidate claims | Mayor) (via schbank)(via bmckinney) (via robot-heart-politics) (via baphometic)(via criticalculture)
Two things:
1. British National Party is about to get a lot less popular (one can only hope),
2. Britain’s far right is WAY MORE CRAZY than America’s,
3. It is horrifying that anyone might actually believe that
[personal] freedom is not [economic] free[dom]
(via howtofightloneliness)
“It is a very sad thing that nowadays there is so little useless information.”
Oscar Wilde, 1894.
Symbology/Iconography for Classified Military Culture
Experimental geographer Trevor Paglen’s work is filled with the most visual artifacts from his work investigating the “black world” (secret states within the state) in which America’s covert military bases/organizations operate. These patches are from the uniforms of individuals involved in classified operations. In the above, Omnis Vestri Substructio Es Servus Ad Nobis is a Latin translation of “All Your Base Are Belong to Us.” The patch below is just creepy.
Club 8 - Western Hospitality
The Swedes just know how to lay on the charm so damn well. It’s really hard to resist them. The sun turns into this guy whenever their music is played…I swear!
Photo by Kjeli B Persson
‘kangaroo’ by daniel arsham, 2009 (gouache on mylar)
part of daniel arsham’s exhibit, “animal architecture,” at galerie emmanuel perrotin, paris
(more photos/info@designboom)
Ursell Anning’s No Words is my new favorite music blog and combines beautiful drawings with beautiful songs.
“To make anything interesting, you simply have to look at it long enough.”
Joanna Newsom - go long (mp3)
(via towerofsleep): I dare you to not be floored.
Highly recommend.
Edible Geography on Ice
“Everyone Ever in The World” by The Luxury of Protest
“Everyone Ever in the World” is a visual representation of the number of people to have lived versus been killed in wars, massacres and genocide during the recorded history of humankind. The visualisation uses existing paper area and paper loss (die cut circle) to represent the concepts of life and death respectively. This results in approximately 77.6 billion human beings to have ever lived during the recorded history of humankind. The total people killed in conflicts was collated from a number of historical source books and was summed for all conflicts – approximately 969 million people killed, or ~1.25% of all the people to have ever lived. The timescale encompasses 3200 BC to 2009 AD – a period of over 5 millennia, and 1100+ conflicts of recorded human history.
The sequence of dots to the top left of the graph shows the dramatic increase in the number of conflicts over the past 5 millennia (left to right : 3000 BCE to 2000 CE) with the most recent 1000 years being the most violent. The large dot below the graph represents the 1000 years to come: a predicted startling increase in human conflict.
Available to buy from Counter-Objects
“We must differentiate between crime and the fear of crime that acts an excuse for not living together. Obviously crime exists…But the fear of crime in places like these often screams out loud: we do not want to live together; we do not want to share the same spaces; we do not want to go to the same events.
Security is a ‘thick’ good and if a megalopolis wants to get along it must preserve this public good.
”
(via otto-obrien:colinquinn)
Justine Reyes, from the series “Vanitas”
(via Sight Unseen, the new project from the former editors of I.D.)
This is the most comforting food I have found in years.
the CLOUD: Proposed Tower for the 2012 Olympics in London
I know I am getting excited about the wrong Games right now, but this is too beautiful and amazing to pass up sharing you with you all. The CLOUD is a proposed monument London for the 2012 Olympics. It is an architectural feat made mostly of filigree cablea. Frankly, it is probably the only thing that could convince me that I want to be in London during the Olympics.
The size of the cloud is going to be completely contingent on the size of the donations that it receives — the team behind it (raisethecloud@MIT) is going to build it without putting any financial burden on the government.
(via karahayward)
Cloud Nothings - “Morgan”
» rosekohl (via andreainspired:gorillavsbear)
I had a really great interview with a place in Boston today and don’t know why I have been so concerned with the possibility of living there. Yes, its cold, and the T shuts down early. But if I’ve learned anything, it is that I have an affinity for cities that are not grids (e.g. London, San Francisco, Marrakesh)…
One of David Benqué’s current projects at the RCA London,
Giant Speaker Lilly:
Giant Speaker Lily is inspired by an actual species. The flower at the center of the 3 meter leaf captures bugs to coat them in pollen for 24 hours before it dies. During that time, the plant amplifies the vibrations of the bug through a membrane tensed over the leaf, becoming a giant monotone speaker.
(via ryanpanos: we make money not art)
Images of devastated buildings are the most eloquent and disturbing witnesses of disaster. Broken buildings represent broken people. If most buildings in an area have been damaged, the entire social structure seems to have broken. The severity of the emergency is confirmed by the sudden arrival of helicopters that bypass the everyday horizontal logic of the city to descend directly into the heart of the traumatized space to extract survivors or drop supplies and rescue teams. We expect or hope that the sight of the speedy arrival of emergency aid out of the sky is the first step in an extended visual narrative of recovery that steadily transitions from the provisional mobile architecture of sandbags, tents, trailers, portable clinics, trailers, and camps, to the restoration of permanent structures as the area heals and a traditional sense of shelter is restored. Having acted as the clearest sign of an emergency, architecture is the final sign of recovery. But what happens to architecture when the situation goes beyond emergency? What happens when emergency turns into crisis as the familiar linear narrative—immediate danger and rapid response followed by careful repair and eventual recovery—does not unfold? What happens when the recovery narrative itself breaks down?
-Mark Wigley (C-LAB)
“be my seed” by hang on the box—one for the ages from arguably the most charming band beijing has ever produced.
(via sukey)
I am really, really tired, and have been all week from a combination of job interviews and projects. Luckily, I have a best friend who is up to the task of compensating for my absence from the internet.
“Cyborgs are not reverent; they do not re-member the cosmos. They are wary of holism, but needy for connection- they seem to have a natural feel for united front politics, but without the vanguard party. The main trouble with cyborgs, of course, is that they are the illegitimate offspring of militarism and patriarchal capitalism, not to mention state socialism. But illegitimate offspring are often exceedingly unfaithful to their origins. Their fathers, after all, are inessential.”
-Donna Haraway
(via suke)
Model/Critique of Leon Krier’s home in Seaside, Florida (via)
(via)
“We love each other, but I’m on amphetamines all the time, he’s coming off of anti-depressants, and neither of us have done laundry in two months — I don’t think its the best time for us to start a relationship.”
I got a MacBook Pro so that I don’t have to waddle through 6 inch deep snow for half an hour to go use a computer that has the digital architecture programs that I need for work.
This thing is so bougie I sometimes can’t look at it. The fact that it doesn’t require coddling to get the screen to turn on, doesn’t scream like a guinea pig being fried when you put CDs in it and isn’t stained with beet juice is freaking me out.
I feel like I have to get dressed up for it.
