Issuu on Google+

Sensuous Artifacts Assembling the Contemporary Hero The New Fall of Rome Requiem for an Architectural Dream Constructs of the Stimulus & Absolute On Vision Seeking

Richard Ian Donnelly & Andrew Charles Innis Thesis submitted towards completion of a bachelor of architecture degree April 2009 Professor Yoder & Professor Moran

Disconnection of the body (senses) from the stimulus (pre-determined and unattainable) through chaos can create a new being born of the individual, a personal compilation of beloved artifacts (emotions, etc.), independent of stimulus, to construct a mobile home within the hero upon the horizon.

The journey in itself is the defining epoch for the hero; a notion of objects connected through dialectic process to negate society’s conventions and in turn free the consciousness.

We produce to act, to assemble, to grow.

These are our artifacts.

Martin Luther creates contrafact of German Golliard for Ein’ Feste Burg Ist Unser Gott








First Thanksgiving Pilgrims land at Plymouth Rock, MA.





First Public School Massachusetts Bay Company Harvard College founded



First American colony Jamestown, VA.


Portable camera obscura, Robert Boyle












Boston Tea Party North America Masons founded

American Philosophical Society founded


Adoption o

Treaty of Paris

Salem witch trials

Declaration of Independence French and Indian War

American Revolution

Steam engine

1800 Bill of Rights











Transcontinental Railroad Completed

Lewis and Clark Expedition

n of the Dollar Louisiana Purchase


War of 1812

Mexican - American War

Civil War

1 Billion people Darwin publishes The Origin of Species

Napoleonic Wars

Kaiser Wilhelm declares a German Empire

French Revolution


Vulcanized Rubber Telegraph Sewing machine

Benz’s Automobile Pasteurization

Daguerreotype Camera Color photograph Thaumatropes popularized by Dr. John Paris Kaleidoscope by Sir David Brewster Phenakistiscope by Joseph Plateau Diorama by Louis J.M. Daguerre Zootrope by William G. Horner Lenticular Stereoscope by David Brewster Stereoscope by Charles Whetstone

Bell invents telephone Edison invents incandescent bulb

Edison’s “mo

K.F. B Holmes stereoscope

American Media

Steam-powered locomotive








1970 Lunar landing

Segregation illegalized in schools

Paul Simon assembles An American Tune Woodstock Music Festival

Industrial Revolution

JFK assassinated, Dallas Great Depression

Watergate scandal

McCarthy’s Communist witch hunt begins

Stock Markets crash Spanish-American War


MLK Jr. assassinated


Vietnam War

2 Billion people

3 Billion people

4 Billion people

United Nations Formed

HIV identifi

Treaty of Versailles Mao Tse Tung declares Communist People’s Republic of China WWI


Liquid fueled rocket


Nuclear Reactor

Atomic Bomb

First differential analysis computer

Personal C

Fiber Optics




Braun invents the cathode-ray tube Holography

First commercial radio broadcast FM radio introduced NBC established CBS founded

H.G. Wells’ War of the Worlds is broadcast causing nationwide panic

First network Nightly News on CBS Leave it to Beaver premiers on CBS Saturday morning childrens television begins

ABC, CBS, and NBC create family hour

PBS first to all satellite d

1 Million American homes have TV

90 percent of U.S. households have a television set


1st television is sold

Ted Turner launches CNN

1944 First network censorship


Federal Communications Commission initiated, regulating broadcasting

Congress creates PBS

900 mill

Richard Ian born Ap

Brother Steven Roberts born

Brother Michael Edwards born



World Wide Web created by Berners-Lee

Barak Obama elected first black president US Tobacco pays $10 mil. for treatment of smokers WorldCom largest ever US bankruptcy case

Challenger space shuttle explodes

Oklahoma City bombing

NASA reports Arctic Sea ice melting at 9% a decade

Power crisis California

Rodney King riots in LA

World Trade Center Attack II

US sub-prime woes leads to housing market crash and credit crisis worldwide

America’s War on Terrorism

Persian Gulf War

5 Billion people Berlin Wall falls

6 Billion people

Euro introduced

Kyoto Protocol Convention

NAFTA trade pact


India’s Tata Motors unveils world’s cheapest car

North Korea abandons Nuclear Non-proliferation treaty Heat wave kills 35,000 Europeans


US financial crisis spreads to Europe and Asia

52 killed in London Subway bombings

Afghanistan - Soviet Occupation

International Space Station E-mail/Internet usage soars

nal Computer launched by IBM

Cloned Dolly the sheep, Scotland CD’s

Fox created by Barry Diller

hour time slot - no violence or sex

Reality TV introduced in the U.S.

ite delivery of programs

President Clinton significantly deregulated telecommunication

million television sets around the world

n April 10th



1 Billion television sets worldwide

Brother Neil Rodman Donnelly born Baptism Episcopalian

Confirmation Episcopalian

Primary school, Wickford RI

Primary school, Amherst NH Souhegan High School Move to NH

Syracuse University School of Architecture Study Abroad Florence Study Abroad London Study Abroad London

Thesis Thesis Syracuse University School of Architecture

Ruptured Spleen Archbishop Moeller High School Indian Hill Pre-School Baptism Presbyterian Andrew Charles born September 27th

Cincinnati Hills Christian Academy Primary school, Cincinnati, OH

Confirmation Presbyterian


Representation lives in the suggestion of the event. Each mouth that spreads the horror that the eyes have seen winds the tale closer and closer. The facts sing the same, while the fear coils tighter as it swells in the mind; the agony of ten steel tips burying where the conscious would have been.

ORANGE ALERT Gunshots at 900 Block of Madison Street. Seek shelter, lock or barricade the door, await further instructions. Call DPS to report any suspicious activity or behavior. Thank you, S U Department of Public Safety


The Washington Post Post - Indian Commandos Battle Assailants: Attacks in Mumbai Commercial Center Kill at Least 125 By Emily Wax - Friday, November 28, 2008; A01 MUMBAI, Nov. 28 -- Indian army commandos struggled all day Thursday and into the early hours of Friday to regain control of two luxury hotels and a Jewish center in India’s commercial capital, battling armed assailants who were part of a group that Indian Prime Minister Manmohan Singh said was “based outside the country. The group which carried out these attacks had come with single-minded determination to create havoc in the commercial capital of the country.” Husain Haqqani, Pakistan’s ambassador to the United States, said his government condemned the attacks in Mumbai. “It is unfair to blame Pakistan or Pakistanis for these acts of terrorism even before an investigation is undertaken,” Haqqani said in a statement. “Instead of scoring political points at the expense of a neighboring country that is itself a victim of terrorism, it is time for India’s leaders to work together with Pakistan’s elected leaders in putting up a joint front against terrorism.” One video shown again and again on television depicted the almost giddy face of a young gunman walking down the street with an AK-47 assault rifle. The attackers struck targets in addition to the hotels and the Jewish center, including a movie theater, a hospital, a railway station, a cafe popular with foreigners and several other sites in the heart of Mumbai. A British businessman, Rakesh Patel, who escaped the Taj Mahal Palace & Tower hotel, told television stations that two young men with a machine gun forced 15 hostages onto the hotel roof and told them that “they wanted anyone with British or American passports.” In Washington, State Department spokesman Robert McInturff said three Americans were among those injured in the Mumbai attacks, the Associated Press reported. He said there was no indication that any U.S. citizens had been killed. The Web site of the Synchronicity Foundation, a Faber, Va.-based spiritual organization whose members were staying at one of the hotels, said two Americans in the group were feared dead and two Americans and two Canadians had been wounded by gunfire. Five non-Indians -- an Australian, a Briton, a German, an Italian and a Japanese -- were reported killed. “All we can say now is this is the worst, most brazen, audacious attacks in Indian history because people were shooting openly on the street,” police official A.K. Sharma said. He spoke Thursday at the funeral of a police inspector who was killed while trying to stop gunmen at the train station. “It’s a violent situation that’s still ongoing. Mumbai remains at war.” In television reports, guests trapped at the Oberoi were shown peering through curtains and using tape to write the words “save me” on their windows. Officials said eight Israelis and a young American rabbi and his wife were being held hostage at the Mumbai headquarters of Chabad Lubavitch, an Orthodox Jewish outreach group. As day broke Friday, black-clad commandos were dropping onto the five-story center from a helicopter as sharpshooters opened fire. The violence began as Indians and tourists went about their lives in a metropolis known for its vibrancy. Shabir Sayed, 30, was buying a pack of cigarettes outside the packed Leopold Cafe on Wednesday night when he heard gunfire and saw men in black hooded sweatshirts with guns. “I saw the gunmen, and they were young men, in jeans with assault rifles. We were so scared. People were ducking under their tables,” he said. Blocks away, gunmen began shooting through windows and into the narrow alley ways near the Jewish center. Sanjay Kokate, a local political leader who said he was part of a self-appointed citizens police force, said he saw random shooting coming from the Jewish center and later realized that several residents had been shot in their living rooms and kitchens. “We heard bang-bang in the alleyway and first thought it was firecrackers. But then we heard horrible grief, and a woman ran out covered in the blood of her mother,” said Kokate, who was guarding the area, a stick swinging from his arm. “We saw two older women were shot dead while cooking dinner in their kitchens,” he said. “We helped carry the bodies out. People have been trapped inside their apartments ever since. It’s so horrifying.” The center is run by Rabbi Gavriel Holtzberg and his wife, Rivka. The couple’s 2-year-old son was escorted out of the building several hours after the attack, his clothing soaked in blood, the AP reported. The toddler was accompanied by a cook and another employee of the center. John Abraham, an assistant desk manager at a sister hotel of the Taj, said he spent the night helping shaken guests get out of the Taj. He also learned that three of his friends had been killed while cooking in the hotel kitchen. “People come from villages to take photos with this hotel,” said Abraham, 25. “This is a dent in Indian pride. But for me personally it means a loss of several really close friends. Just the other day, I was making plans to see a movie with him this weekend. In my head, I feel like he is still alive. Right now I am like a robot, just trying to get through this.”

FOX NEWS Foreigners Describe Mumbai Horror, Teen Killer Too Small For His Weapons Saturday , November 29, 2008 Associated Press ROISSY, France — She had the troubled look of someone who has had a narrow brush with death, still clearly haunted by the teenage terrorist she came practically face-toface with in Mumbai, carrying a gun that “looked almost a bit too big for him.” Kate Chaillat, 24, was among shocked and traumatized survivors of the Mumbai terror attacks who flew to France on Saturday aboard a special French government flight. Her father, Olivier, scooped her up into his arms at the airport. The returnees displayed the trauma common to those who have been through a wartime situation: anxiety, trembling, nightmares and jumping at the slightest sounds, said Dr. Didier Cremniter, a psychologist who flew out to the Indian city with French officials and came back on the government’s Airbus A310 passenger plane. The survivors “were very traumatized by what they have been through, shocked, with feelings of great terror and great fear. Some were locked for hours, even 1 or 2 days, in a room, scared to go out, in hotels that were burning,” Cremniter said. Chaillat and two friends were having a drink at the Leopold Cafe, a noisy and smoky old Mumbai institution, when the attackers struck Wednesday night. One friend was hit in the elbow, the other in the shoulder. Chaillat appeared unharmed. “We were right in the crossfire,” she said. They hid behind a stall. “I looked up and saw one of the shooters, and if he had turned around, we would have been the first ones in his eyesight, so we ran away,” Chaillat said. She described the gunman as a teenager carr ying “a huge gun, an AK-47 or Kalashnikov or whatever you call it, I don’t know.You see them in films all the time. It looked almost a bit too big for him.” The assailants attacked 10 sites across Mumbai from Wednesday night. The 60-hour rampage killed at least 195 people. The French jet evacuated 77 people of 11 nationalities. Red Cross personnel met them at Terminal 3 of Charles de Gaulle airport outside Paris. Some had shiny foil thermal blankets draped over their shoulders. One man was pushed out in a wheelchair. Many appeared still too shocked to speak about their experiences, waving away or quickly walking past a crowd of reporters with cameras and a forest of microphones. The flight carried 29 French, 17 Spanish and 19 Italians, as well as citizens of Germany, Poland, Kazakhstan, Greece, the Netherlands, Congo, Switzerland and Algeria, according to the French Foreign Ministry. Ignasi Guardans Cambo, one of two European lawmakers who rode back aboard the flight, said he was fortunate to have left the Taj Mahal Palace and Tower hotel for supper just six minutes before the assailants struck there. He hid overnight in a nearby restaurant. Another lawmaker in his delegation hid in a hotel kitchen for two hours and “stepped over bodies” to get out, Guardans said. Philippe Meyer, who was in Mumbai in a business trip, said he was trapped in his room at the upscale Oberoi hotel, which the gunmen also targeted, “hoping that they wouldn’t get in.” He got news updates by phone but had no food, he said. Olivier Chaillat said that his daughter, a would-be filmmaker, had spent a month in India and shortly before the attacks had sent him an e-mail saying, “it’s great. I love it.” But being caught up in the terror is “a life-changing thing,” he fretted. “We hope she won’t be scarred by it.”

BBC NEWS - The age of ‘celebrity terrorism’ By Paul Cornish - Chairman, Chatham House’s International Security Programme ‘Quite apart from the scores murdered and the hundreds injured, what the Mumbai terrorists really wanted was an exaggerated - and preferably extreme - reaction on the part of governments, the media and public opinion. In these terms, the attackers received as much attention as they could possibly have hoped for, and the Mumbai outrage can only be described as a very significant terrorist success. The attack received saturation coverage in the world’s media from the outset. Almost within minutes, television screens showed harrowing scenes of pools of blood where people had died or been injured, hotels ablaze, Indian army snipers firing at distant targets, and CCTV images of the attackers. Especially disturbing, hostages and survivors reported that certain nationalities had been identified by their passports and taken away for execution. No matter how obscure, every detail of this multi-point, sustained attack was soon being pored over by terrorism experts, trying to fit the carnage in Mumbai into one template or another...’ ‘This is precisely how terrorism is meant to work - the terrorist’s action must always be complemented by the target’s reaction in order to complete the scene. How the attack is carried out, and what is done to whom, matters no more - and often rather less - than the way the attack is received, and the impact accorded to it. The impact has indeed been instant and extensive, reaching into the worlds of politics, business and even sport, and on all levels - internationally, regionally and nationally in India. ‘ ‘Adding meaning: But, for all the horror of the Mumbai attack, there might have been much less to it than first met the eye, and a hasty and exaggerated response might have played more of a part, and given more meaning to the attack than it should. Nobody appears to have heard of the Deccan Mujahideen - perhaps because they have never existed. Perhaps it was not so difficult after all to plan and execute this attack: small arms and hand grenades are not hard to find, boats are scarcely specialised equipment, and Mumbai is a vast, open city with more than enough soft targets. Perhaps we do not know enough about where the perpetrators are from, because they could have come from almost anywhere? The terrorists were willing to show their faces on CCTV. Was this suicide for martyrdom - as in New York and Washington in 2001, and London in 2005 - or suicide for celebrity, as in Columbine in 1999 and Virginia Tech in 2007? And perhaps so little is known of the terrorists’ cause, because they simply did not feel the need to have one. The attack in Mumbai was obviously planned - but “military-style planning” (whatever that means) is probably not necessary for the mass murder of unarmed and unsuspecting civilians going about their business in crowded railway stations and restaurants. This could also have been a plan which had a large gap where mission, cause or vision statement ought to have been. But no matter. The terrorists might have assumed, quite correctly as it happens, that the world’s media and the terrorism analysis industry would very quickly fill in any gaps for them. ‘ ‘Writing the narrative : The character of modern terrorism is widely understood to have been shaped by a mid-19th-Century idea known as the “propaganda of the deed” - a strategy for political change in which the message or cause is contained within, and expressed by the violent act. ‘ ‘In a novel twist, the Mumbai terrorists might have embarked on propaganda of the deed without the propaganda in the confident expectation that the rationalization for the attack - the narrative - would be provided by politicians, the media and terrorism analysts. ‘If so, then Mumbai could represent something rather different in the history of terrorism, and possibly something far more disturbing even than global jihad. Perhaps we have come to the point where casually self-radicalised, sociopathic individuals can form a loose organization, acquire sufficient weapons and equipment for a few thousand dollars, make a basic plan of action and indulge in a violent expression of their generalized disaffection and anomie. These individuals indulge in terrorism simply because they can, while their audience concocts a rationale on their behalf. ‘ ‘Welcome to the age of celebrity terrorism. The invitation to the world’s D-list malcontents reads as follows: No matter how corrupt your moral sense, how contorted your view of the world, how vapid and inarticulate your ideas, how talentless you are and how exaggerated your grievance, an obsessive audience will watch your every move and turn you into what you most want to be, just before your death. ‘

Al Jazeera English - Indian Security Official Resigns Sunday, November 30, 2008 ‘Mumbai mourned its dead on Sunday, as security officials stepped up their investigation.’ ‘Shivraj Patil, the Indian home minister, has resigned over the coordinated attacks in Mumbai that left around 172 people dead. Patil submitted his resignation to Manmohan Singh, the Indian prime minister, on Sunday. Shortly afterwards, India’s national security adviser, MK Narayanan, also offered to submit his resignation.’ ‘Palaniappan Chidambaram, the Indian finance minister, has been appointed home minister while Singh himself has taken on the finance portfolio for an interim period. An aide to Singh told news agency AFP that “more senior members of the government are likely to be shown the door” in the wake of the attacks.’ ‘Matt McClure, Al Jazeera’s correspondent in Mumbai, said Patil’s decision to step down was not a “total surprise” given opposition parliamentarians have repeatedly called for him to resign over the string of attacks in India in the past 12 months. However, he said that while Patil’s resignation was in keeping with the concept of ministerial responsibility “the Indian police and intelligence services need to be modernized and better co-ordinated”. ‘Pakistani elements’ ‘The news came as Mumbai began to mourn its dead and security officials stepped up their investigation into the attacks. Accusations that “Pakistani elements” were behind the violence have been denied by Islamabad, which has called on India to share evidence. Pranab Mukherjee, the Indian foreign minister, said: “According to preliminary information, some elements in Pakistan are responsible.” With the suspicion that elements in Pakistan were involved, the Indian government is considering suspending peace talks with its neighbour, the Press Trust of India (PTI) reported. “There is a view in the government that India should suspend the peace process and composite dialogue to show that it is not going to take lightly the deadly carnage in Mumbai,” the official news agency quoted an unnamed officials as saying. Kanwal Sibal, a former Indian foreign secretary, told Al Jazeera: “We have been put in an extremely difficult situation where, on the one hand we need to respond - we must respond, otherwise we lay ourselves open to more such attacks in the future. On the other hand, we also want the democratic government in Pakistan to survive and we do not want the armed forces to come back.” ‘Some Indian officials have suggested the attackers could be linked to the Pakistan-based Lashkar-e-Taiba group, who oppose Indian rule in Kashmir. But Assad Durrani, a former head of Pakistan’s Inter-Services Intelligence (ISI), told Al Jazeera:“I heard that India would be prepared to share their intelligence with Pakistan, so that is already a positive move, because that has been a problem in the past. And, in most cases, if I recall correctly, it turned out that either they did not have any good proof or someone else was responsible.” ‘Earlier Shah Mahmood Qureshi, Pakistan’s foreign minister, said: “Our hands are clean, we have nothing to hide and nothing to be ashamed of because this government feels that good neighbourly relations with India are in the interests of Pakistan.” A previously unknown group calling itself the Deccan Mujahidin has claimed responsibility for the string of attacks - but it is unclear whether the group is India or Pakistan based. ‘Brigadier Shaukat Qabir (retired), of the Islamabad Policy Research Unit, told Al Jazeera the attack bore the hallmarks of an al-Qaeda inspired assault.’ “There is only one statement [available] from the person that they [the Indian police] have captured ... that they were instructed to target Israelis and foreigners because they wanted to take revenge for Palestine which indicates an al-Qaeda connection,” he said. India’s private NDTV reported on Sunday that a six-man FBI team had arrived in Mumbai to help with the investigation.’

Boston Globe - Bush says closely monitoring Mumbai attacks - Reporting by Patrick Rucker; Editing by Peter Cooney November 29, 2008 ‘WASHINGTON (Reuters) - President George W. Bush said on Saturday he had been closely monitoring developments in India in the wake of deadly militant attacks in Mumbai and offered words of support for the Indian people.’ “The killers who struck this week are brutal and violent. But terror will not have the final word. The people of India are resilient. The people of India are strong,” Bush said at the White House.’ ‘The attack by militants began on Wednesday night with gun and grenade attacks and ended on Saturday with nearly 200 people dead.’ ‘The State Department said on Friday that five U.S. citizens had been killed. It issued a new travel alert for India on Saturday, warning of heightened security concerns in that country after the attacks and urging Americans to exercise caution when visiting there.’ ‘Bush said he spoke on Saturday morning with Secretary of State Condoleezza Rice about the attacks in a video conference that also included U.S. diplomats in India.’ “ W e r e v i e w e d t h e l a t e s t d e v e l o p m e n t s a n d w e a r e w o r k i n g t o e n s u r e t h a t A m e r i c a n c i t i z e n s i n I n d i a a r e s a f e ,” B u s h s a i d . “We pledge the full support of the United States as India investigates these attacks, brings the guilty to justice and sustains its democratic way of life,” Bush said moments after arriving by helicopter on the south lawn of the White House. Bush spent Thanksgiving at the presidential retreat of Camp David.’ ‘Indian security personnel killed four militants early on Saturday, ending the siege in which gunmen attacked Mumbai’s top two luxury hotels, its biggest railway station and several other symbols of India’s financial might.’ ‘Bush said he was keeping President-elect Barack Obama apprised.’

The New York Times - Wrong Is Right - by Paul Krugman February 19, 2007 ‘Many people are perplexed by the uproar over Senator Hillary Clinton’s refusal to say, as former Senator John Edwards has, that she was wrong to vote for the Iraq war resolution. Why is it so important to admit past error? And yes, it was an error — she may not have intended to cast a vote for war, but the fact is the resolution did lead to war; she may not have believed that President Bush would abuse the power he was granted, but the fact is he did.’ ‘The answer can be summed up in two words: heckuva job. Or, if you want a longer version: Medals of Freedom to George Tenet, who said Saddam had W.M.D., Tommy Franks, who failed to secure Iraq, and Paul Bremer, who botched the occupation. For the last six years we have been ruled by men who are pathologically incapable of owning up to mistakes. And this pathology has had real, disastrous consequences. The situation in Iraq might not be quite so dire — and we might even have succeeded in stabilizing Afghanistan — if Mr. Bush or Vice President Dick Cheney had been willing to admit early on that things weren’t going well or that their handpicked appointees weren’t the right people for the job. ‘ ‘The experience of Bush-style governance, together with revulsion at the way Karl Rove turned refusal to admit error into a political principle, is the main reason those now-famous three words from Mr. Edwards — “I was wrong” — matter so much to the Democratic base. ‘ ‘The base is remarkably forgiving toward Democrats who supported the war. But the base and, I believe, the country want someone in the White House who doesn’t sound like another George Bush. That is, they want someone who doesn’t suffer from an infallibility complex, who can admit mistakes and learn from them.’ ‘And there’s another reason the admission by Mr. Edwards that he was wrong is important. If we want to avoid future quagmires, we need a president who is willing to fight the inside-the-Beltway conventional wisdom on foreign policy, which still — in spite of all that has happened — equates hawkishness with seriousness about national security, and treats those who got Iraq right as somehow unsound. By admitting his own error, Mr. Edwards makes it more credible that he would listen to a wider range of views.’ ‘In truth, it’s the second issue, not the first, that worries me about Mrs. Clinton. Although she’s smart and sensible, she’s very much the candidate of the Beltway establishment — an establishment that has yet to come to terms with its own failure of nerve and judgment over Iraq. Still, she’s at worst a triangulator, not a megalomaniac; she’s not another Dick Cheney.’ ‘I wish we could say the same about all the major presidential aspirants. Senator John McCain, whose reputation for straight talk is quickly getting bent out of shape, appears to share the Bush administration’s habit of rewriting history to preserve an appearance of infallibility. Last month Senator McCain asserted that he knew full well what we were getting into by invading Iraq: “When I voted to support this war,” Mr. McCain said on MSNBC, “I knew it was probably going to be long and hard and tough, and those that voted for it and thought that somehow it was going to be some kind of an easy task, then I’m sorry they were mistaken.” But back in September 2002, he told Larry King, “I believe that the operation will be relatively short,” and “I believe that the success will be fairly easy.” ‘And as for Rudy Giuliani, there are so many examples of his inability to accept criticism that it’s hard to choose.’ ‘Here’s an incident from 1997. When New York magazine placed ads on city buses declaring that the publication was “possibly the only good thing in New York Rudy hasn’t taken credit for,” the then-mayor ordered the ads removed — and when a judge ordered the ads placed back on, he appealed the decision all the way up to the United States Supreme Court.’ ‘Now imagine how Mr. Giuliani would react on being told, say, that his choice to head Homeland Security is actually a crook. Oh, wait. ‘ ‘But back to Mrs. Clinton’s problem. For some reason she and her advisers failed to grasp just how fed up the country is with arrogant politicians who can do no wrong. I don’t think she falls in that category; but her campaign somehow thought it was still a good idea to follow Karl Rove’s playbook, which says that you should never, ever admit to a mistake. And that playbook has led them into a political trap. ‘

CNN -Fannie Mae forgives loan for woman who shot herself Jim Kavanagh, Brad Lendon and Mallory Simon contributed to this report. Congressman mentions incident during House debate on bailout - Kucinich: “This bill does nothing for the Addie Polks of the world” (CNN) -- Fannie Mae said it will set aside the loan of a woman who shot herself as sheriff’s deputies tried to evict her from her foreclosed home. ‘Addie Polk, 90, of Akron, Ohio, became a symbol of the nation’s home mortgage crisis when she was hospitalized after shooting herself at least twice in the upper body Wednesday afternoon.’ ‘On Friday, Fannie Mae spokesman Brian Faith said the mortgage association had decided to halt action against Polk and sign the property “outright” to her. “We’re going to forgive whatever outstanding balance she had on the loan and give her the house,” Faith said. “Given the circumstances, we think it’s appropriate.” ‘Residents of Akron have rallied behind Polk, who is being treated at Akron General Medical Center. She was listed in critical condition Friday afternoon, according to Akron City Council President Marco Sommerville. U.S. Rep. Dennis Kucinich, D-Ohio, mentioned Polk on the House floor Friday during debate over the latest economic rescue proposal.’ “This bill does nothing for the Addie Polks of the world,” Kucinich said after telling her story. “This bill fails to address the fact that millions of homeowners are facing foreclosure, are facing the loss of their home. This bill will take care of Wall Street, and the market may go up for a few days, but democracy is going downhill.” ‘Neighbor Robert Dillon, 62, used a ladder to enter a second-story bathroom window of Polk’s home after he and the deputies heard loud noises inside, Dillon said....He found her lying on a bed, and he could see she was breathing. He also noticed a long-barreled handgun on the bed, but thought she just had it there for protection. He touched her on the shoulder...’ ‘He hurried downstairs and let the deputies in. He said they told him they found Polk’s car keys, pocketbook and life insurance policy laid out neatly where they could be found, suggesting that she intended to kill herself.... ‘In 2004, Polk took out a 30-year, 6.375 percent mortgage for $45,620 with a Countrywide Home Loan office in Cuyahoga Falls, Ohio. The same day, she also took out an $11,380 line of credit.’ ‘Over the next couple of years, Polk missed payments on the 101-year-old home that she and her late husband purchased in 1970. In 2007, Fannie Mae assumed the mortgage and later filed for foreclosure.’ ‘Deputies had tried to serve Polk’s eviction notice more than 30 times before Wednesday’s incident, Sommerville said. She never came to the door, but the notes the deputies left would always disappear, so they knew she was inside and ambulatory, he said.’ ‘The city is creating programs to help people keep their homes, Sommerville said that by the time people call for help with an impending foreclosure, it’s usually too late. “I’m glad it’s not too late for Miss Polk, because she could have taken her life,” Sommerville said. “Miss Polk will probably end up on her feet. But I’m not sure if anybody else will.”’

CBS NEWS - Stolen Dreams March 15, 2008 ‘(CBS) Stephen Trantel was a Wall Street insider who seemed to have it all: a beautiful family, a nice home in an upscale Long Island community, and fancy cars. But what those closest to him didn’t know was that he was living a secret life. ‘ ‘And as correspondent Richard Schlesinger reports, that secret life began to unravel on one November day in 2003 after what was supposed to be just a day of fishing. ‘ ‘It was dark and stormy in more ways than one on that November night. There had been no news about Stephen’s whereabouts for hours, when police called his wife, Jeanne Callahan. ‘ ‘Jeanne’s friends Brooke and Laura had been with her since earlier in the evening, hours after Stephen was due home. “We were going through a thousand different scenarios. If he was in a hospital, why had nobody called, if he was mugged, somebody stole his wallet, he was in an accident his body was in a ditch someplace,” Laura remembers. ‘ ‘The news wasn’t that bad, but it wasn’t that good, either: Stephen was alive but was under arrest, charged with crimes that could put him away for the rest of his life. Police told Jeanne her husband was a bank robber, and that he didn’t commit just one or two robberies - he committed ten. ‘ ‘Jeanne told police they had the wrong man. ‘ A n d

‘To the people who knew Stephen, he was the least likely to rob a bank - for one, he was the son of a New York City cop. b e c a u s e h e w a s a t r a d e r i n t h e b i g m o n e y w o r l d o f c o m m o d i t i e s , to steal anything. ‘

h e

w o u l d n’ t

‘The Trantels lived in a tony little town in the suburbs of Manhattan called Rockville Center. And Jeanne was living a nice life. Every month, Stephen handed her a wad of cash. He had always been generous, ever since they met when she was just 24. ‘ ‘After they married and he established himself as a trader, they drove nice cars, took nice vacations and Jeanne could stay home to raise their two sons, Stephen Jr. and his baby brother Ryan. ‘ ‘And when Stephen got home from his job, he got right down to work, helping with the upbringing of his sons. It was impossible to imagine this man robbing banks. ‘ ‘Yet there he was in police custody...’

h a v e

FOX NEWS - Family Outraged, Distraught Over Florida Teen’s Webcam Suicide - Associated Press Saturday , November 22, 2008 MIAMI — ‘The family of a college student who killed himself in front of an Internet audience say they’re horrified his life ended before virtual spectators and infuriated that viewers and Web site operators didn’t act sooner to save him. Only after police arrived to find Abraham Biggs dead in his father’s bed did the webcam feed stop Wednesday — 12 hours after the 19-year-old Broward College student first declared on a Web site that he hated himself and planned to die.’ ‘ “It didn’t have to be,” said the victim’s sister, Rosalind Bigg, who spells her last name differently than her brother’s. “They got hits, they got viewers, nothing happened for hours.” Biggs announced his plans to kill himself on a site for bodybuilders, authorities said. He posted a link from there to, a site that allows users to broadcast live videos from their webcams. A computer user who claimed to have watched said that after swallowing some pills, Biggs went to sleep and appeared to be breathing for a few hours while others cracked jokes. Some members of his virtual audience encouraged him to do it, others tried to talk him out of it, and some discussed whether he was taking a dose big enough to kill himself, said Wendy Crane, an investigator with the Broward County medical examiner’s office. Some users told investigators they did not take him seriously because he had threatened suicide on the site before. Eventually, someone notified the moderator of the bodybuilding site, who traced Biggs’ location and called police, Crane said.’ ‘The drama unfolded live on, which allows viewers to post comments alongside the video images. As police entered the room, the audience’s reaction was filled with Internet shorthand: “OMFG,” one wrote, meaning “Oh, my God.” Others, either not knowing what they were seeing, or not caring, wrote “lol,” which means “laughing out loud,” and “hahahah.” His father, Abraham Biggs Sr., told The Miami Herald he didn’t want to watch the video.” We were very good friends,” he said. “It’s wrong that it was allowed to happen.” An autopsy concluded Biggs died from a combination of opiates and benzodiazepine, which his family said was prescribed for his bipolar disorder.” Abe, i still wish this was all a joke,” a friend wrote on the teenager’s MySpace page, which he described himself as a goodhearted guy who would always be available for his pals, no matter what time of day. ‘ ‘In a statement, CEO Michael Seibel said: “We regret that this has occurred and want to respect the privacy of the broadcaster and his family during this time.” It is unclear how many people watched it happen. The Web site would not say how many people were watching the broadcast. The site as a whole had 672,000 unique visitors in October, according to Nielsen. ‘ ‘Biggs was not the first person to commit suicide with a webcam rolling. But the drawn-out drama — and the reaction of those watching — was seen as an extreme example of young people’s penchant for sharing intimate details about themselves over the Internet. Montana Miller, an assistant professor of popular culture at Bowling Green State University in Ohio, said Biggs’ very public suicide was not shocking, given the way teenagers chronicle every facet of their lives on sites like Facebook and MySpace.” If it’s not recorded or documented then it doesn’t even seem worthwhile,” she said. “For today’s generation it might seem, `What’s the point of doing it if everyone isn’t going to see it?”’ She likened Biggs’ death to other public ways of committing suicide, like jumping off a bridge. Crane said she knows of a case in which a Florida man s h o t h i m s e l f i n t h e h e a d i n f r o n t o f a n o n l i n e a u d i e n c e , t h o u g h s h e d i d n ’ t k n o w h o w m u c h v i e w e r s s a w .’ ‘In Britain last year, a man hanged himself while chatting online. Miami lawyer William Hill said there is probably nothing that could be done legally to those who watched and did not act. As for whether the Web site could be held liable, Hill said there doesn’t seem to be much of a case for negligence.” There could conceivably be some liability if they knew this was happening and they had some ability to intervene and didn’t take action,” said Hill, who does business litigation and has represented a number of Internet-based clients. But “I think it would be a stretch.” ‘ ‘Condolences poured into Biggs’ MySpace page, where the mostly unsmiling teen is seen posing in a series of pictures with various young women. On the bodybuilding Web site, Biggs used the screen name CandyJunkie. His alias was “feels—like—ecstacy.” ‘ ‘Bigg described her brother as an outgoing person who struck up conversations with Starbucks baristas and enjoyed taking his young nieces to Chuck E. Cheese. He was health-conscious and exercised but was not a bodybuilder, she said.” This is very, very sudden and unexpected for us,” the sister said. “It boggles the mind. We don’t understand.”’


‘But the technological model for the multiscreen, multimedia presentation may have been provided by the War Situation Room, which was designed in those same years to bring information in simultaneously from numerous sources around the world so that the president and military commanders could make decisions. It is not without irony, in that sense, that the Eameses read the organization of the circus as a form of crisis control. In a circus, Charles said:’ ‘There is a strict hierarchy of events, and an elimination of choice under stress, so that one event can automatically follow another….There is a recognized mission for everyone involved. In a crisis there can be no question as to what needs to be done.’

excerpts from Enclosed by Images: The Eameses’ Multimedia Architecture (2001) Beatrice Collomina ‘The Eameses were not just popular entertainers in an official exhibition. Glimpses of the USA was not just images inside a dome. ... In fact, we find ourselves in a space that can only be apprehended with the high technology of telescopes, zoom lenses, airplanes, night-vision camera, and so on,, and where there is no privileged point of view. More importantly, importantly the relationship between the images re-enacts the operation of the technologies.’ ‘Glimpses breaks with the linear narrative of film to bring snippets of information, an ever-changing mosaic image of American life – which the narrative insists are the same in the Soviet Union as in the USA – From the parking lots of factories, which the narrative describes as filled with the cars of the workers,, to the aerial views of suburban houses with a blue swimming pool in each yard, to the close-ups of shopping carts and shelves full of goodies in the supermarkets and housewives cooking dinner in the kitchens equipped with every imaginable appliance, the message of the film was clear: we are the same but, on the material level, we have more.’ ‘It was not the first time they had deployed multiple screens. In fact, the Eameses were involved in one of the first multimedia presentations on record, if not the first.’ ‘The subject of the lesson was “Communications” and the stated goals included “the breaking down of barriers between fields of learning…making people a little more intuitive…[and] increasing communication between people and things.” The performance included a live narrator, multiple images (still and moving pictures), and even smells and sounds (music and narration). Charles Eames later said, “We used a lot of sound, sometimes carried to a very high volume so you would actually feel the vibrations.” The idea was to produce an intense sensory environment so as to “heighten awareness.” The effect was so convincing that apparently people even smelled things when no smells were introduced, only a suggestion in an image or a sound (for example, he smell of oil in the machinery). Girard brought a collection of bottled synthetic odors that were to be fed into the auditorium during the show through the air-conditioning ducts.” ‘The circus, as an event that offers a multiplicity of simultaneous experiences that cannot be taken in entirely by the viewer, was the Eameses’ model for their design of multimedia exhibitions and the fast-cutting techniques of their viewer films and slide shows, where the objective was always to communicate the maximum amount of information in a way that was both pleasurable and effective.’ ‘But the technological model for the multiscreen, multimedia presentation may have been provided by the War Situation Room, which was designed in those same years to bring information in simultaneously from numerous sources around the world so that the president and military commanders could make decisions. It is not without irony, in that sense, that the Eameses read the organization of the circus as a form of crisis control. In a circus, Charles said, “there is a strict hierarchy of events, and an elimination of choice under stress, so that one event can automatically follow another….There is a recognized mission for everyone involved. In a crisis there can be no question as to what needs to be done.”

‘The logic of information flow is further developed in the 1955 Eames film House: After Five Years of Living. The film was entirely made from thousands of color slides the Eameses had been taking of their house over the first five years of its life. The images are shown in quick succession (a technique called “fast cutting” for which the Eameses won and Emmy Award in 1960) and accompanied with music by Elmer Bernstein. As Michael Braune wrote in 1966:’

‘The interesting point about this method of film making is not only that it is relatively simple to produce and that rather more information can be conveyed than when there is movement on the screen, but that it corresponds surprisingly closely with the way in which the brain normally records the images it receives. I would assume that it also corresponds rather closely with the way Eames’s own though processes tend to work. I think it symptomatic, for instance, that he is extremely interested in computers, …and that one of the essential characteristics of computers is their need to separate information into components before being able to assemble them into a large number of different wholes.’ ‘As the Eames suggested to Vogue, Sample Lesson tried to provide many forms of “distraction,” instead of asking students to concentrate on a singular message. The audience drifts through a multimedia space that exceeds their capacity to absorb it….They produce and excessive input from different directions that has to be synthesized by the audience….More than anything, the Eameses wanted an emotional response, produced as much by the excess of images as their content. They said:’ “At the Moscow World’s Fair in 1959 – when we used seven screens over and area that was over half the length of a football field – that was just a desperate attempt to make a credible statement to a group of people in Moscow when words had almost ceased to have meaning. We were telling the story straight, and we wanted to do it in 12 minutes, with images; but we found that we couldn’t give credibility to it in a linear way. However when we could put 50 images on the screen for a certain subject in a matter of 10 seconds, we got a kind of breadth which we felt we couldn’t get any other way.” “In the past 50 years the world has gradually been finding out something that architects have always known, that is, that everything is architecture. The problems of environment have become more and more interrelated. This is a sketch for a film that shows something of how large -and small- our environment is.”


‘But as Ralph Caplan pointed out, the connections in their work are not only between such “disparate materials as wood and steel,” or between “seemingly alien disciplines” like physics and the circus, but also between ideas. Their technique of “information overload,” used in films and multimedia presentations, as well as in their trademark “information wall” in exhibitions, was not used to “overtax the viewer’s brain”” but precisely to offer a “broad menu of options,” and to create an “impulse to make connections.” ‘Like all architects, the Eameses controlled the space they produced. ... Performances were carefully planned to appear as effortless as a circus act. Timing and elimination of “noise” were the major considerations. Their office produced masses of documents, even drawings showing the rise and fall of intensity through the course of a film, literally defining the space they wanted to produce, or, more precisely, the existing space of media that they wanted to intensify.’ ‘The experience for the audience in Moscow was almost overwhelming. Journalists speak of too many images, too much information, too fast. For the MTV generation and the Internet generation watching the film today today, it would not be fast enough, and yet we do not seem to have come that far either. The logic of the Internet is already spelled out in the Eames multiscreen projects.’ ‘Coming Coming out of the war mentality, the Eameses’ innovations in the world of communication, their exhibitions, films, and multiscreen performances transformed the status of architecture. Their highly controlled flows of simultaneous images provided a space, an enclosure – the kind of space we now occupy continuously without thinking.’


Sergio Leone: Something To Do With Death (2000) Christopher Frayling ‘Leone fascinated me a lot, when for example, he was describing in advance exactly the camera movements that needed to be made for a certain scene: to me it was like Dante disclaiming his verses. ‘ ‘I was very influenced by Ford’s honesty and his directness. His main characters usually look forward to a rosy future. If he sometimes de-mythologizes the West, as I had tried to do on the “Dollars” films, it is always with a certain romanticism, which is his greatness but which also takes him a long way away from historical truth…. Ford was full of optimism, whereas I on the contrary am full of pessimism.’ ‘We wanted that feeling throughout of a kaleidoscopic view of all American Westerns put together….The “references” aren’t calculated in a programmed kind of way, they are there to give the feeling of all that background of the American Western to help tell this particular fairy tale. They are part of my attempt to take historical reality – the new, unpitying era of the economic boom – and blend it together with the fable.’ ‘I wanted to take all the most stereotypical characters from the American Western – on loan! The finest whore in New Orleans; the romantic bandit; the killer who is half-businessman, half-killer, and who wants to get on in the new world of business; the businessman who fancies himself as a gunfighter; the lone avenger. With these five most stereotypical characters of the American Western, I wanted to present a homage to the Western at the same time as showing the mutations which American society was undergoing at that time. So the story was about a birth and death.’ ‘There’s this happy rancher and his family. They’re getting ready to eat outside their cabin, smiling, laughing. A shot rings out and the eighteen-year-old daughter of the family falls dead with a bullet through her eye. Her father looks up and a bullet gets him right in the forehead… A sixteen-year-old youth comes out of the barn and bam! He’s dead. That leaves a nine-year-old boy standing in the middle of the worst massacre you can imagine. The camera cuts to a long shot and from behind the sagebrush on the desert comes five ominous figures, all wearing long gray [actually brown] dusters, black, wide-brimmed hats, and they’re carrying rifles and side arms. Slowly, they converge on this little boy. Cut to him. Cut to the advancing men. Cut to the terror in the kid’s eyes. Cut to the back of the central figure in the five desperadoes. Very slowly the camera comes around and that’s what Sergio was going for all the time. The main heavy. “Jesus Christ, it’s Henry Fonda!” ‘Looking at a map of that part of the United States for a name which we could give to this place, I found one I liked very much, which was “Sweetwater”. The fictional town of the story was originally to have been Abilene, Kansas, but once it had been decided to feature a buggy-ride from the train station to ‘Sweetwater’, via Monument Valley, the name was changed from Abilene to ‘Flagstone’ – a reference to Flagstaff, Arizona. It made sense with reference to the map, but Jill McBain and Sam just had to ride past the red sandstone buttes in the valley which had been featured in ten John Ford Westerns, from Stagecoach (1939) to Cheyenne Autumn (1964). ‘We watched Stagecoach for Monument Valley – yes,’ says Bertolucci. Once that had been decided, it was a question of looking at the map to find a suitable destination: northeast of Monument Valley, on the Utah side, is a small village called ‘Sweetwater’, the name Bertolucci ‘liked very much’. This ‘creative geography’ was something like the process by which Bertolt Brecht found the lyrics for his songs about ‘America’ in 1920’s Berlin. According to Lotte Lenya, words such as ‘Alabama’ were chosen for their sound, and for the image they conjured up in the minds of radical young Germans, rather than for any real associations.’ ‘But in the silence, the squeaking of this stepladder became something else. And the philosophical argument behind the experiment was that a sound, any sound at all from everyday life, isolated from its context by silence, becomes something different that is not part of its real nature…. I recounted this experience to Sergio, who already had these things in his blood, in his own ideas about silence. He made those extraordinary first ten minutes of Once Upon a Time from that idea. In my opinion, that was one of the best things Sergio did in this film.’ ‘So at the mixing stage, the opening sequence became a symphony of exaggerated sounds interrupted by just one mumbled line of dialogue: the creak of a wooden door, the sound of chalk on blackboard, a windmill in serious need of oiling, the wind, crunching footsteps, the whimperings of the station agent, the fluttering of a caged bird (as one of the pistoleri makes angry cat sounds at it), the crowing of a cock, the windmill again, the slamming of a metal door – and all of this before the words A SERGIO LEONE FILM appear superimposed on a riveted door with ‘Keep Out’ painted on it. When he first saw the sequence, Morricone called the soundtrack ‘the best music I’ve ever composed’. Carlo Simi remembers that ‘Some little idiot tried to oil the mechanism of the windmill just before we recorded it. Sergio exploded, because he wanted that irritating sound at all costs!’










excerpts from The Pit and the Pendulum (1842) Edgar Allan Poe ‘I had swooned; but still will not say that all of consciousness was lost. What of it there remained I will not attempt to define, or even to describe; yet all was not lost. In the deepest slumber - no! In delirium - no! In a swoon - no! In death - no! Even in the grave all was not lost. Else there is no immortality for man. Arousing from the most profound of slumbers, we break the gossamer web of some dream. Yet in a second afterwards (so frail may that web have been) we remember not that we have dreamed. In the return to life from the swoon there are two stages; first, that of the sense of mental or spiritual; secondly, that of the sense of physical existence. It seems probable that if, upon reaching the second stage, we could recall the impressions of the first, we should find these impressions eloquent in memories of the gulf beyond. And that gulf is what? How at least shall we distinguish its shadows from those of the tomb? But if the impressions of what I have termed the first stage are not at will recalled, yet, after long interval, do they not come unbidden, while we marvel whence they come? He who has never swooned is not he who finds strange palaces and wildly familiar faces in coals that glow; is not he who beholds floating in mid-air the sad visions that the many may not view; is not he who ponders over the perfume of some novel flower; is not he whose brain grows bewildered with the meaning of some musical cadence which has never before arrested his attention. ‘ ‘Then comes a sense of sudden motionlessness throughout all things; as if those who bore me (a ghastly train!) had outrun, in their descent, the limits of the limitless, and paused from the wearisomeness of their toil. After this I call to mind flatness and dampness; and then all is MADNESS - the madness of a memory which busies itself among forbidden things.’ ‘Very suddenly there came back to my soul motion and sound - the tumultuous motion of the heart, and in my ears the sound of its beating. Then a pause in which all is blank. Then again sound, and motion, and touch, a tingling sensation pervading my frame. Then the mere consciousness of existence, without thought, a condition which lasted long.Then, very suddenly, THOUGHT, and shuddering terror, and earnest endeavor to comprehend my true state. Then a strong desire to lapse into insensibility. Then a rushing revival of soul and a successful effort to move. And now a full memory of the trial, of the judges, of the sable draperies, of the sentence, of the sickness, of the swoon. ‘ ‘So far I had not opened my eyes. I felt that I lay upon my back unbound. I reached out my hand, and it fell heavily upon something damp and hard. There I suffered it to remain for many minutes, while I strove to imagine where and what I could be. I longed, yet dared not, to employ my vision. I dreaded the first glance at objects around me. It was not that I feared to look upon things horrible, but that I grew aghast lest there should be NOTHING to see. At length, with a wild desperation at heart, I quickly unclosed my eyes. My worst thoughts, then, were confirmed. The blackness of eternal night encompassed me. I struggled for breath. The intensity of the darkness seemed to oppress and stifle me. The atmosphere was intolerably close. I still lay quietly, and made effort to exercise my reason. I brought to mind the inquisitorial proceedings, and attempted from that point to deduce my real condition. The sentence had passed, and it appeared to me that a very long interval of time had since elapsed.’ ‘I saw clearly the doom which had been prepared for me, and congratulated myself upon the timely accident by which I had escaped. Another step before my fall, and the world had seen me no more and the death just avoided was of that very character which I had regarded as fabulous and frivolous in the tales respecting the Inquisition. To the victims of its tyranny, there was the choice of death with its direst physical agonies, or death with its most hideous moral horrors. I had been reserved for the latter. By long suffering my nerves had been unstrung, until I trembled at the sound of my own voice, and had become in every respect a fitting subject for the species of torture which awaited me. ‘ ‘It might have been half-an-hour, perhaps even an hour (for I could take but imperfect note of time) before I again cast my eyes upward. What I then saw confounded and amazed me. The sweep of the pendulum had increased in extent by nearly a yard. As a natural consequence, its velocity was also much greater. But what mainly disturbed me was the idea that it had perceptibly DESCENDED. I now observed, with what horror it is needless to say, that its nether extremity was formed of a crescent of glittering steel, about a foot in length from horn to horn; the horns upward, and the under edge evidently as keen as that of a razor. Like a razor also it seemed massy and heavy, tapering from the edge into a solid and broad structure above. It was appended to a weighty rod of brass, and the whole HISSED as it swung through the air.’


‘Down - steadily down it crept. I took a frenzied pleasure in contrasting its downward with its lateral velocity. To the right - to the left - far and wide - with the shriek of a damned spirit! to my heart with the stealthy pace of the tiger! I alternately laughed and howled, as the one or the other idea grew predominant.’ ‘Down - still unceasingly - still inevitably down! I gasped and struggled at each vibration. I shrunk convulsively at its very sweep. My eyes followed its outward or upward whirls with the eagerness of the most unmeaning despair; they closed themselves spasmodically at the descent, although death would have been a relief, O, how unspeakable! Still I quivered in every nerve to think how slight a sinking of the machinery would precipitate that keen glistening axe upon my bosom. It was hope that prompted the nerve to quiver - the frame to shrink. It was HOPE - the hope that triumphs on the rack - that whispers to the death-condemned even in the dungeons of the Inquisition.’ ‘Nor had I erred in my calculations, nor had I endured in vain. I at length felt that I was FREE. The surcingle hung in ribands from my body. But the stroke of the pendulum already pressed upon my bosom. It had divided the serge of the robe. It had cut through the linen beneath. Twice again it swung, and a sharp sense of pain shot through every nerve. But the moment of escape had arrived. At a wave of my hand my deliverers hurried tumultuously away. With a steady movement, cautious, sidelong, shrinking, and slow, I slid from the embrace of the bandage and beyond the reach of the scimitar. For the moment, at least I WAS FREE. ’ ‘As I arose from the attempt, the mystery of the alteration in the chamber broke at once upon my understanding. I have observed that although the outlines of the figures upon the walls were sufficiently distinct, yet the colors seemed blurred and indefinite. These colors had now assumed, and were momentarily assuming, a startling and most intense brilliancy, that give to the spectral and fiendish portraitures an aspect that might have thrilled even firmer nerves than my own. Demon eyes, of a wild and ghastly vivacity, glared upon me in a thousand directions where none had been visible before, and gleamed with the lurid lustre of a fire that I could not force my imagination to regard as unreal. ’ ‘The heat rapidly increased, and once again I looked up, shuddering as if with a fit of the ague. There had been a second change in the cell - and now the change was obviously in the FORM. As before, it was in vain that I at first endeavored to appreciate or understand what was taking place. But not long was I left in doubt. The inquisitorial vengeance had been hurried by my two-fold escape, and there was to be no more dallying with the King of Terrors. The room had been square. I saw that two of its iron angles were now acute - two consequently, obtuse. The fearful difference quickly increased with a low rumbling or moaning sound. In an instant the apartment had shifted its form into that of a lozenge. But the alteration stopped not here - I neither hoped nor desired it to stop. I could have clasped the red walls to my bosom as a garment of eternal peace. "Death," I said "any death but that of the pit!" Fool! Might I not have known that INTO THE PIT was the object of the burning iron to urge me? Could I resist its glow? or if even that, could I withstand its pressure? And now, flatter and flatter grew the lozenge, with a rapidity that left me no time for contemplation. Its centre, and of course, its greatest width, came just over the yawning gulf. I shrank back - but the closing walls pressed me resistlessly onward. At length for my seared and writhing body there was no longer an inch of foothold on the firm floor of the prison. I struggled no more, but the agony of my soul found vent in one loud, long, and final scream of despair. I felt that I tottered upon the brink - I averted my eyes -’


‘There was a discordant hum of human voices! There was a loud blast as of many trumpets! There was a harsh grating as of a thousand thunders! The fiery walls rushed back! An outstretched arm caught my own as I fell fainting into the abyss. It was that of General Lasalle. The French army had entered Toledo. The Inquisition was in the hands of its enemies.’




Hipp ies

sloth ful 3



nal Professio

serving Rich Unde

,n rited (inhe

t irec ot d

ed) arn ly e




) aid

er p low re, a f l we

ls 4




es Gen eral Servic

i gh s, h itie r b e el rs , c (Acto Brad Pitt

i e, h far l e l ic w ( pu b

ямБle pro


ly p

isi ,v

e) bl u d Tr


ry Har 7

o of S ers d a e rL Ma j o

, mp


a lt


ge , JeямА erso n

an le m C ha r 8

t cie

h nt ila Ph ( y

s( ate G l l Bi

a illi


(R oy

Fre ud


Co r po ra te G

ia n ts, Lea ders) Ma

ro pis ts)


Dru ga ddi 4

) ai d

Ho us

a uc Ed


Lazy ,


Ra pi 5


Task te dt

Small Bus




Te ach ers


Childre n





lic s ( pu b

es op h il


Pe d



rer s

o lts

u gro

ur de

Cu KKK (



cts, pan dere rs



n Ma


l es Char


iona Profess

so n, T


l Hit


lte rna tive thoug ht)


im McVay











ud Fre

y) alt oy R (

e rat o rp

of rs de

tt Pi







usiness llB 9

Ma ns Charles


(Cu lts o

red) hat of s p ou gr ,T on




Hit l



Mu rd er e

hil e Ped op




ask aT

Educa ted


Children 5

Rap ist

addi cts, p

and ere rs




sloth ful



ce s

General S ervi


Porn stars Hipp ies

nge ma rle


,L nts Gia


rop nth hila P ( ty cie So

, ties bri ele c rs, cto (A

le profi high

ic ubl s (p l a on ssi ofe Pr


e) , visibl

paid) highly are, f l e w


paid) ower are, l f l e lic w pub

earned) irectly not d

h R ic

Br ad

s nal ssio e f Pro


e des Un


ted, heri g (in rvin

Ma jo

The Poor

Trum p,


Dona ld


(C o



B i l lG ate s



illi am


H ar ry + W




Jeffers on, C



Mar x,



excerpts from The Phenomenology of the Mind (1807) Intention and Method of the Argument G.W.F. Hegel ‘This apprehensiveness is sure to pass even into the conviction that the whole enterprise which sets out to secure for consciousness by means of knowledge for what exists per se, is in its very nature absurd; and that between knowledge and the Absolute there lays a boundary which completely cuts off the one from the other. For if knowledge is the instrument by which to get possession of absolute reality, the suggestion immediately occurs that the application of an instrument to anything does not leave it as it is for itself, but rather entails in the process, and has in view, a molding and alteration of it.’ ‘Science, however, must liberate itself from this phenomenology, and it can only do so by turning against it. For science cannot simply reject a form of knowledge which is not true, and treat this as a common view of things, and then assure us that itself is an entirely different kind of knowledge, and holds the other to be of no account at all; nor can it appeal to the fact that in this other there are presages of a better. By giving that assurance it would declare its force and value to lie in its bare existence; but the untrue knowledge appeals likewise to the fact that it is, and assures us that to it science is nothing.’ ‘The goal, however, is fixed for knowledge just as necessarily as the succession in the process. The terminus is at that point where knowledge is no longer compelled to go beyond itself, where it finds its own self, and the notion corresponds to the object and the object to the notion. The progress towards this goal consequently is without a halt, and at no earlier stage is satisfaction to be found. That which is confined to a life of nature is unable of itself to go beyond its immediate existence; but by something other than itself it is forced beyond that; and to be thus wrenched out of its setting is its death. Consciousness, however, is to itself its own notion; thereby it immediately transcends what is limited, and, since this latter belongs to it, consciousness transcends its own self. Along with the particular there is at the same time set up the "beyond", were this only, as in spatial intuition, beside what is limited. Consciousness, therefore, suffers this violence at its own hands; it destroys its own limited satisfaction.’ ‘This exposition, viewed as a process of relating science to phenomenal knowledge, and as an inquiry and critical examination into the reality of knowing, does not seem able to be effected without some presupposition which is laid down as an ultimate criterion. For an examination consists in applying an accepted standard, and, on the final agreement or disagreement therewith of what is tested, deciding whether the latter is right or wrong; and the standard in general, and so science, were this the criterion, is thereby accepted as the essence or inherently real (Ausich).’ ‘Consciousness furnishes its own criterion in itself, and the inquiry will thereby be a comparison of itself with its own self ; for the distinction, just made, falls inside itself. In consciousness there is one element for an other, other or, in general, consciousness implicates the specific character of the moment of knowledge. At the same time this "other" is to consciousness not merely for it it, but also outside this relation, or has a being in itself, i.e. there is the moment of truth.’ ‘But not only in this respect, that notion and object, the criterion and what is to be tested, are ready to hand in consciousness itself, is any addition of ours superfluous, but we are also spared the trouble of comparing these two and of making an examination in the strict sense of the term; so that in this respect, too, since consciousness tests and examines itself, all we are left to do is simply and solely to look on. For consciousness is, on the one hand, consciousness of the object, on the other, consciousness of itself; consciousness of what to it is true, and consciousness of its knowledge of that truth. Since both are for the same consciousness, it is itself their comparison; it is the same consciousness that decides and knows whether its knowledge of the object corresponds with this object or not. The object, it is true, appears only to be in such wise for consciousness as consciousness knows it.’ ‘This dialectic process which consciousness executes on itself-on its knowledge as well as on its object- in the sense that out of it the new and true object arises, is precisely, what is termed Experience. In this connection, there is a moment in the process just mentioned which should be brought into more decided prominence, and by which a new light is cast on the scientific aspect of the following exposition. Consciousness knows something; this something is the essence or is per se. This object, however, is also the per se, the inherent reality reality, for consciousness. Hence comes ambiguity of this truth. Consciousness, as we see, has now two objects: one is the first per se, the second is the existence for consciousness of this per se.. The last object appears at first sight to be merely the reflection of consciousness into itself, i.e. an idea not of an object, but solely of its knowledge of that first object. But, as was already indicated, by that very process the first object is altered; it ceases to be what is per se, and becomes consciously something which is per se only for consciousness. Consequently Consequently, then, what this real per se is for consciousness is truth: which, however, means that this is the essential reality, or the object which ’


‘consciousness has. This new object contains the nothingness of the first; the new object is the experience concerning that first object. ’ ‘This way of looking at the matter is our doing, what we contribute; by its means the series of experiences through which consciousness passes is lifted into a scientifically constituted sequence, but this does not exist for the consciousness we contemplate and consider. We have here, however, the same sort of circumstance, again, of which we spoke a short time ago when dealing with the relation of this exposition to skepticism, viz. that the result which at any time comes about in the case of an untrue mode of knowledge cannot possibly collapse into an empty nothing, but must necessarily be taken as the negation of that of which it is a result- a result which contains what truth the preceding mode of knowledge has in it. In the present instance the position takes this form: since what at first appeared as object is reduced,, when it passes into consciousness, to what knowledge takes it to be, and the implicit nature, the real in itself, becomes what this entity per se, is for consciousness; this latter is the new object, whereupon there appears also a new mode or embodiment of consciousness, of which the essence is something other than that of the preceding mode.’


PROLOGUE Once, a city was divided into two parts. One part became the Good Half, the other part the Bad Half. The inhabitants of the Bad Half began to ock to the good part of the city, rapidly swelling into an urban exodus. If this situation had been allowed to continue forever, the population of the Good Half would have doubled, while the Bad Half would have turned into a ghost town. After all attempts to interrupt this undesirable migration had failed, the authorities of the bad part made desperate and savage use of architecture: they built a wall around the good part of the city, making it completely inaccessible to their subjects. The Wall is a masterpiece. Originally no more than some pathetic strings of barbed wire abruptly dropped on the imaginary line of the border, its psychological and symbolic eects were inďŹ nitely more powerful than its physical appearance. The Good Half, now glimpsed only over the forbidding obstacle from an agonizing distance, became even more irresistible. Those trapped, left behind in the gloomy Bad Half, became obsessed with vain plans for escape. Hopelessness reigned supreme on the wrong side of the Wall. As so often before in this history of mankind, architecture was the guilty instrument of despair.



It is possible to imagine positive intentions.


fo ecivres eht ni tub gntiatsaved dna esnetni sa ecrof a ;erutcetihcrA gniyfirret siht fo egami rorrim a enigami ot elbissop si tI this terrifying Architecture; a force, intense and devastating, in the service of .snotinetni evtiisop

a fo stneidergni eht eb dluoc ,llaw siht fo stcepsa evtiagen eht lla ,noticurtsnoced dna noissergga ,ytilauqeni ,notialosi ,noisiviD Division, isolation, equality , aggression and construction , all the aspects of this wall, could be the ingredients of a inequality deconstruction na eb dluow sihT .nodnoL tsniaga esac ruo ni – snotiidnoc elbarisednu tsniaga erafraw larutcetihcrA :nonemonehp wen new phenomenon: Architectural warfare against desired conditions – in our case against . This would be an .sevtianretla elbarised yllatot fo noisivorp eht ot tub stnemevorpmi dimti ot dettimmoc ton erutcetihcra tsedommi immodest architecture not committed to timid improvements but to the provision of our desired alternatives. ni ctiatsce ,srenosirp yratnuloV sti emoceb dluow ,ti evol ot hguone gnorts esoht ,erutcetihcrA siht fo stnatibahni ehT The inhabitants of this Architecture, those strong enough to overcome it, would become its inVoluntary prisoners, ecstatic in .senfinoc larutcetihcrA rieht fo modeerf eht the freedom of their Architectural confines. ,nairatirohtua ton si erutcetihcrA wen siht ,shtribrefta etarepsed sti dna tnemevom nredom eht fo larutcetihcra eht ot yrartnoC Contrary to the architecture of the modern movement and its desperate afterbirths, this new Architecture is authoritarian, .serised laudividni etadommocca ylluf hcihw setiilicaf evticelloc gningised fo ecneics ctisinodeh eht si ti ,laciretsyh ron , it is the hedonistic science of designing collective facilities which fully accommodate individual improvement. fo etats suountinoc a secudorp edisni efil eht ;stnemunom eneres fo ecneuqes a si erutcetihcrA siht edistuo eht morF From the outside this Architecture is a sequence of spectacular monuments; the life inside produces a continuous state of .slobmys fo esodrevo dna htiw ti gnillfi ,muiriled evtiaroced dna yznerf latnemanro functional frenzy and performative delirium, filling it with and overdose of symbols. msihcosam rieht morf stcetihcra eruc ylsuolucarim lliw taht dna ,srosseccus nwo sti setareneg taht erutcetihcrA eht eb lliw sihT This will be the Architecture that generates its own successors!, and that will miraculously cure architects from their masochism .dertah-fles dna and self-hatred.



This study wages an Archi-

-ihcrA na segaw yduts sihT

tectural war on

tI .nodnoL no raw larutcet

. It

describes the steps that will

lliw taht spets eht sebircsed

have to be taken to establish

hsilbatse ot nekat eb ot evah

an Architectural purgatory in the behavioral sink .

Suddenly, a strip of intense Metropolitan punishment runs through the centre . This strip is like a

sisao larutcetihcrA na ytic a fo knis laroivaheb eht ni .nodnoL ekil

esnetni fo pirts a ,ylnedduS ytilibarised natiloporteM fo ertnec eht hguorht snur a ekil si pirts sihT .nodnoL

runway, a landing strip for the

eht rof pirts gnidnal a ,yawnur

new Architecture of collective

evticelloc fo erutcetihcrA wen



Two walls enclose and protect

tcetorp dna esolcne sllaw owT

this zone to retain its integrity,

,ytirgetni sti niater ot enoz siht

and to prevent any contami-

-imatnoc yna tneverp ot dna

nation of its intentions by the

eht yb ecafrus sti fo notian

cancerous organism which has

hcihw msinagro suorecnac

caused it.

Soon, the first inmates will beg

.ti segeiseb

geb lliw setamni tsrfi eht ,nooS

for whence they come. Their

riehT .noissimda rof

despair rapidly swells into an

na otni sllews yldipar rebmun

unstoppable drive.

We witness the ignition of progress.

The existing social structure

.wofl elbappotsnu

fo sudoxE eht ssentiw eW .nodnoL

erutcurts lacisyhp gntisixe ehT

of the outside will not be able

elba eb ton lliw nwot dlo eht fo

to withstand the continuous

-epmoc gniuntinoc eht dnats ot

consequence of this new architectural presence.

Ideals as we know will become a pack of ruins.

wen siht fo notiti .ecneserp larutcetihcra

-eb lliw wonk ew sa nodnoL .sniur fo kcap a emoc



The following pictures represent a close-up of a particular moment in the development of the strip.

fo pu-esolc a tneserper serutcip gniwollof ehT eht fo tnempoleved eht ni tnemom raluctirap a .pirts

Eleven squares are designed in various degrees of detail; together, they do not show all the aspects of the central strip, other equally essential processes and impediments can, are being, demanded.

seerged suoirav ni dengised era serauqs nevelE eht lla wohs ton od yeht ,rehtegot ;liated fo -se yllauqe rehto ,pirts lartnec eht fo stcepsa setiivtica latines .denigami ,gnieb era ,nac serusaelp dna

The central strip is only the most intense part of the much larger complex of the Architectural enclave; at the stage shown here it only contains some activities of high social intensity and communal relevance.

trap esnetni tsom eht ylno si pirts lartnec ehT larutcetihcrA eht fo xelpmoc regral hcum eht fo -noc ylno ti ereh nwohs egats eht ta ;evalcne dna ytisnetni laicos hgih fo setiivtica emos sniat .ecnaveler lanummoc

Those activities which are not shared by all are located in the narrow secondary strips, which each have their particular attachments to and relationship with the central zone. The secondary strips extends to the most desired areas of the outside. They lead to the enclave and provide all the visual aspirations the prisoners have dreamt for themselves. Their magnificent lens forces these aspirations to turn into stage sets and romanticized standards. ghost towns

era lla yb derahs ton era hcihw setiivtica esohT hcihw ,spirts yradnoces worran eht ni detacol dna ot stnemhcatta raluctirap rieht evah hcae -dnoces ehT .enoz lartnec eht htiw pihsnotialer desserped tsom eht hguorht tuc spirts yra eht ot dael yehT .nodnoL dlo eht fo saera muls notiadommocca eht lla edivorp dna evalcne riehT .sevlesmeht rof tmaerd evah srelttes eht nrut ot smuls eseht secrof ecneserp tnecfiingam .sniur euqserutcip dna snwot tsohg otni

Within the central strip the map and aerial view show, from West to East, (each contained in their own square):

weiv lairea dna pam eht pirts lartnec eht nihtiW ni deniatnoc hcae( ,tsaE ot tseW morf ,wohs :)erauqs nwo rieht

1. The Tip Condition. The point of maximum friction with the outside. Here the Architectural progress of the zone visibly takes place. 2. The Allotments. Individual plots of land to balance the emphasis on the Collective facilities. 3. The Park of the four Elements: Air, Fire, Water and Earth. 4. The Ceremonial square, paved in marble; it is a place for open-air celebration. 5. The reception area: here future prisoners are introduced to the mysteries of the strip. Its roof is a viewing platform strategically elevated to give a view over the complete architectural complex. 6. An escalator descends into the area of which is preserved (Nash a predecessor of the ruthless plan) as a reminder of the past and as useful housing for migrant visitors and new arrivals (an environmental exploitation). 7. The Baths. Institute for the creation and subjection of fantasies. 8. The square of the Arts. 9. The square of the Captive Globe. 10. The institute of Biological Transactions. 11. Invisible is the Park of Aggression.

mumixam fo tniop ehT .notiidnoC piT ehT .1 -cetihcrA eht ereH .nodnoL dlo eht htiw noticirf .ecalp sekat ylbisiv enoz eht fo ssergorp larut ot dnal fo stolp laudividnI .stnemtollA ehT .2 evticelloC eht no sisahpme eht ecnalab .setiilicaf ,eriF ,riA :stnemelE ruof eht fo kraP ehT .3 .htraE dna retaW si ti ;elbram ni devap ,erauqs lainomereC ehT .4 .notiarbelec ria-nepo rof ecalp a stnatibahni erutuf ereh :aera notipecer ehT .5 -neztiic fo seiretsym eht ot decudortni era mrotfalp gniweiv a si foor stI .pirts eht fo pihs eht revo weiv a evig ot detavele yltneicffius .xelpmoc larutcetihcra etelpmoc -noL fo aera eht otni sdnecsed rotalacse nA .6 fo rossecederp a hsaN( devreserp si hcihw nod dna tsap eht fo rednimer a sa )nalp sselhtur eht wen dna srotisiv tnargim rof gnisuoh lufesu sa .)eciuls latnemnorivne na( slavirra dna notiaerc eht rof etuttisnI .shtaB ehT .7 .seisatnaf fo notiatnemelpmi .strA eht fo erauqs ehT .8 .ebolG evtipaC eht fo erauqs ehT .9 .snoticasnarT lacigoloiB fo etuttisni ehT .01 .noisserggA fo kraP eht si elbisivnI .11

THE RECEPTION AREA After crossing the wall, the apprehensive prisoners are received by attentive wardens in a long lobby between the reception area and the wall. The consoling atmosphere of this responsive waiting room is an architectural awakening: the first step of the indoctrination program of the inside of the wall is being realized; the newcomers enter the Reception Area. On arrival a spectacular expectation is given to all.

AERA NOITPECER EHT ni snedraw evtinetta yb deviecer era sevtiiguf detsuahxe eht ,llaw eht gnissorc reftA siht fo erehpsomta gnilosnoc ehT .llaw eht dna aera notipecer eht neewteb ybbol gnol a -anirtcodni eht fo pets tsrfi eht :feiler fo hgis larutcetihcra na si moor gntiiaw evisnopser eht retne sremocwen eht ;dezilaer gnieb si llaw eht fo edis rehto eht fo margorp noti .aerA notipeceR .lla ot nevig si emoclew ralucatceps a lavirra nO

This is a vast interior with edifices of various sizes. To the right an arena dominates half of the volume. The other half contains the “most recent” model of the strip, surrounded by the bookcases in which the “past history” of the model is stored. The ceremonial square can be glimpsed beyond the model.

flah setanimod anera na thgir eht oT .sezis suoirav fo secfiide htiw roiretni tsav a si sihT dednuorrus ,pirts eht fo ledom tnecer tsom eht sniatnoc flah rehto ehT .emulov eht fo lainomerec ehT .derots si ledom eht fo yrotsih tsap eht hcihw ni sesackoob eht yb .ledom eht dnoyeb despmilg eb nac erauqs

The Reception Area is the voluntary public realm of the zone. It is permanently thronged by remnants which come from all parts of the strip. Through their implications they are exercising an inspired state of polarized editorialization, to which the architecture is the echo chamber; a volume of overwhelming veracity.

degnorht yltnenamrep si tI .enoz eht fo mlaer cilbup yratnulov eht si aerA notipeceR ehT era yeht sgnilaed ysub rieht hguorhT .pirts eht fo strap lla morf emoc ohw sruetama yb eht si erutcetihcra eht hcihw ot ,ssenevtinevni lactiilop fo etats deripsni na gnisicrexe .ssensuousnes gnimlehwrevo fo emulov a ;rebmahc ohce

The concealed activities show that the sole concern of the wardens is the present and future course of the strip; they propose architectural refinements, extensions, and strategies. Excited groups of different sizes elaborate the proposals in the special rooms built for this purpose, while others are continuously engaged in making modifications to the model. The most contradictory programmes fuse without erosion. The shameless permissiveness of these activities makes this place the syphon for the complete spectrum of desires: it is a spontaneous planning centre.

dna tneserp eht si stnapictirap eht fo nrecnoc elos eht taht wohs setiivtica ehT -tarts dna ,snoisnetxe ,stnemenfier larutcetihcra esoporp yeht ;pirts eht fo esruoc erutuf tliub smoor laiceps eht ni slasoporp eht etarobale sezis tnereffid fo spuorg deticxE .seige eht ot snotiacfiidom gnikam ni degagne ylsuountinoc era srehto elihw ,esoprup siht rof ehT .noisore tuohtiw esuf semmargorp yrotcidartnoc tsom ehT .ledom eht rof elcatpecer eht ecalp siht sekam setiivtica eseht fo ssenevissimrep sselemahs .ertnec gninnalp suoenatnops a si ti :serised fo murtceps etelpmoc

Because of the considerable disjunction between origin and aspiration, the activities inside the Reception Area prepare new arrivals for a mass jettison. This can only be accomplished after overwhelming previously undernourished senses. The training is administered under the most hedonistic conditions: luxury and well-being.

setiivtica eht ,setiilibisnopser elbaredisnoc eht fo esuaceB eb ylno nac sihT .slavirra wen rof gniniart laminim a eriuqer aerA notipeceR eht edisni si gniniart ehT .sesnes dehsiruonrednu ylsuoiverp gnimlehwrevo refta dehsilpmocca .gnieb-llew dna yruxul :snotiidnoc ctisinodeh tsom eht rednu deretsinimda



The roof of the reception area, accessible from the inside, is a high altitude plateau, from which the decay of the outside world and the subliminal splendor of the strip can be experienced.

morf ,uaetalp eduttila hgih a si ,edisni eht morf elbissecca ,aera notipecer eht fo foor ehT eb nac pirts eht fo rodnelps lacisyhp eht dna nwot dlo eht fo yaced eht hcihw .decneirepxe

From here, a gigantic escalator descends in to that part of which is preserved within the strip. These ancient will provide temporary accommodation for recent arrivals, during the period they are trained as involuntary prisoners: the area is an environmental exploitation.

devreserp si hcihw nodnoL fo trap taht ot ni sdnecsed rotalacse ctinagig a ,ereh morF rof notiadommocca yraropmet edivorp lliw sgnidliub tneicna esehT .pirts eht nihtiw na si aera eht :srenosirp yratnulov sa deniart era yeht doirep eht gnirud ,slavirra tnecer .eciuls latnemnorivne

On the other (west) side of the roof is the ceremonial square. It is completely empty, except for the tower of the jamming station, which will paradoxically project the inhabitants of the strip through electronic exposure to the rest of the World. The exact nature of the ceremonies on this black square is not yet known; it is a mixture of physical and mental exploitations, conceptual Olympics.

,ytpme yletelpmoc si tI .erauqs lainomerec eht si foor eht fo edis )tsew( rehto eht nO eht tcetorp lliw hcihw ,notiats gnimmaj eht fo rewot eht rof tpecxe .dlroW eht fo tser eht ot erusopxe cinortcele tsniaga pirts eht fo stnatibahni erutxim a si ti ;nwonk tey ton si erauqs kcalb siht no seinomerec eht fo erutan tcaxe ehT .scipmylO lautpecnoc ,sesicrexe latnem dna lacisyhp fo


The frontline of the Architectural warfare waged on the outside.


.nodnoL dlo eht no degaw erafraw larutcetihcrA eht fo eniltnorf ehT

suountinoc a si tI .esnetni tsom sti ta si erutcetihcrA eht fo egar evticerroc eht ,ereH .elcarim yliad a smrofrep pirts eht fo ssergorp sselicrem eht ,ereH Here, the merciless progress of the strip performs a daily miracle. Here, the corrective rage of the Architecture is at its most intense. It is a continuous nodnoL dlo eht fo setamni eht neewteb sthgfi laivirt erom eht ot erutcetihcra wen eht yb serutcurts gntisixe fo noticurtsed eht morf ,ytic dlo eht htiw notiatnorfnoc confrontation with the outside, from the destruction of existing structures by the new ideals to the more trivial fights between the inmates of the outside .pirts eht fo srenosirP yratnuloV eht dna and the Missionaries of the strip. .semmargorp dna sesoprup elbanotiseuq rieht fo notiatilibaher a refta ylno enoz eht ni detaroprocni era notiazilivic dlo eht morf stnemunom emoS Some monuments from the old civilization are transformed by “the zone” only after a rehabilitation of their questionable purposes and programmes. efiL .aera notipecer eht morf gnivirra notiamrofni yb defiidom ylsuountinoc ,pirts eht fo ledom rehtona yb deyevnoc era snoticurtsni dna snalp ,seigetartS Strategies, plans and instructions conveyed to the Missionaries of the strip are continuously modified by information arriving from the reception area. Life .noticafstias morf detsuahxe sredliub sti sevael tcejbo siht fo notiaerc tnenamrep eht tub ,drah eb nac pirts eht fo pti eht ta skcarrab gnidliub eht ni outside the tip of the strip can be hard, but the permanent expansion of this border leaves its builders exhausted from satisfaction.



The park is divided into four square areas, which disappear into the ground like four gigantic steps. The first square, “sir”, consists of a number of sunken pavilions, overgrown with the elaborate networks of responsive ducts, which emit various mixtures of gasses to create aromatic and hallucinogenic experiences.

,saera erauqs ruof otni dedivid si krap ehT -ig ruof ekil dnuorg eht otni raeppasid hcihw fo stsisnoc ,” ris“ ,erauqs tsrfi ehT .spets ctinag htiw nworgrevo ,snoilivap neknus fo rebmun a ,stcud evisnopser fo skrowten etarobale eht -erc ot sessag fo serutxim suoirav time hcihw .secneirepxe cinegonicullah dna ctiamora eta

By subtle variations in dosage, density and perhaps even colouration these volatile clouds of scents can be modified or sustained almost like a musical instrument.

dna ytisned ,egasod ni snotiairav eltbus yB sduolc eltialov eseht notiaruoloc neve spahrep tsomla deniatsus ro defiidom eb nac stnecs fo .tnemurtsni lacisum a ekil

Moods of exhilaration, depression, serenity and receptivity can be evoked invisibly, in programmed or improvised sequences and rhythms. Vertical air-jets provide environmental protection over the pavilions.

ytineres ,noisserped ,notiaralihxe fo sdooM ni ,ylbisivni dekove eb nac ytivtipecer dna dna secneuqes desivorpmi ro demmargorp -nemnorivne edivorp stej-ria lactireV .smhtyhr .snoilivap eht revo noticetorp lat

Identical in size to the first square, but sunken below the level of the surface, is “the desert”: an artificial reconstruction of an Egyptian landscape, simulating its dizzying conditions: a pyramid, a small oasis, and the fire organ: a steel frame with innumerable outlets for flames of different intensity, colour and heat. It is played at night to provide a pyrotechnic spectacle, visible from all parts of the strip: a nocturnal sun.

neknus tub ,erauqs tsrfi eht ot ezis ni lactinedI :” tresed eht“ si ,ecafrus eht fo level eht woleb natipygE na fo noticurtsnocer laicfitira na :snotiidnoc gniyzzid sti gntialumis ,epacsdnal :nagro erfi eht dna ,sisao llams a ,dimaryp a rof steltuo elbaremunni htiw emarf leets a .taeh dna ruoloc ,ytisnetni tnereffid fo semafl cinhcetoryp a edivorp ot thgin ta deyalp si tI a :pirts eht fo strap lla morf elbisiv ,elcatceps .nus lanrutcon

At the end of four linear caves, Miragemachines project images of desirable ideals. Those in the desert who enter the tubes, run to reach these beautific images at the end, but as they run on a belt which moves in the opposite direction at a speed which increases as the distance between Mirage and runner shrinks, actual contact can never be established. The frustrated energies and desires will have to be channeled into sublimated activities. (The secret that the pyramid does not contain a treasure chamber, will be kept forever.)

-egariM ,sevac raenil ruof fo dne eht tA .slaedi elbarised fo segami tcejorp senihcam nur ,sebut eht retne ohw tresed eht ni esohT ,dne eht ta segami cfitiuaeb eseht hcaer ot eht ni sevom hcihw tleb a no nur yeht sa tub sesaercni hcihw deeps a ta noticerid etisoppo rennur dna egariM neewteb ecnatsid eht sa -batse eb reven nac tcatnoc lautca ,sknirhs serised dna seigrene detartsurf ehT .dehsil detamilbus otni delennahc eb ot evah lliw seod dimaryp eht taht terces ehT( .setiivtica tpek eb lliw ,rebmahc erusaert a niatnoc ton ).reverof

Deeper into the earth still is the water square, a pool whose surface is permanently agitated through the regular but variable movement of one of its walls, which produces waves of sometimes gigantic proportions. This lake is the domain of some pleasure seekers, who have become totally addicted to the challenge of these waves.

,erauqs retaw eht si lltis htrae eht otni repeeD detatiga yltnenamrep si ecafrus esohw loop a tnemevom elbairav tub raluger eht hguorht fo sevaw secudorp hcihw ,sllaw sti fo eno fo si ekal sihT .snotiroporp ctinagig semtiemos ohw ,srekees erusaelp emos fo niamod eht egnellahc eht ot detcidda yllatot emoceb evah .sevaw eseht fo

Day and night the sounds of this interior sea will be the acoustic background of the activities of the strip.

aes roiretni siht fo sdnuos eht thgin dna yaD -ivtica eht fo dnuorgkcab ctisuoca eht eb lliw .pirts eht fo seti

The fourth square at the bottom of the pit is devoted to “earth”; it is occupied by a vaguely familiar mountain, its top exactly level with the surface of the strip. At the top of this mountain, a group of sculptors is involved in a debate, trying to decide whose bust they will carve in the rock, but in the accelerated atmosphere of this prison, no one is important long enough for them to ever reach a conclusion.

si tip eht fo mottob eht ta erauqs htruof ehT yleugav a yb deipucco si ti ;”htrae“ ot detoved htiw level yltcaxe pot sti ,niatnuom railimaf siht fo pot eht tA .pirts eht fo ecafrus eht a ni devlovni si srotplucs fo puorg a ,niatnuom lliw yeht tsub esohw ediced ot gniyrt ,etabed -omta detarelecca eht ni tub ,kcor eht ni evrac gnol tnatropmi si eno on ,nosirp siht fo erehps .noisulcnoc a hcaer reve ot meht rof hguone

The walls of the cavity reveal the past history of this location like a scar; part of a subterranean transportation line is suspended in this void. Deep in the other walls cave dwellings and cavernous meeting places are carved out to accommodate certain primordial mysteries.

yrotsih tsap eht laever ytivac eht fo sllaw ehT won a fo trap ;racs a ekil notiacol siht fo detresed .diov siht ni dednepsus si enil dnuorgrednU dna sgnillewd evac sllaw rehto eht ni peeD ot tuo devrac era secalp gntieem suonrevac niatrec etadommocca .seiretsym laidromirp

After the spiral movement through the four squares and escalator returns the wanderer to the surface.

ruof eht hguorht tnemevom larips eht reftA ot rerednaw eht snruter rotalacse dna serauqs .ecafrus eht



The function of the baths is the creation and recycling of private and public fantasies, the transactions between them and the invention, testing and possible introduction of new forms of behavior.

shtab eht fo noticnuf ehT -ycer dna notiaerc eht si cilbup dna etavirp fo gnilc -casnart eht ,seisatnaf dna meht neewteb snoti dna gntiset ,notinevni eht fo noticudortni elbissop .roivaheb fo smrof wen

The building is a social condenser which brings hidden motivations, desires and impulses to the surface, to refine them for recognition, provocation and development.

laicos a si gnidliub ehT sgnirb hcihw resnednoc -ed ,snotiavtiom neddih eht ot seslupmi dna seris meht enfier ot ,ecafrus -acovorp ,notiingocer rof .tnempoleved dna noti

Around the two square pools (warm and cold) and the circular main collector, the ground floor is an area of public action and display, a continuous parade of personalities and bodies, a stage where a cyclical dialectic between exhibitionism and spectatorship takes place.

erauqs owt eht dnuorA )dloc dna mraw( sloop -loc niam ralucric eht dna si roofl dnuorg eht ,rotcel notica cilbup fo aera na suountinoc a ,yalpsid dna -ilanosrep fo edarap egats a ,seidob dna seti cticelaid lacilcyc a erehw msinotiibihxe neewteb sekat pihsrotatceps dna .ecalp

It is an area for the observation and possible seduction of partners who will be invited to actively participate in private fantasies and the pursuit of desires.

eht rof aera na si tI elbissop dna notiavresbo srentrap fo noticudes ot detivni eb lliw ohw ni etapictirap ylevtica eht dna seisatnaf etavirp .serised fo tiusrup

The two long walls of the building construct of an infinite number of cells of various sizes, to which individuals, couples or groups can retire. These cells are equipped to encourage indulgence, and to facilitate the realization of fantasy, and science inventions; they invite all forms of human interactions and exchange.

eht fo sllaw gnol owt ehT na fo tcurtsnoc gnidliub sllec fo rebmun etinfini hcihw ot ,sezis suoirav fo ro selpuoc ,slaudividni esehT .ertier nac spuorg ot deppiuqe era sllec ,ecnegludni egaruocne eht etatilicaf ot dna ,ysatnaf fo notiazilaer ;snotinevni ecneics dna fo smrof lla etivni yeht dna snoticaretni namuh .egnahcxe

The public area – private cells sequence can generate a creative chain reaction in the two Arenas at both ends of the baths, where successful performers or those confident about the validity and originality of their actions and proposals filter into from the cells. Finally in the Arena, they perform. The freshness and suggestiveness of these performances activate dormant parts of the brain, and trigger off a continuous explosion of ideas in the audience. Overcharged by this spectacle, the Prisoners descend to the ground floor looking for those willing and able to work out new elaborations.

etavirp – aera cilbup ehT nac ecneuqes sllec niahc evtiaerc a etareneg -erA owt eht ni noticaer eht fo sdne htob ta san lufsseccus erehw ,shtab -noc esoht ro sremrofrep ytidilav eht tuoba tnedfi rieht fo ytilanigiro dna slasoporp dna snotica .sllec eht morf otni retlfi yeht ,anerA eht ni yllaniF ssenhserf ehT .mrofrep fo ssenevtiseggus dna secnamrofrep eseht fo strap tnamrod etavtica ffo reggirt dna ,niarb eht noisolpxe suountinoc a .ecneidua eht ni saedi fo siht yb degrahcrevO yratnuloV eht ,elcatceps eht ot dnecsed srenosirP rof gnikool roofl dnuorg ot elba dna gnilliw esoht -arobale wen tuo krow .snoti



This square is devoted to the accelerated creation, evolution, and exhibition of objects. It is the industrial zone of the strip, an Urban open space, paved in a synthetic material which offers a high degree of discomfort to its users. Dispersed on this surface are the buildings to which people go to surrender their love for objects.

detarelecca eht ot detoved si erauqs sihT -bo fo notiibihxe dna ,notiulove ,notiaerc na ,pirts eht fo enoz lairtsudni eht si tI .stcej -am ctiehtnys a ni devap ,ecaps nepo nabrU trofmoc fo eerged hgih a sreffo hcihw lairet eht era ecafrus siht no desrepsiD .sresu sti ot rieht yfstias ot og elpoep hcihw ot sgnidliub .stcejbo rof evol

There are three major buildings on the square. One is old; it has always been a museum. The other two have been built by the involuntary prisoners. Of these two the first one bulges out of the surface; it was built out of the materials of the second, which is carved out of the square, and is in fact, the interior of the first. At first sight it is impossible to understand that these twin buildings are one, and that this is not a secret. Together they form an instrument for the indoctrination of the existing culture. They achieve this simply by displaying the past in the only possible way; they expose memory by allowing its provocative vacuums to be filled with the explosive emotions of onlookers. The mixture produces the most relevant and scientific information. They are a school.

eht no sgnidliub rojam eerht era erehT a neeb syawla sah ti ;dlo si enO .erauqs .muesum -lov eht yb tliub neeb evah owt rehto ehT eno tsrfi eht owt eseht fO .srenosirp yratnu fo tuo tliub saw ti ;ecafrus eht fo tuo seglub devrac si hcihw ,dnoces eht fo slairetam eht roiretni eht ,tcaf ni si dna ,erauqs eht fo tuo ot elbissopmi si ti thgis tsrfi tA .tsrfi eht fo era sgnidliub niwt eseht taht dnatsrednu rehtegoT .terces a ton si siht taht dna ,eno -anirtcodni eht rof tnemurtsni na mrof yeht eveihca yehT .erutluc gntisixe eht fo noti eht ni tsap eht gniyalpsid yb ylpmis siht yb yromem esopxe yeht ;yaw elbissop ylno dellfi eb ot smuucav evtiacovorp sti gniwolla .srekoolno fo snotiome evisolpxe eht htiw dna tnaveler tsom eht secudorp erutxim ehT .loohcs a era yehT .notiamrofni cfitineics

The density and impenetrability of the first building intensifies the expectations of arriving students who wait outside its gates, while the apparent emptiness of the interior of the second building provokes an anxious suspense. Descending into its enigmatic galleries, the complete history of creation unfolds in a spectral form. An irresistible power drives the visitors on a journey down the escalators that link the galleries, into a complete exploration of the most mysterious corners of history. When they arrive at the lowest gallery, they discover that the interior is bottomless, and that new galleries are filling with a continuous procession of completely unfamiliar works, emerging from a tunnel that seems to lead to the old museum. Returning to the surface, the traces of this course are retained on the retina and transferred to certain parts of the brain.

tsrfi eht fo ytilibartenepmi dna ytisned ehT -ra fo snotiatcepxe eht sefiisnetni gnidliub ,setag sti edistuo tiaw ohw stneduts gnivir roiretni eht fo ssentipme tnerappa eht elihw suoixna na sekovorp gnidliub dnoces eht fo ctiamgine sti otni gnidnecseD .esnepsus notiaerc fo yrotsih etelpmoc eht ,seirellag elbtisiserri nA .mrof lartceps a ni sdlofnu nwod yenruoj a no srotisiv eht sevird rewop a otni ,seirellag eht knil taht srotalacse eht -iretsym tsom eht fo notiarolpxe etelpmoc ta evirra yeht nehW .yrotsih fo srenroc suo eht taht revocsid yeht ,yrellag tsewol eht seirellag wen taht dna ,sselmottob si roiretni fo noissecorp suountinoc a htiw gnillfi era gnigreme ,skrow railimafnu yletelpmoc eht ot dael ot smees taht lennut a morf eht ,ecafrus eht ot gninruteR .muesum dlo eht no deniater era esruoc siht fo secart eht fo strap niatrec ot derrefsnart dna antier .niarb

The older building contains in a sense the negative pictures of the complete past. The first impression to the uninformed visitor is that of a collection of an almost infinite number of empty frames, blank canvasses and vacant pedestals. Only those who have the knowledge from the previous course can decipher the spectacle by projecting their memories on these empty provocations: a continuous film of images, improvements, accelerated versions of the history of art automatically produce new works, fill the space with recollections, modifications and inventions.

eht esnes a ni sniatnoc gnidliub redlo ehT ehT .tsap etelpmoc eht fo serutcip evtiagen rotisiv demrofninu eht ot noisserpmi tsrfi etinfini tsomla na fo noticelloc a fo taht si sessavnac knalb ,semarf ytpme fo rebmun evah ohw esoht ylnO .slatsedep tnacav dna nac esruoc suoiverp eht morf egdelwonk eht rieht gnticejorp yb elcatceps eht rehpiced a :snotiacovorp ytpme eseht no seiromem ,stnemevorpmi ,segami fo mlfi suountinoc tra fo yrotsih eht fo snoisrev detarelecca eht llfi ,skrow wen ecudorp yllactiamotua dna snotiacfiidom ,snoticellocer htiw ecaps .snotinevni

These new creations immediately disappear through the tunnel to the pit, where they take their place in the last moments of the indoctrination programme.

raeppasid yletaidemmi snotiaerc wen esehT yeht erehw ,tip eht ot lennut eht hguorht eht fo stnemom tsal eht ni ecalp rieht ekat .emmargorp notianirtcodni

Apart from these three main buildings, the only tangible exhibits in the square are the small buildings that look like pawns on the grid of an ancient game. They are dropped like meteorites of unknown metaphysical meaning, waiting to be moved to the next intersection of the game, each time they are further deciphered.

eht ,sgnidliub niam eerht eseht morf trapA eht era erauqs eht ni stibihxe elbignat ylno eht no snwap ekil kool taht sgnidliub llams deppord era yehT .emag tneicna na fo dirg lacisyhpatem nwonknu fo setiroetem ekil txen eht ot devom eb ot gntiiaw ,gninaem era yeht emti hcae ,emag eht fo noticesretni .derehpiced rehtruf



This square is devoted to the artificial conception and accelerated birth of the theories, interpretations, mental constructions and proposals, and their infliction on the World.

dna notipecnoc laicfitira eht ot detoved si erauqs sihT latnem ,snotiaterpretni ,seiroeht eht fo htrib detarelecca eht no noticiflni rieht dna ,slasoporp dna snoticurtsnoc .dlroW

It is the capital of Ego, where science, art, poetry and certain forms of manias will be allowed to compete under ideal and identical conditions, to invent the answers to metaphysical questions, to propose changes in social organization, to destroy and restore the World of phenomenal reality.

dna yrteop ,tra ,ecneics erehw ,ogE fo latipac eht si tI rednu etepmoc ot dewolla eb lliw sainam fo smrof niatrec ot srewsna eht tnevni ot ,snotiidnoc lactinedi dna laedi laicos ni segnahc esoporp ot ,snotiseuq lacisyhpatem -ehp fo dlroW eht erotser dna yortsed ot ,notiazinagro .ytilaer lanemon

It will be an incubator of ideologies, which will not be permitted to consume the world, to recognize only certain phenomena and suppress others. Each of these sciences and manias has its own plot. On each plot stands an identical base, built from heavy polished stone. These bases, ideological laboratories, are equipped to temporarily suspend unwelcome laws, undeniable truths, to create nonexistent physical and mental conditions, to facilitate and provoke speculative activities.

eb ton lliw hcihw ,seigoloedi fo rotabucni na eb lliw tI ylno ezingocer ot ,dlrow eht emusnoc ot dettimrep eseht fo hcaE .srehto sserppus dna anemonehp niatrec tolp hcae nO .tolp nwo sti sah sainam dna secneics .enots dehsilop yvaeh morf tliub ,esab lactinedi na sdnats ot deppiuqe era ,seirotarobal lacigoloedi ,sesab esehT ,shturt elbainednu ,swal emoclewnu dnepsus yliraropmet ot ,snotiidnoc latnem dna lacisyhp tnetsixenon etaerc ot .setiivtica evtialuceps ekovorp dna etatilicaf

From these solid blocks of granite, each philosophy expands indefinitely towards heaven; This growth from the blocks (in direct proportion to the popular appeal, excitement and moral volume of the intellectual activities inside) will house additional accommodation, data storage, fabricated evidence, etc… At the same time, these towers will be the visualizations, and symbols of these ideas, a spectacle of sublime communication.

yhposolihp hcae ,etinarg fo skcolb dilos eseht morF morf htworg sihT ;nevaeh sdrawot yletinfiedni sdnapxe ,laeppa ralupop eht ot notiroporp tcerid ni( skcolb eht setiivtica lautcelletni eht fo emulov larom dna tnemeticxe -rots atad ,notiadommocca lanotiidda esuoh lliw )edisni …cte ,ecnedive detacirbaf ,ega ,snotiazilausiv eht eb lliw srewot eseht ,emti emas eht tA -moc emilbus fo elcatceps a ,saedi eseht fo slobmys dna .notiacinum

Some of the basic blocks will want to present limbs of complete certainty and serenity, others will choose a soft environment of tentative conjectures and hypnotic, but questionable suggestions. These extremities, these limbs will form an ideological exhibition, visible from afar, and scrutinized from nearby; the visitors to this exhibition will be spontaneous students, a close inspection and critical comparison of the blocks and towers will create the irresistible urge to choose, join and participate, to share and elaborate a science, a poem, a madness.

fo sbmil tneserp ot tnaw lliw skcolb cisab eht fo emoS ftos a esoohc lliw srehto ,ytineres dna ytniatrec etelpmoc tub ,ctionpyh dna serutcejnoc evtiatnet fo tnemnorivne .snotiseggus elbanotiseuq -igoloedi na mrof lliw sbmil eseht ,setiimertxe esehT morf dezintiurcs dna ,rafa morf elbisiv ,notiibihxe lac suoenatnops eb lliw notiibihxe siht ot srotisiv eht ;ybraen fo nosirapmoc lactiirc dna noticepsni esolc a ,stneduts ot egru elbtisiserri eht etaerc lliw srewot dna skcolb eht a etarobale dna erahs ot ,etapictirap dna nioj ,esoohc .ssendam a ,meop a ,ecneics

This square is the university of the Strip. The changes of this ideological skyline will be rapid and continuous, a rich spectacle of moral fever, ethical joy, or intellectual masturbation. The collapse of one of these towering structures can mean two things: failure, giving up, a vacating of the premises, or, the exclamation of a visual Eureka. A Theory that works A mania that sticks An idea that is A lie that has become truth A dream from which there is no waking up

.pirtS eht fo ytisrevinu eht si erauqs sihT dna dipar eb lliw enilyks lacigoloedi siht fo segnahc ehT ro ,yoj lacihte ,revef larom fo elcatceps hcir a ,suountinoc .notiabrutsam lautcelletni nac serutcurts gnirewot eseht fo eno fo espalloc ehT eht fo gntiacav a ,pu gnivig ,eruliaf :sgniht owt naem .akeruE lausiv a fo notiamalcxe eht ,ro ,sesimerp skrow taht yroehT A skctis taht ainam A si taht aedi nA hturt emoceb sah taht eil A pu gnikaw on si ereht hcihw morf maerd A

On these moments the purpose of the Captive Globe,suspended in mid-air in the centre of the square, becomes apparent: all these institutes together form an enormous incubator for the World itself. They are breeding on the globe, changing it, adding something to its contents. These buildings and their passionate investigators have consumed facts, objects, and phenomena, in order to give more and better in return.

,ebolG evtipaC eht fo esoprup eht stnemom eseht nO ,erauqs eht fo ertnec eht ni ria-dim ni dednepsus mrof rehtegot setuttisni eseht lla :tnerappa semoceb era yehT .flesti dlroW eht rof rotabucni suomrone na ot gnihtemos gnidda ,ti gnignahc ,ebolg eht no gnideerb .stnetnoc sti evah srotagtisevni etanoissap rieht dna sgnidliub esehT ot redro ni ,anemonehp dna ,stcejbo ,stcaf demusnoc .nruter ni retteb dna erom evig

The globe gains weight. – Its temperature rises slowly. – Invisibly it grows.

– .ylwols sesir erutarepmet stI – .thgiew sniag ebolg ehT .sworg ti ylbisivnI

In spite of the most humiliating setbacks, its ageless pregnancy survives. We all have our ear on the stethoscope of the ideologies. The question is (and we are not too pessimistic about the answer): who will crack first? The skin of this impossible egg, or perhaps ourselves? The judgement itself controls.

sselega sti ,skcabtes gntiailimuh tsom eht fo etips nI .sevivrus ycnangerp .seigoloedi eht fo epocsohtets eht no rae ruo evah lla eW eht tuoba ctisimissep oot ton era ew dna( si notiseuq ehT ?tsrfi kcarc lliw ohw :)rewsna ?sevlesruo spahrep ro ,gge elbissopmi siht fo niks ehT



This institute sustains the Prisoners through biological emergencies, physical and mental crises; it also demonstrates the harmless nature of morality.

hguorht srenosirP yratnuloV eht sniatsus etuttisni sihT osla ti ;sesirc latnem dna lacisyhp ,seicnegreme lacigoloib .ytilarom fo erutan sselmrah eht setartsnomed

It is divided in four parts by a cruciform building. The first part contains the hospital: it contains the complete arsenal of modern healing, but is devoted to a radical deescalation of the medical process, to the abolition of the compulsive rage to heal.

ehT .gnidliub mroficurc a yb strap ruof ni dedivid si tI etelpmoc eht sniatnoc ti :latipsoh eht sniatnoc trap tsrfi -ed lacidar a ot detoved si tub ,gnilaeh nredom fo lanesra eht fo notiiloba eht ot ,ssecorp lacidem eht fo notialacse .laeh ot egar evislupmoc

No forced heartbeats here, no chemical invasions, no sadistic extensions of life. This new strategy will create a lowering of the average life expectancy, a corresponding decrease in senility, physical decay, nausea and exhaustion; in fact, patients here will be healthy.

on ,snoisavni lacimehc on ,ereh staebtraeh decrof oN a etaerc lliw ygetarts wen sihT .efil fo snoisnetxe ctisidas gnidnopserroc a ,ycnatcepxe efil egareva eht fo gnirewol -suahxe dna aesuan ,yaced lacisyhp ,ytilines ni esaerced .yhtlaeh eb lliw ereh stnetiap ,tcaf ni ;noti

The hospital consists of a sequence of pavilions, each devoted to a particular disease.

hcae ,snoilivap fo ecneuqes a fo stsisnoc latipsoh ehT .esaesid raluctirap a ot detoved

From the entrance a medical boulevard connects these buildings. The sick pass through them in a continuous procession on a slowly moving belt; in an almost festive atmosphere of operatic melodies; a group of dancing nurses in transparent uniforms; medical equipment disguised as totem poles and rich perfumes which suppress the familiar stench of healing.

eseht stcennoc draveluob lacidem a ecnartne eht morF suountinoc a ni meht hguorht ssap kcis ehT .sgnidliub evtisef tsomla na ni ;tleb gnivom ylwols a no noissecorp gnicnad fo puorg a ;seidolem ctiarepo fo erehpsomta -sid tnempiuqe lacidem ;smrofinu tnerapsnart ni sesrun sserppus hcihw semufrep hcir dna selop metot sa desiug .gnilaeh fo hcnets railimaf eht

Doctors select their patients from this belt, invite them to their individual pavilions, test their vitality and almost playfully administer their (medical) knowledge. If they fail, the patient is returned to the conveyor; perhaps another doctor tries him, but it now becomes apparent that the belt leads beyond the pavilions, through the cruciform building straight to the cemetery.

meht etivni ,tleb siht morf stnetiap rieht tceles srotcoD tsomla dna ytilativ rieht tset ,snoilivap laudividni rieht ot yeht fI .egdelwonk )lacidem( rieht retsinimda yllufyalp spahrep ;royevnoc eht ot denruter si tnetiap eht ,liaf tnerappa semoceb won ti tub ,mih seirt rotcod rehtona eht hguorht ,snoilivap eht dnoyeb sdael tleb eht taht .yretemec eht ot thgiarts gnidliub mroficurc

There is a continuity of festive mood here, the same smells, the same ethereal dances, made more moving, more human still by the contrast of the ruthless formal layout of the plots and the unnaturalness of the dark green shrubbery.

emas eht ,ereh doom evtisef fo ytiuntinoc a si erehT ,gnivom erom edam ,secnad laerehte emas eht ,sllems lamrof sselhtur eht fo tsartnoc eht yb lltis namuh erom krad eht fo ssenlarutannu eht dna stolp eht fo tuoyal .yrebburhs neerg

In the third part of the square, in the three palaces of birth there will be a statistical balance between births and deaths. The physical proximity of these events through the architectural arrangement suggests the consolation of a causal relationship between the two, a gentle relay. The lowering of the average life expectancy creates an ambitious urgency; it does not allow the luxuries of under-exploited brains, the artificial prolongation of childishness or wasted adolescence. Therefore the three palaces of birth will also take care of the babies during their first infancy, school them, turn them into small adults at the earliest possible dates (between eight and eleven), capable of actively taking part in life in the strip.

fo secalap eerht eht ni ,erauqs eht fo trap driht eht nI shtrib neewteb ecnalab lactistiats a eb lliw ereht htrib stneve eseht fo ytimixorp lacisyhp ehT .shtaed dna eht stseggus tnemegnarra larutcetihcra eht hguorht a ,owt eht neewteb pihsnotialer lasuac a fo notialosnoc ycnatcepxe efil egareva eht fo gnirewol ehT .yaler eltneg eht wolla ton seod ti ;ycnegru suotiibma na setaerc -agnolorp laicfitira eht ,sniarb detiolpxe-rednu fo seiruxul eroferehT .ecnecseloda detsaw ro ssenhsidlihc fo noti seibab eht fo erac ekat osla lliw htrib fo secalap eerht eht otni meht nrut ,meht loohcs ,ycnafni tsrfi rieht gnirud thgie neewteb( setad elbissop tseilrae eht ta stluda llams eht ni efil ni trap gnikat ylevtica fo elbapac ,)nevele dna .pirts

In the fourth square, mental patients will be on display as in former days; not as themselves however, but in an extremely well produced exhibition of their delusions, sustained by the latest technical equipment: an infinite number of Napoleons, Florence Nightingales, Einsteins, Jesus Christs and Joan of Arc, each in their custom- made uniforms. These inmates will also stage performances for the accelerated education instead of history classes.

yalpsid no eb lliw stnetiap latnem ,erauqs htruof eht nI na ni tub ,revewoh sevlesmeht sa ton ;syad remrof ni sa ,snoisuled rieht fo notiibihxe decudorp llew ylemertxe etinfini na :tnempiuqe lacinhcet tsetal eht yb deniatsus ,snietsniE ,selagntihgiN ecnerolF ,snoelopaN fo rebmun edam -motsuc rieht ni hcae ,crA fo naoJ dna stsirhC suseJ rof secnamrofrep egats osla lliw setamni esehT .smrofinu .sessalc yrotsih fo daetsni notiacude detarelecca eht

In the cruciform building, finally, which separates the four compartments, reside the Archives that contain all vital facts, developments, life incidents of past and present prisoners. Bureaucracy, so often criticized for its passion for control and contempt for privacy (and moral blindness), guarantees the prisoners a new kind of immorality: this statistical treasure coupled to the most imaginative computer, produces instant biographies of the dead in seconds, but also premature biographies of the living, mixtures of facts and ruthless extrapolations which have become the essential instruments for plotting a course and planning the future.

ruof eht setarapes hcihw ,yllanfi ,gnidliub mroficurc eht nI lativ lla niatnoc taht sevihcrA eht ediser ,stnemtrapmoc tneserp dna tsap fo stnedicni efil ,stnempoleved ,stcaf noissap sti rof dezictiirc nefto os ,ycarcuaeruB .srenosirp -dnilb larom dna( ycavirp rof tpmetnoc dna lortnoc rof :ytilarommi fo dnik wen a srenosirp eht seetnaraug ,)ssen evtianigami tsom eht ot delpuoc erusaert lactistiats siht ni daed eht fo seihpargoib tnatsni secudorp ,retupmoc ,gnivil eht fo seihpargoib erutamerp osla tub ,sdnoces evah hcihw snotialopartxe sselhtur dna stcaf fo serutxim esruoc a gnttiolp rof stnemurtsni latinesse eht emoceb .erutuf eht gninnalp dna

THE PARK OF AGGRESSION This is the second park in the city. It was laid out at the same time as the square of the Captive Globe, and is next to it. In this recreational area, rudimentary structures were erected to correct and channel aggressive desires into creative confrontations. The ego-world dialectic which unfolds in the adjoining square, generates the continuous emergence of conflicting ideologies. Their imposed coexistence invokes childish dreams and the desire to play. This park is a reservoir of sustained tension waiting to be used: a gigantic playground of flexible dimensions to accommodate the only sport played in the strip; Aggression. Here, the conflicts between corresponding antagonisms are re-enacted and fought out: the battles that are staged dissolve the corrosive hysteria of good manners. In fact on an individual level, this park is a sanatorium where patients recover from remnants of infections they brought with them from the old world: hypocrisy and genocide. The diagnoses provoke richer forms of intercourse. The most prominent edifices are the two towers. One of them is infinite: a continuous spiral stretched out of an elastic piece of rock. The other tower has a familiar architectural style and consists of 42 platforms. Magnetic fields help create a tension between these towers which mirrors the psychological motivations of their users. Entry to the park is compulsory, and performances continuous. Visitors arrive alone, in pairs or small groups; the electrifying uncertainty about the safety of the square tower is compensated by the aggressive confidence of the players. Visitors withdraw into the shelves inside the tower which contains cells for the use of suppressed hatred, and where contestants freely abuse each other. But the shelves are also viewing galleries overlooking the bigger platforms of the tower, and private antagonists become spectators. As such they are provoked into joining larger groups involved in unknown physical transactions below, which expose an amazing side of violence. As remnants of shyness are overcome, they add their private energies to this incredible demanding and mutant form of sociable behavior. In an agitated sleep, they walk higher up in the tower. As they pierce each floor, they experience an infinite variety of exchanges, they get an increasingly good view of things below, and an exhilarating, new sensation of the unfolding spectacle around their architecture of great heights. As their tower leans forward, they push their antagonists into the abysmal fall inside the relentless spiral of introspection. Its digestive movement consumes excessive softness: it is the combustion chamber for the fat under the skin. The human missiles, helped by the centrifugal acceleration, escape through a chosen opening in the walls of the spiral, objects of terrifying energy into a trajectory of irresistible temptations. The entire surface of the park, the air space above and the cavities below it are now a full-scale battlefield. As the operations continue into the night they take the appearance of hallucinatory celebrations, against the backdrop of an abandoned world of calculated extermination, and polite immobility. As they return from their nocturnal adventures they celebrate their collective victories in a gigantic arena that crosses the park diagonally. The small buildings in the corner of the park are old building barracks used for the construction of the towers now used as changing rooms. In the three large halls (the old site offices) pacts are signed and new relationships consolidated.

NOISSERGGA FO KRAP EHT tuo dial saw tI .ytic eht ni krap dnoces eht si sihT evtipaC eht fo erauqs eht sa emti emas eht ta ,aera lanotiaercer siht nI .ti ot txen si dna ,ebolG tcerroc ot detcere erew serutcurts yratnemidur evtiaerc otni serised evissergga lennahc dna .snotiatnorfnoc eht ni sdlofnu hcihw cticelaid dlrow-oge ehT suountinoc eht setareneg ,erauqs gniniojda riehT .seigoloedi gnticiflnoc fo ecnegreme dna smaerd hsidlihc sekovni ecnetsixeoc desopmi -sus fo riovreser a si krap sihT .yalp ot erised eht -yalp ctinagig a :desu eb ot gntiiaw noisnet deniat etadommocca ot snoisnemid elbixefl fo dnuorg .noisserggA ;pirts eht ni deyalp trops ylno eht gnidnopserroc neewteb stciflnoc eht ,ereH eht :tuo thguof dna detcane-er era smsinogatna evisorroc eht evlossid degats era taht selttab laudividni na no tcaf nI .srennam doog fo airetsyh stnetiap erehw muirotanas a si krap siht ,level thguorb yeht snoticefni fo stnanmer morf revocer dna ysircopyh :dlrow dlo eht morf meht htiw fo smrof rehcir ekovorp sesongaid ehT .ediconeg .esruocretni -wot owt eht era secfiide tnenimorp tsom ehT larips suountinoc a :etinfini si meht fo enO .sre ehT .kcor fo eceip ctisale na fo tuo dehcterts dna elyts larutcetihcra railimaf a sah rewot rehto -erc pleh sdlefi ctiengaM .smrotfalp 24 fo stsisnoc -rim hcihw srewot eseht neewteb noisnet a eta .sresu rieht fo snotiavtiom lacigolohcysp eht sror secnamrofrep dna ,eerf si krap eht ot yrtnE llams ro sriap ni ,enola evirra srotisiV .suountinoc eht tuoba ytniatrecnu gniyfirtcele eht ;spuorg yb detasnepmoc si rewot erauqs eht fo ytefas srotisiV .sreyalp eht fo ecnedfinoc evissergga eht hcihw rewot eht edisni sevlehs eht otni wardhtiw ,dertah desserppus fo esu eht rof sllec sniatnoc .rehto hcae esuba yleerf stnatsetnoc erehw dna -revo seirellag gniweiv osla era sevlehs eht tuB dna ,rewot eht fo smrotfalp reggib eht gnikool hcus sA .srotatceps emoceb stsinogatna etavirp spuorg regral gninioj otni dekovorp era yeht ,woleb snoticasnart lacisyhp nwonknu ni devlovni sA .ecneloiv fo edis gnizama na esopxe hcihw dda yeht ,emocrevo era ssenyhs fo stnanmer -dnamed elbidercni siht ot seigrene etavirp rieht na nI .roivaheb elbaicos fo mrof tnatum dna gni .rewot eht ni pu rehgih klaw yeht ,peels detatiga -fini na ecneirepxe yeht ,roofl hcae ecreip yeht sA ylgnisaercni na teg yeht ,segnahcxe fo yteirav etin ,gntiaralihxe na dna ,woleb sgniht fo weiv doog dnuora elcatceps gnidlofnu eht fo notiasnes wen .sthgieh taerg fo erutcetihcra rieht rieht hsup yeht ,drawrof snael rewot rieht sA eht edisni llaf lamsyba eht otni stsinogatna evtisegid stI .noticepsortni fo larips sseltneler eht si ti :ssenftos evissecxe semusnoc tnemevom .niks eht rednu taf eht rof rebmahc notisubmoc lagufirtnec eht yb depleh ,selissim namuh ehT ni gninepo nesohc a hguorht epacse ,notiarelecca ygrene gniyfirret fo stcejbo ,larips eht fo sllaw eht ehT .snotiatpmet elbtisiserri fo yrotcejart a otni evoba ecaps ria eht ,krap eht fo ecafrus ertine elacs-lluf a won era ti woleb setiivac eht dna eht otni euntinoc snotiarepo eht sA .dlefielttab yrotanicullah fo ecnaraeppa eht ekat yeht thgin -naba na fo pordkcab eht tsniaga ,snotiarbelec dna ,notianimretxe detaluclac fo dlrow denod .ytilibommi etilop serutnevda lanrutcon rieht morf nruter yeht sA -nagig a ni seirotciv evticelloc rieht etarbelec yeht .yllanogaid krap eht sessorc taht anera cti era krap eht fo renroc eht ni sgnidliub llams ehT fo noticurtsnoc eht rof desu skcarrab gnidliub dlo eht nI .smoor gnignahc sa desu won srewot eht era stcap )secffio etis dlo eht( sllah egral eerht .detadilosnoc spihsnotialer wen dna dengis



In this part of the strip, the Prisoners each earn a small piece of land for individual cultivation; they need this to discover in privacy, the demands of the intense collectivism and communal way of life make on them. The houses on these allotments are built from the most – small Palaces for the People.



On this shamelessly subliminal level this simple Architecture succeeds in its secret ambition to instill gratitude and contentment. The allotments are well supervised, so that both external and internal disturbances can be avoided, or at least quickly suppressed. Media intake in this area is nil. Papers are banned; radios mysteriously out of order; the whole concept of “news” is ridiculed by the patient devotion with which the plots are ploughed, the surfaces are scrubbed, polished and embellished. Time has been suppressed. Nothing ever happens here, yet the air is heavy with exhilaration.

etavirp rof dnal fo eceip llams a evah hcae srenosirP yratnuloV eht ,pirts eht fo trap siht nI msivticelloc esnetni eht fo sdnamed eht morf ycavirp ni revocer ot siht deen yeht ;notiavtiluc .meht no ekam efil fo yaw lanummoc dna ,elbram( slairetam evisnepxe dna hsul tsom eht morf tliub era stnemtolla eseht no sesuoh ehT .elpoeP eht rof secalaP llams – )leets ,muimorhc ot notiibma terces sti ni sdeeccus erutcetihcrA elpmis siht level lanimilbus ylsselemahs siht nO .tnemtnetnoc dna eduttiarg lltisni eb nac secnabrutsid lanretni dna lanretxe htob taht os ,desivrepus llew era stnemtolla ehT .desserppus ylkciuq tsael ta ro ,dediova .lin si aera siht ni ekatni aideM delucidir si ”swen“ fo tpecnoc elohw eht ;redro fo tuo ylsuoiretsym soidar ;dennab era srepaP dehsilop ,debburcs era secafrus eht ,dehguolp era stolp eht hcihw htiw notioved tnetiap eht yb .dehsillebme dna .desserppus neeb sah emiT .notiaralihxe htiw yvaeh si ria eht tey ,ereh sneppah reve gnihtoN

THE AVOWAL wardens To express their everlasting gratitude the voluntary prisoners sing an ode on the Architecture voluntary prisoners by which they are forever enclosed: ‘Of the dread landscape that I saw, Where human eyes were never set, I still am ravished by the awe That, vague and distant, haunts me yet. ‘Sleep is of miracles so fain That I (O singular caprice!) As being formless, could obtain That vegetable life should cease.

LAWOVA EHT erutcetihcrA eht no edo na gnis srenosirp yratnulov eht eduttiarg gntisalreve rieht sserpxe oT :desolcne reverof era yeht hcihw yb ,egasyap elbirret ec eD‘ ,tiv en letrom lieo saimaj euQ ,egami’l erocne ntiam eC …tivar em ,eniatniol te eugaV

selcatceps sec ed innab siava’J‘ …reilugerri lategev eL

‘A painter, in my genius free, I there exulted in the fettle Derived from a monotony Composed of marble, lymph, and metal.

uaelbat nom snad siaruovas eJ‘ einotonom )!( etnarevine’L .uae’l ed te erbram ud ,latem uD

‘Babels of stairways and arcades, Endless and topless to behold, With ponds, and jets, and steep cascades Filling receptacles of gold:

,sedacra’d te sreilacse’d lebaB‘ ,infini sialap nu tiate’ C sedacsac ed te snisab ed nielP ;inurb uo tam ro’l snad tnabmoT

‘Ponderous cataracts there swung Like crystal curtains, foaming shawls — Dazzling and glittering they hung Suspended from the metal walls.

,setnasep stcaratac sed tE‘ ,latsirc ed xuaedir sed emmoC ,setnassiuolbe ,tneiadnepsus eS .latem ed selliarum sed A

‘Not trees, but colonnades, enclosed Motionless lakes, besides whose shelves Gigantic naiades reposed, Like women, gazing at themselves. ‘Blue sheets of water interlay Unnumbered quays of green and rose, That stretched a million leagues away To where the bounds of space impose. ‘Twas formed of unknown stones that blazed And magic waves that intersect, Where icebergs floated, seeming dazed With all they mirror and reflect.

sedannoloc ed siam ,serbra’d noN‘ ,tneiaruotne’s stnamrod sgnate seL ,sadaian seuqsetnagig ed uO .tneiarim es ,semmef sed emmoC ,seuelb ,tneiahcnape’s uae’d seppan seD‘ ,strev te sesor siauq sed ertnE ;srevinu’l ed snoillim sed tnadneP seiuoni serreip sed tneiate’ C‘ tneiate’c ;seuqigam stofl sed tE seiuolbe secalg sesnemmi’D !tneiatefler selle’uq ec tuot raP

‘Impassive, cold, and taciturn, Great Ganges, through the sky’s vast prism, Each poured the treasures of its urn Into a diamond abysm. ‘Architect of my fairy scene, I willed, by wondrous stratagems, An ocean, tamed, to pass between A tunnel that was made of gems. ‘There all things, even the colour black, Seemed irridescently to play, And liquid crystalised its lack Of outline in a frozen ray. ‘No star, no sun could be discerned, Even low down, in that vast sky: The fire was personal that burned To show these marvels to the eye.’ Above these moving wonders sheer There soared (that such a thing should be! All for the eye, none for the ear!) A silence of eternity. II My opening eyes, as red as coal, The horror of my lodging met. I felt re-entering my soul The knife of cares and vain regret. The clock with brutal accent played Funereal chimes. The time was noon And heaven covered, with its shade, The world, this fatuous balloon! — Roy Campbell, Poems of Baudelaire (New York: Pantheon Books, 1952)

,rion rueluoc al emem ,tuot tE‘ …esiri ,rialc ,ibruof tialbmeS

segtisev sllun ,sruellia’d retsa luN‘ ,leic ud sab ua emem ,lielos eD ,seigidorp sec enimulli ruoP ’)!( lennosrep uef nu’d tneiallirb iuQ



-ticarp etanimod ot mees yam slasoporp eseht fo egassem lacirohpatem eht thgis tsrfi ta hguohtlA Although at first sight the metaphorical message of these proposals may seem to dominate practi.elaT naipotU rehtona ton si siht ,snotiaredisnoc lac cal considerations, this is not another Utopian Tale. spahrep ,notiacol defiidom a htiw spahrep ,stnemges ni yrassecen fi( yadot tliub eb nac enoz ehT The zone can be built today (if necessary in segments, perhaps with a modified location, perhaps -palrevo eht yb detcennoc ylno dna ,rehto hcae morf trapa ,senots ekil deppord stnemges eht htiw with the segments dropped like stones, apart from each other, and only connected by the overlapseriuqer tI .)sresnednoc laicos eurt ekil .e.i ,dnop nabru eht no tcapmi rieht yb desuac selppir gnip ping ripples caused by their impact on the urban pond, i.e. like true social condensers). It requires fo snotiazilairetam ctiehtnys eht ,serised laicos fo srotabucni eht sa setiic ni feileb latnemadnuf a a fundamental belief in social desires as the incubators of cities, the synthetic materializations of ediced dluow yeht erutcetihcrA htiw detniauqca emoceb ot dewolla erew elpoep fI .smaerd lla all dreams. If prisoners were allowed to become acquainted with Architecture they would decide rieht etatilibaher ot dna setieicoS nabrU ruo fo yaced lacigoloedi dna lacisyhp eht etairporppa-er ot to re-appropriate the physical and ideological decay of our Urban Societies and to rehabilitate .elyts efil dna laedi natiloportem eht htiw sesimerp the metropolitan ideal and life style with their nirvanic premises. a nihtiw serised etavirp lla fo tnemllfiluf si taht ,nrecnoc nommoc eht ,mood fo taerht eht rednU Under the threat of doom, the common concern, that is fulfillment of all private desires within a ni ,slasoporp motnahp secudorp ,troffe nommoc evissimrep ylsuoiriled dna evticelloc yllanimilbus subliminally collective and deliriously permissive common effort, produces phantom proposals, in .egatrohs ytilaer tneserp eht ot rosseccus elbissop ylno eht si ytilaer motnahp taht egdelwonk eht the knowledge that phantom reality is the only possible successor to the present reality shortage. etuhcarap eht no gnignah ,stsilaer gnivivrus tsal eht ,asudeM eht fo ftar eht no syawatsac eht ekiL Like the castaways on the raft of the Medusa, the last surviving realists, hanging on the parachute raeppa lliw ,msilabinnac fo dne eht ta ,hcihw YTIC EHT :pihs eucser eht no gnippord era epoh fo of hope are dropping on the rescue ship: THEMSELVES which, at the end of cannibalism, will appear .noziroh eht no on the horizon.

And as he realizes the walls no longer hold him, they bow in his honor as his past


squeezes the trigger and the slave is returned to his master as the world forges on.

The Park of the Four Elements (1972) Rem Koolhaas ‘The park is divided into four square areas, which disappear into the ground like four gigantic steps. The first square, “sir”, consists of a number of sunken pavilions, overgrown with the elaborate networks of responsive ducts, which emit various mixtures of gasses to create aromatic and hallucinogenic experiences.’ ‘By subtle variations in dosage, density and perhaps even colouration these volatile clouds of scents can be modified or sustained almost like a musical instrument.’ ‘Moods of exhilaration, depression, serenity and receptivity can be evoked invisibly, in programmed or improvised sequences and rhythms. Vertical air-jets provide environmental protection over the pavilions.’ ‘Identical in size to the first square, but sunken below the level of the surface, is “the desert”: an artificial reconstruction of an Egyptian landscape, simulating its dizzying conditions: a pyramid, a small oasis, and the fire organ: a steel frame with innumerable outlets for flames of different intensity, colour and heat. It is played at night to provide a pyrotechnic spectacle, visible from all parts of the strip: a nocturnal sun.’ ‘At the end of four linear caves, Mirage-machines project images of desirable ideals. Those in the desert who enter the tubes, run to reach these beautific images at the end, but as they run on a belt which moves in the opposite direction at a speed which increases as the distance between Mirage and runner shrinks, actual contact can never be established. The frustrated energies and desires will have to be channeled into sublimated activities. (The secret that the pyramid does not contain a treasure chamber, will be kept forever.)’ ‘Deeper into the earth still is the water square, a pool whose surface is permanently agitated through the regular but variable movement of one of its walls, which produces waves of sometimes gigantic proportions. This lake is the domain of some pleasure seekers, who have become totally addicted to the challenge of these waves.’ ’Day and night the sounds of this interior sea will be the acoustic background of the activities of the strip. ‘ ‘The fourth square at the bottom of the pit is devoted to “earth”; it is occupied by a vaguely familiar mountain, its top exactly level with the surface of the strip. At the top of this mountain, a group of sculptors is involved in a debate, trying to decide whose bust they will carve in the rock, but in the accelerated atmosphere of this prison, no one is important long enough for them to ever reach a conclusion.’ ‘The walls of the cavity reveal the past history of this location like a scar; part of a now deserted Underground line is suspended in this void. Deep in the other walls cave dwellings and cavernous meeting places are carved out which accommodates certain primordial mysteries.’ ‘After the spiral movement through the four squares and escalator returns the wanderer to the surface.’





excerpts from The Infinite Cycle of Human Nature

What if there is no birth and death, no chronological structure, no beginning and end? No linear derive. A cyclical collaboration of events and experiences on a globe. Can a series of detached sensory organisms form a sum greater than current reality? An embellished and oversensitive performance. Four elements performing separate scores, unified by their common stage. The linear journey we have derived can now be turned on its back to generate a simultaneous fabric woven with the threads of the four elements. A Central pivot point is established; the Great Pyramid is on display, four tunnels frame views of the structure while stemming beyond the perimeter of the stage from four opposing points. Displayed on the surfaces of the vast object are plastered images, representations of an isolated spectacle. The Pyramid grasps elusive sacred artifacts in its unreachable tomb, an enigma holding Grails, Covenants, Arks… Determined explorers forge throughout the desert only to find a specious door on the southern face, a cruel mirage created by the same overhead gas lines that comfort them. A sectional incision unveils the distant and inaccessible vault, a suspended illusion to every inhabitant willing to be fooled. The closest vantage point to the tomb is the edge of the battlefield, a wasteland marred with trenches, mines and corrosive gas. This desert wasteland is the flat world of superfluous aggression and naivety. The opposing north side of the Pyramid, concealed from the naïve, is jointed with the southern deserts exclusively by the hierarchal fire organ, a two-way gauntlet which provides immigrants for both territories. Unlike the Pyramid’s tomb, the massive instrument of fire is indeed reachable, yet the mechanism is exponentially farther than it appears. The northern face of the Pyramid glistens as the sun ironically reflects off the sublime oasis. Subliminal in size and temperament as the expanse spawns a terrestrial waterfall responsible for life and death. The falls are the primary source for irrigation, consumption and spectacular deaths. Surrounding the northern valley and climbing among the hills and mountaintop is the alpine community. A temporal retreat only utilized by the desert frontiersman or the climber; both technical and social. This “vacation” is an elitist voyage as the admitted continue to ascend and eventually sculpt representations of their ideals or accomplishments; projections of the inner self into the granite. Travelers peer over the mountaintop archive of symbols, statements and trademarks to see the framework of a new world. Workers are continuously constructing on the site yet there seems to be minimal progress, their father’s account equaling their own. The retreat’s duration directly corresponds with the occupant’s chemical dependency for hallucinates below. In search of curing their withdrawals, the travelers repel onto the various plateaus of the Arena; an enormous amphitheatre loosely connecting the north and south once again. Inhabitants of both worlds fulfill their addiction, their senses positively keener than ever before; a momentary ecstasy. This community of addicts is a spectator and subject to both the gas lines and the central stage below. A great wall acts as a boom; its kinetic nature generates a rhythm of waves that seems to be echoed in the musical performances conducted on the central stage. The backdrop of the stage grazes the shifting wall every half interval reminding the structure of its replacement. The backdrop is the old wall yet now acts as an adapted ruin unconsciously worshipped by the spectators throughout the Arena. As the euphoric high subsides, an inner drive replaces the binge, a desire constructed by sight. The gaze of the worshiper wanders towards the exposed tomb and a new cycle arises.


excerpts from An Occurence at Owl Creek Bridge (1891) Ambrose Bierce ‘A man stood upon a railroad bridge in northern Alabama, looking down into the swift water twenty feet below. The man’s hands were behind his back,, the wrists bound with a cord. A rope closely encircled his neck. It was attached to a stout cross-timber above his head and slack fell to the level of his knees. Some loose boards laid upon the sleepers supporting the metals of the railway supplied a footing for him and his executioners-two private soldiers of the Federal Army, directed by a sargeant who in civil life may have been a deputy sheriff. ‘ ’Excepting the group of four at the center of the bridge, not a man moved. The company faced the bridge, staring stonily, motionless. The sentinels, facing the banks of the stream, might have been statues to adorn the bridge.’ ‘He looked a moment at his “unsteadfast footing,” then let his gaze wander to the swirling water of the stream racing madly beneath his feet. A piece of dancing driftwood caught his attention and his eyes followed it down the current. How slowly it appeared to move, what a sluggish stream!’ ‘He closed his eyes in order to fix his last thoughts upon his wife and children. The water, touched to gold by the early sun, the brooding mists under the banks at some distance down the stream, the fort, the soldiers, the piece of drift—all had distracted him.’ ‘Striking through the thought of his dear ones was a sound which he could neither ignore nor understand, a sharp, distinct, metallic percussion like the stroke of a blacksmith’s hammer upon the anvil; it had the same ringing quality. He wondered what it was, and whether immeasurably distant or near by- it seemed both. Its recurrence was regular, but as slow as the tolling of a death knell. He awaited each stroke with impatience and- he knew not whyapprehension. The intervals of silence grew progressively longer, the delays became maddening. With their greater infrequency the sounds increased in strength and sharpness. They hurt his ear like the thrust of a knife; he feared he would shriek. What he heard was the ticking of his watch.’ ‘He unclosed his eyes and saw again the water below him. “If I could free my hands,” he thought, “I might throw off the noose and spring into the stream. By diving I could evade the bullets and, swimming vigorously, reach the bank, take to the woods and get away home. My home, thank God, is as yet outside their lines; my wife and little ones are still beyond the invader’s farthest advance.’


‘As to his head, he was conscious of nothing but a feeling of fullness--of congestion. These sensations were unaccompanied by thought. The intellectual part of his nature was already effaced; he had power only to feel, and feeling was torment. He was conscious of motion. Encompassed in a luminous cloud, of which he was now merely the fiery heart, without material substance, he swung through unthinkable arcs of oscillation, like a vast pendulum. Then all at once, with terrible suddenness, the light about him shot upward with the noise of a loud splash; a frightful roaring was in his ears, and all was cold and dark. The power of thought was restored; he knew that the rope had broken and he had fallen into the stream.’ ‘He opened his eyes in the darkness and saw above him a gleam of light, but how distant, how inaccessible! He was still sinking, for the light became fainter and fainter until it was a mere glimmer. Then it began to grow and brighten, and he knew that he was rising toward the surface- knew it with reluctance, for he was now very comfortable.’ ‘His neck ached horribly; his brain was on fire; his heart, which had been fluttering faintly, gave a great leap, trying to force itself out of his mouth. His whole body was racked and wrenched with an insupportable anguish! But his disobedient hands gave no heed to the command. They beat the water vigorously with quick, downward strokes, forcing him to the surface. He felt his head emerge; his eyes were blinded by the sunlight; his chest expanded convulsively, and with a supreme and crowning agony his lungs engulfed a great draught of air, which instantly he expelled in a shriek!’ ‘He was now in full possession of his physical senses. They were, indeed, preternaturally keen and alert. Something in the awful disturbance of his organic system had so exalted and refined them that they made record of things never before perceived. He felt the ripples upon his face and heard their separate sounds as they struck. He looked at the forest on the bank of the stream, saw the individual trees, the leaves and the veining of each leaf - saw the very insects upon them: the locusts, the brilliant-bodied flies, the grey spiders stretching their webs from twig to twig. He noted the prismatic colors in all the dewdrops upon a million blades of grass. The humming of the gnats that danced above the eddies of the stream, the beating of the dragon flies' wings, the strokes of the water-spider’s legs, like oars which had lifted their boat - all these made audible music. A fish slid along beneath his eyes and he heard the rush of its body parting the water.’


‘He had come to the surface facing down the stream; in a moment the visible world seemed to wheel slowly round, himself the pivotal point, and he saw the bridge, the fort, the soldiers upon the bridge, the captain, the sergeant, the two privates, his executioners. They were in silhouette against the blue sky. They shouted and gesticulated, pointing at him. The captain had drawn his pistol, but did not fire; the others were unarmed. Their movements were grotesque and horrible, their forms gigantic.’ ‘Suddenly he heard a sharp report and something struck the water smartly within a few inches of his head, spatter ing his face with spray. He heard a second report, and saw one of the sentinels with his rifle at his shoulder cloud of blue smoke rising from the muzzle.The man in the water saw the eye of the man on the bridge gazing into his own through the sights of the rifle. He observed that it was a grey eye and remembered having read that grey eyes were keenest, and that all famous marksmen had them. Nevertheless, this one had missed.’ ‘Although no soldier, he had frequented camps enough to know the dread significance of that deliberate, drawling, aspirated chant; the lieutenant on shore was taking a part in the morning’s work. How coldly and pitilesslywhat an even, calm intonation, presaging, and enforcing tranquility in the men- with what accurately measured intervals fell those cruel words:’ “Attention, company!... Shoulder arms!... Ready!... Aim!... Fire!”


‘Farquhar dived - dived as deeply as he could. The water roared in his ears like the voice of Niagara, yet he heard the dulled thunder of the volley and, rising again toward the surface, met shining bits of metal, singularly flattened, oscillating slowly downward. Some of them touched him on the face and hands, then fell away, continuing their descent. One lodged between his collar and neck; it was uncomfortably warm and he snatched it out.’ ‘As he rose to the surface, gasping for breath, he saw that he had been a long time under water; he was perceptibly farther down stream nearer to safety. The soldiers had almost finished reloading; the metal ramrods flashed all at once in the sunshine as they were drawn from the barrels, turned in the air, and thrust into their sockets. The two sentinels fired again, independently and ineffectually.’ ‘The hunted man saw all this over his shoulder; he was now swimming vigorously with the current. His brain was as energetic as his arms and legs; he thought with the rapidity of lightning.’ ‘Suddenly he felt himself whirled round and round--spinning like a top. The water, the banks, the forests, the now distant bridge, fort and men - all were commingled and blurred. Objects were represented by their colors only; circular horizontal streaks of color--that was all he saw. He had been caught in a vortex and was being whirled on with a velocity of advance and gyration that made him giddy and sick. In a few moments he was flung upon the gravel at the foot of the left bank of the stream - the southern bank - and behind a projecting point which concealed him from his enemies. The sudden arrest of his motion, the abrasion of one of his hands on the gravel, restored him, and he wept with delight. He dug his fingers into the sand, threw it over himself in handfuls and audibly blessed it. It looked like diamonds, rubies, emeralds; he could think of nothing beautiful which it did not resemble. The trees upon the bank were giant garden plants; he noted a definite order in their arrangement, inhaled the fragrance of their blooms. A strange, roseate light shone through the spaces among their trunks and the wind made in their branches the music of Æolian harps. He had no wish to perfect his escape - was content to remain in that enchanting spot until retaken.’


‘By nightfall he was fatigued, footsore, famishing.The thought of his wife and children urged him on. At last he found a road which led him in what he knew to be the right direction. It was as wide and straight as a city street, yet it seemed untraveled. No fields bordered it, no dwelling anywhere. Not so much as the barking of a dog suggested human habitation. The black bodies of the trees formed a straight wall on both sides, terminating on the horizon in a point, like a diagram in a lesson in perspective. Overhead, as he looked up through this rift in the wood, shone great garden stars looking unfamiliar and grouped in strange constellations. He was sure they were arranged in some order which had a secret and malign significance. The wood on either side was full of singular noises,, among which - once, twice, and again - he distinctly heard whispers in an unknown tongue.’ ‘His neck was in pain and lifting his hand to it found it horribly swollen. He knew that it had a circle of black where the rope had bruised it. His eyes felt congested; he could no longer close them. His tongue was swollen with thirst; he relieved its fever by thrusting it forward from between his teeth into the cold air. How softly the turf had carpeted the untraveled avenue--he could no longer feel the roadway beneath his feet!’ ‘Doubtless, despite his suffering, he had fallen asleep while walking, for now he sees another scene--perhaps he has merely recovered from a delirium. He stands at the gate of his own home. All is as he left it, and all bright and beautiful in the morning sunshine. He must have traveled the entire night. As he pushes open the gate and passes up the wide white walk, he sees a flutter of female garments; his wife, looking fresh and cool and sweet, steps down from the veranda to meet him. At the bottom of the steps she stands waiting, with a smile of ineffable joy, an attitude of matchless grace and dignity. Ah, how beautiful she is! He springs forward with extended arms. As he is about to clasp her he feels a stunning blow upon the back of the neck; a blinding white light blazes all about him with a sound like the shock of a cannon - then all is darkness and silence!’


‘Peyton Farquhar was dead; his body, with a broken neck, swung gently from side to side beneath the timbers of the Owl Creek Bridge.’

‘People don’t go this way in the Zone, the longer way, the less risk’


Stalker (1979) Andrei Tarkovsky

‘No we have to go back’ – ‘It’s impossible’ – ‘I can’t do without my knapsack’

‘Incredible. How did you manage to overtake us?’ – ‘Overtake? I came back here for my knapsack.

‘But it is what we’ve made it with our condition’

‘…works of art. Unlike all other human activities. This one is unselfish. Great illusions…absolute truth’

‘But ruling over the world! A just society! God’s kingdom on earth!...Unconscious compassion is not ready for realization yet’

‘On the threshold…your most sincere wish! Born of suffering! You just have to concentrate and try to recall your whole life’ ‘But what he got was only money, and he couldn’t get anything else, because render unto Porcupine the things that are Porcupines’

‘Coming true here is only what’s in line with your nature…of which you know nothing, but it’s there…directing you all your life’

‘Who told you that wishes even come true here? Have you seen a single man who’s been made happy here?’

‘Calm down, it’s not their fault. You ought to pity them, not to be angry with them. Haven’t you seen them? They’ve got empty eyes’

‘Everything gets clear only here, when it’s too late’

excerpts from The Phenomenology of the Mind (1807) Intention and Method of the Argument G.W.F. Hegel ‘But not only in this respect, that notion and object, the criterion and what is to be tested, are ready to hand in consciousness itself, is any addition of ours superfluous, but we are also spared the trouble of comparing these two and of making an examination in the strict sense of the term; so that in this respect, too, since consciousness tests and examines itself, all we are left to do is simply and solely to look on. For consciousness is, on the one hand, consciousness of the object, on the other, consciousness of itself; consciousness of what to it is true, and consciousness of its knowledge of that truth. Since both are for the same consciousness, it is itself their comparison; it is the same consciousness that decides and knows whether its knowledge of the object corresponds with this object or not.The object, it is true, appears only to be in such wise for consciousness as consciousness knows it.’ ‘This dialectic process which consciousness executes on itself- on its knowledge as well as on its object- in the sense that out of it the new and true object arises, is precisely, what is termed Experience. In this connection, there is a moment in the process just mentioned which should be brought into more decided prominence, and by which a new light is cast on the scientific aspect of the following exposition. Consciousness knows something; this something is the essence or is per se. This object, however, is also the per se, the inherent reality, for consciousness.. Hence comes ambiguity of this truth. Consciousness, as we see, has now two objects: one is the first per se, the second is the existence for consciousness of this per se. The last object appears at first sight to be merely the reflection of consciousness into itself, i.e. an idea not of an object, but solely of its knowledge of that first object. But, as was already indicated, by that very process the first object is altered; it ceases to be what is per se, and becomes consciously something which is per se only for consciousness. Consequently, Consequently then, what this real per se is for consciousness is truth: which, however, means that this is the essential reality, or the object which consciousness has. This new object contains the nothingness of the first; the new object is the experience concerning that first object. ’


Warning: Can lead to visual self recognition, and similarities in human environment. Advanced cases can lead to relation with mirror as mediator between the individual and the group, and the group and the individual.

Caution: May leave reader with specific and accountable control over interpretation of events or issues provided by external stimulus. Can cause acceptance, disagreement or utilization of the dialectic in critically positioning personal belief against foreign or familiar stimulus, consciously understood as provided by the few for the masses.

Warning: Can cause analogous realization of a definite start as a set of objects, and end as the passing of time, with the middle, the game, being malleable to any system or sequence of processes that can be created with given cards. Extreme cases may cause intense depression - or the discovery of new games more fulfilling for that time than ever imagined.

Caution: May generate freedom to choose and to accept. Frequent jolts of inclusion and exclusion. Occasional cases of respect for the space to encounter invitation from individual point of view when/where ready.

Warning: Causes cancer. Contains chemical/physical distance from primary activity, and with the outdoors, for reflection and to breath. (in smoke.)

Caution: Provides sense of escapism. Risk of personal control of chemically regulated mental state through physical activity.

Caution: Side effects may include physical and mental growth due to unassisted struggle, increased confidence in the resilience of the body, and acceptance of things we can/should not change. May cause death. Will liberate.

Warning: May infect user with conscious control of mental/physical equilibrium and environmental influences. Extreme cases may leave lasting control of aforementioned influences even after leaving the course.

Caution: Olfactory association of familiar scent in foreign context may lead to independent mediation of the power of smell to (mis)guide, leading to separation of olfactory stimulus and internal reaction.

Caution: Sensory perimeter may develop conscious disconnection without the aid of the ipod, resulting in complications including controlled access of chosen/random stimuli into a consciously mediated personal environment.

Caution: May lead to conscious reduction of sensuous aids to most simple forms, honing internal control of senses from the inside out.

Caution: Externally placed personal identification can lead to the conscious formation of own connections within a system, or no system at all.

Caution: Has been known to cause responsibility with potential for new life. Can introduce lasting effects of personal mediation of external influences on desired growth.

Warning: May taint narrow sightedness of specific moment. Contains time-honored ideals and connections to situations of being separated from current existence/problems/disasters. May cause spiritual addiction to a controversial body of theory greater than our own, with sacred or secular lens.

Caution: May overpower individual with control for light, destruction, or smoke, and consciously infect user with power and responsibility to affect at greater scale than operator alone.

Caution: Imitation of movements and elements of nature reminiscent of survival may induce critical evaluation of systems in chosen context. Can conjure complexity within fundamental survival or question extent of basic human need.

Warning: May cause unplanned growths through dialectic between individual belief system and historic principles created/exercises in eastern culture, resulting in critical understanding individual positioning within broader humanity.

Caution: Simultaneous control of body and breath to create vibrations for the ear to decipher may produce close personal proximity to the cosmos and natural phenomena, or mental connection to generations of auditory understanding and theory.

Danger: Contact may release primal instincts in user and object. Simplicity of tool may conjure nostalgic impulses of survival or independent control of a time past - or future.

Warning: Connection with time-honored understanding of temporal, linear existence may be disrupted if device ceases. Can induce panic between rigid external systems and their subject. Rare moments of individual empowerment and freedom have been reported.

Caution: Auditory reverberations reminiscent of the sea may result in conscious disjunction between stimulus and place. Can separate emotional association from geographic location.

excerpts from The Jumper

The thrust of a cannon propels a man across the Tijuana/San Deigo border; a barrier, which fades into the ocean, is breached by land. Cameras flash. On this political border, a push and pull conversation exists. Materialistic ambitions push the man while his broken knowledge of the consequences pulls him into complacency. A cannon becomes a collection of desired commodities and a wall reflects editorialized media, societal rumors, and of course himself. Imagine the jumper not seeking the American Dream but instead in search of independence; an emancipation from mass-media, commodity, communal and personal doubt. The cannon and the wall would both fade away. Disconnected from his effects, the stripped man as he exited the womb enters the Zone; a utopian sovereignty. The border then becomes a dialogue found in the human mind; assurance and doubt. Physical action triumphs as the mind goes blank and a spectacle is born.


Robert E. Turner III

Founder, Time Warner Inc.

Richard D. Parsons

Chairman of the Board, Time Warner Inc.


Robert C. Clark



Distinguished Service Professor, Harvard University

Mathias Dopfner

Chairman, Chief Executive Officer and Head of the Newspapers Division, Axel Springer AG

Jeffrey L. Bewkes

President and Chief Executive Officer, Time Warner Inc.

Jessica P. Einhorn

Dean, Paul H. Nitze School of Advanced International Studies (SAIS), Johns Hopkins University

Reuben Mark

Chairman, Colgate-Palmolive Company

Michael A. Miles

Special Limited Partner, Forstmann Little & Company

Phillip I. Kent

Chairman and Chief Executive Officer, Turner Broadcasting Systems Inc.


Jim McCaffrey

Executive Vice President, Operations and Strategy

Steve Koonin

President, Turner Entertainment Networks

Jim Walton

President, CNN Worldwide

Andrew T. Heller

President, Domestic Distribution

David R. Levy

President, Turner Broadcasting Sales Inc. and President, Turner Sports

Stuart Snyder

President, Turner Animation, Young Adults and Kids Media


Ch Offi

John Klein

President CNN/U.S.

Sid Bedingfield

Senior Executive Vice President & General Manager

Teya Ryan

Executive Vice President CNNfn Production Development, Web Integration


September 17, 2008

Julie Lankamp

Executive Producer Open House


Katherine Green

Senior Vice President Programming CNN International

Mark Nelson

Executive ProducerAnderson Cooper 360

Susan Bunda

Vice President CNN/US. Content Development

Wilson Surratt Janelle Rodriguez Executive Producer American Morning

Susan Grant

Executive Vice President CNN News Services

Karen Bonsignore Executive Producer Entertainment CNN

Tony Maddox

Executive Vice President Managing Director

Wonya Lucas

Senior Vice President Strategic Marketing Research

David Bohrman

Executive Producer CNN Evening News

Jennifer Ma

Senior Vice P Programming Developmen

Peter Dykstra

Executive Producer CNN:Science & Technol


Mein Gmüth ist mir verwirret Hans Leo Hassler German Golliard

Ein’ Feste Burg Ist Unser Gott (1521) Martin Luther Sacred Hymn

An American Tune (1973) Paul Simon

Mein Gmüth ist mir verwirret, das macht ein Jungfrau zart, bin ganz und gar verjirret, mein Herz das kränckt sich hart, hab tag und nacht kein Ruh, führ allzeit grosse klag, thu stets seufftzen undweinen, in trauren schier verzag.

Ein’ feste Burg ist unser Gott, Ein gute Wehr und Waffen; Er hilft uns frei aus aller Not, Die uns jetzt hat betroffen. Der alt’ böse Feind, Mit Ernst er’s jetzt meint, Gross’ Macht und viel List Sein’ grausam’ Ruestung ist, Auf Erd’ ist nicht seingleichen.

Many's the time I've been mistaken And many times confused Yes, and I've often felt forsaken And certainly misused Oh, but I'm all right, I'm all right I'm just weary to my bones Still, you don't expect to be Bright and bon vivant So far away from home, so far away from home

Ach daß sie mich thet fragen, was doch dir versach sei, warum ich führ solch klagen, ich wolt irs sagen frei, daß sie allein die ist, die mich so sehr verwundt, köndt ich ir Hertz erweichen, würd ich bald wider g’sund.

Mit unsrer Macht is nichts getan, Wir sind gar bald verloren; Es steit’t für uns der rechte Mann, Den Gott hat selbst erkoren. Fragst du, wer der ist? Er heisst Jesu Christ, Der Herr Zebaoth, Und ist kein andrer Gott, Das Feld muss er behalten.

And I don't know a soul who's not been battered I don't have a friend who feels at ease I don't know a dream that's not been shattered or driven to its knees but it's all right, it's all right for we lived so well so long Still, when I think of the road we're traveling on I wonder what's gone wrong I can't help it, I wonder what's gone wrong

Reichlich ist sie gezieret, mit schön thugend ohn Ziel, höflich wie sie gebüret, ihrs gleichen ist nicht viel, für andern Jungfraun zart, führt sie allzeit den Preiß, wann ichs anschau, vermeine, ich sei im Paradeiß.

Und wenn die Welt voll Teufel wär’ Und wollt’ uns gar verschlingen, So fürchten wir uns nicht so sehr, Es soll uns doch gelingen. Der Fürst dieser Welt, Wie sau’r er sich stellt, Tut er uns doch nicht, Das macht, er ist gericht’t, Ein Wörtlein kann ihn fällen.

And I dreamed I was dying I dreamed that my soul rose unexpectedly And looking back down at me Smiled reassuringly And I dreamed I was flying And high up above my eyes could clearly see The Statue of Liberty Sailing away to sea And I dreamed I was flying

Aber ich muß auffgeben, und allzeit traurig sein, solts mir gleich kosten Leben, das ist mein gröste Pein, dann ich bin ir zu schlecht, darumb sie mein nicht acht, Gott wolts für leid bewahren, durch sein Göttliche macht.

Das Wort sie sollen lassen stahn Und kein’n Dank dazu haben; Er ist bei uns wohl auf dem Plan Mit seinem Geist und Gaben. Nehmen sie den Leib, Gut, Ehr’, Kind und Weib: Lass fahren dahin, Sie haben’s kein’n Gewinn, Das Reich muss uns doch bleiben.

We come on the ship they call the Mayflower We come on the ship that sailed the moon We come in the age's most uncertain hours and sing an American tune Oh, and it's alright, it's all right, it's all right You can't be forever blessed Still, tomorrow's going to be another working day And I'm trying to get some rest That's all I'm trying to get some rest






-palrevo eht yb detcennoc ylno dna ,rehto hcae morf trapa ,senots ekil deppord stnemges eht htiw with the segments dropped like stones, apart from each other, and only connected by the overlapseriuqer tI .)sresnednoc laicos eurt ekil .e.i ,dnop nabru eht no tcapmi rieht yb desuac selppir gnip ping ripples caused by their impact on the urban pond, i.e. like true social condensers). It requires a fundamental belief in social desires as the incubators of ot ediced dluow yeht erutcetihcrA htiw detniauqca emoceb ot dewolla erew elpoep fI .smaerd lla all dreams. If prisoners were allowed to become acquainted with Architecture they would decide the .elyts efil dna laedi natiloportem eht htiw sesimerp metropolitan ideal and life style with their nirvanic premises. a nihtiw serised etavirp lla fo tnemllďŹ luf si taht ,nrecnoc nommoc eht ,mood fo taerht eht rednU Under the threat of doom, the common concern, that is fulďŹ llment of all private desires within a .egatrohs ytilaer tneserp eht ot rosseccus elbissop ylno eht si ytilaer motnahp taht egdelwonk eht the knowledge that phantom reality is the only possible successor to the present reality shortage.

no raeppa lliw ,msilabinnac fo dne eht ta ,hcihw YTIC EHT :pihs eucser eht no gnippord era epoh fo of hope are dropping on the rescue ship: THEMSELVES which, at the end of cannibalism, will appear .noziroh eht on the horizon.

Epilogue: Individual perception, the process and outcome of creating connections between stimulus and the self, is firmly suggested externally through the perception of other humans leading secular society as the world’s most socially dominant and environmentally affecting and controlling faction. The high volume, both through quantity, proximity and intensity, of external influence tears the one in multiple directions, each vying for primacy, often resulting in the self-dulling of one’s ability or desire to interpret as a means of self-sustainment. Ideas and influences opposing one’s “personal” ideals and culturally specified ideals are treated as foreign bodies; opposed, attacked, and hated. Oppositions we inherently fear without question, turning our backs on the possibility of our affected ideals being erroneous. This rejection of the undesired physical and mental environment is the external control; we are not the slave, we are the victim (which I will discuss later). To satisfy the human need for variety, objects and objectified events have been created, as a collection of commoditized elements designed to appear as though growing, improving, and necessary, but provide a static “carrot” for instilling desire and immediate consumption before beginning the search for the next. These materials guide, as one is attainable and the next momentarily just out of reach, coaxing the individual further away from oneself. There is never complete, sustained satisfaction as the next weapon of this system is continually being developed. The object is developed by the system for the system, with the humans who developed and now lead these systems falling victim to their own systems as the only way to provide evidence of their personal conviction, as an example of the “truth” of their system. We are placed in this increasingly-interwoven-mobile-destructive-system. We are unable to admit our mistake, unable to step out (not back) in order to move forward. This movement relies on the strong (flexible, open-minded, self sustaining and self-critical) willed individual; a step towards personal truth, a notion of the beginning and the end as concrete fact, and the middle as the stage for activity, adaptation and performance. This notion foregrounds the means of perception, the mediating element of the membrane between the individual and the exterior: The Senses. Being willing to see, to touch, to smell, to hear and to taste, and to let the execution of the means be the primary goals, the journey of process and progress being the Object. Perception (as connections) loses its value to the individual when it is implemented externally rather than internally. The window into this zone is the senses, which need to be honed and tested through chaos (physical, perceptual torture disconnected from negative mental trauma), to produce an immediate connection on a subconscious level, a means to bridge this gap between interior and exterior. Structures of the exterior, architecture (as a system of organization, currently gone wrong), cannot be of higher value to the individual, but instead act as commodity (at most as a stage), the architecture is the slave to the system and the individual the victim. Currently, we believe this personal journey is insufficient. The increasingly global structure, including but not limited to consumerism, media culture, healthcare, secular hierarchy, politics, and celebrity, is having an increasingly enduring affect. The consequences of this global structure limit the potential reach of the individual senses in a way that is equal to the damage of the cultural cage of perception. Hope is the guide of perception and eventually consciousness, displayed individually through passion. The world has hope, but this hope is contingent upon the sustainability of the Human Situation, and specifically not the sustainability of the Current Situation, via our perception as of this date and time.

This is not a move towards sustainable architecture, or health systems that keep people alive and well longer, or a new plan for the economy or political system, but an implementation of the process of consciousness upon society from within the current system. Identifying and utilizing first the objects (as we have started), and then hierarchical positions to disperse true (and all we can offer is our point of view and process as a freely chosen example) self-criticality throughout our design. An elusive “carrot� which can be captured solely by our willingness to live the dialectic; the sensory freedom, stemming from ourselves, chewing our environment through our system of physical visual production discussed above. Our understanding of consciousness can only be presented and interpreted to another through conscious freewill. The process can be explained in a very simple manner, the words used are part of a particular understood system of convention. After that, our journey can only be represented visually, the images and words as snapshots of our consciousness, polarized through our mediation and presentation. They are presented in this book through our system of perception, the physical juxtaposition of the many stimuli in our world presented chronologically in keeping with our current understanding of time. The artifacts we have collected are precious, hand chosen by the two of us, always guided externally as we have no power to create other than through the ways in which we connect between individual understandings, or through chaos. This book is an assembly of fore grounded and mediated stimuli, an invitation to others of our passion and thus hope for our journey and ideals. This book is an assembly of fore grounded and mediated stimuli, an illusion to others of our passion and thus slaves to our journey and ideals. It is now left in your hands.

The consciousness of Ian Donnelly and Andrew Innis from birth until the present condition, are the backbone against which all following articles consciously influencing production and though this semester.

Works Cited Alighieri, Dante. “The Purgatorio.” Commedia Divina (The Divine Comedy). Italy: 1308-1321. Bierce, Ambrose. “An Occurrence at Owl Creek Bridge.” In the Midst of Life: Tales of Soldiers and Civilians. San Francisco: E.L.G. Steele & Company, 1891. 11-19. Buono, il Brutto, il Cattivo. dir. Sergio Leone. DVD. Arturo Gonzales Producciones Cinematograficas S.A., 1966. C’era una Volata il West. dir. Sergio Leone. DVD. Rafran-San Marco & Parramount Pictures, 1968. El Inmigrante. Dir. John Eckenrode. DVD. 6512 Productions, 2005. Frayling, Christopher. Sergio Leone: Something to Do With Death. London: Faber & Faber Limited, 2000. Hegel, George Wilhelm Friedrich. The Phenomenology of Mind. Cosimo, Inc. 2006. Incerti, Guido, Daria Ricchi, and Deane Simpson. Diller + Scofidio (+ Renfro): the ciliary function: works and projects. Milan: Skira Editore, 2007. Jenks, Charles. Critical modernism: Where is Post-Modernism Going?, Chester, England: John Wiley, 2007. Koolhaas, Rem. Exodus: Voluntary Prisoners of Architecture. Thesis: London Architectural Association, 1972. Mau, Bruce and Rem Koolhaas. S,M,L,XL. Monacelli Press, 1997. Pallasmaa, Juhani. The Architecture of Image: existential space in cinema. Hameenlinna, Finland: Building Information Limited (Rakennustio Oy), 2001. Per un Pugno di Dollari. dir. writ. Sergio Leone. DVD. Constantin Film Produktion, 1964. Per Qualche Dollaro in Piu. dir. writ. Sergio Leone. DVD. Arturo Gonzales Producciones Cinematograficas S.A., 1965. Poe, Edgar Allan. “The Pit and the Pendulum.”(1842) Tales of Mystery and Imagination. Edinburgh: Ballantyne Press, 1903. 220-236. Romero, Fernando/LAR. Hyperborder: The Contemporary U.S.-Mexico Border and its Future. New York: Princeton Architectural Press, 2007. Stalker. dir. Andrei Tarkovsky. DVD. Gambaroff-Chemier Interallianz, 1979. Van Schaik, Martin ed. Exit Utopia. Prestel Publishing, 2005. The Zondervan New International Version Study Bible. Grand Rapids, Michigan: Zondervan Publishing, 1985.

Individual perception, the process and outcome of creating connections between stimulus and the self, is firmly suggested externally. The high volume of external influence through quantity, proximity and intensity, tears the one in multiple directions, each vying for primacy. Perception is represented as a controlled commodity. IIA

Morroco Representation comes alive in the suggestion of the event. Panoramic skewing by the media turns a disconnected event into a personified juxtaposition; so close that reality is questioned. IIB Slocum Shooter Spatial skewing through architecture turns an impossible event into a sublime reality. III Agitprop Media provides the disconnection between event and place, utilizing contemporary infrastructure to extend propaganda instantaneously across space and time, creating behavioral imitations affecting previously unaffected parts of life; a unification through spectacle. Eames’ Work Multiple stimuli offered simultaneously oppose foregrounding of individual propaganda, allowing individual perception to filter and connect as the individual sees fit, de-personifying event and leaving only connection of familiar material and relationships. Interlude: Personification is the bridge to the senses through propaganda of perception. IV

Layered Drawing - El Immigrante A single source of propaganda can be removed of its personification by collecting still images and presenting them simultaneously to create a landscape of various and opposing forces, a singular artifact which removes the sensory attraction of propaganda, creating simultaneous images for the perception to break down into still icons in the landscape. VA

Once Upon a Time in the West Perception is shifted and framed by exterior stimulus; the individual point of view connected to a specific event and location replaced with a device of its own intention, presenting and altering the point of view of the subject as perceived by the external viewer, forming an illusion that the viewer treats as a reality. Their behavior is now staged by their informant. VB

Creative Geography The director redefines an iconic era out of its time and place, filtering each piece of stimulus, guided solely by the subject, compiled as one absolute truth. VIA

Dante’s Divine Comedy Defining the polar ends of the dialectic are the satirical and sublime representations of good and evil constructed by two exterior stimuli, The Bible and 14th century Florentine society. Purgatory is formed as a personified ground of nature where both forces test their subjects through sensory torture as a means to move within this system of linear ethical hierarchy.

VIC Contemporary Purgatory As time passes the external stimuli remain the same yet their methods and subjects change. The hierarchal system continually adapts to the methods of the stimuli. IX Koolhaas’ Linear Derive Model Spatial reconstruction through an individual’s perception aligns separate environments into a linear pattern corresponding directly with time; the journey forces these elements to be received sequentially, and consequentially are perceived as separate in nature. IXA - Gases IXB - Desert IXC - Water IXD – Earth. IXE Infinite Cycle of Human Nature The linear journey is now turned on its back to generate a simultaneous fabric woven with the threads of the four elements, an embellished and oversensitive performance, in which the inhabitants become slaves to an infinite cycle of human nature via their own sensory exploitation. X Senses Model - Occurrence at Owl Creek Bridge An escape from societal stimulus and its conventions must employ the full extents of each sense, an employment which embellishes the absolute potential of the mind, to form a preternatural discovery of absolute truth. This possession is interrupted by that same societal stimulus, and perceived as a fantasy. XA – Seeing

XB – Hearing

XC – Touching

XD – Smelling

XE - Tasting

‘Peyton Farquhar was dead; his body, with a broken neck, swung gently from side to side beneath the timbers of the Owl Creek Bridge.’


Stalker Model

XIA - The subject of the journey can be contemplated through artifacts manifest through the perception of another, from a different time and place. These can provide a window past cultural and situational stumbling blocks which constantly refocus our developing perception. One’s perception can use artifacts as personal tools of analysis and as a crutch to support the journey when all other stimuli seem to pull in an externally controlled direction. XIA2 - The journey of self reflection is complex and twisted… XIB - The room within the journey may be something old, something we have always known and taken for granted… XIC - The path into truth may frame itself as straight, a window into an oasis of revolutionary dreams of past… XID - And when this path twists away… XIE - All we have is our self to guide us… XIF - With the artifacts and suggestions of others journeys to guide us to new answers… XIG - As opposing forces shake our perception and push us towards what is comfortable… XIH - But only because “everything gets clear only here, when it’s too late.” XII Material Stripping The essence of the objects of conformity can be separated through consciousness, the object providing the familiar window into an assembly of individual elements of perception that hides itself away. XIII The Jumper The individual is in search of independence; an emancipation from mass-media, commodity, communal and personal doubt. XIVA Cnn Pyramid An individual’s mode of thinking is limited by the sources informing their thoughts. Unconscious of their enslavement, people have blindly evolved into the very units of the banal mold so cunningly arranged by their ‘informant’; the Mass-Media, which has constructed its mass. XIVB Projects Off the Grid In this constructed existence we are the descendents of the few and the many, well aware of the corporate agenda behind the infectious spectacle and bored with fruitless objects due to our predecessor’s overexposure. We are the privileged few that are naturally conscious of the process that enslaved our precursors. We strip away the objects of conformity employed by society. XIVC Material Grid This static population has come to a premature terminus, laughably distant from the natural limits of knowledge. The few have created the many, the few have led the many, and the few have become a part of the many, victims of their own system. This societal grid, a hierarchy of value and corresponding materialism, binds and brands the individual as a commodity.

Epilogue I It requires a fundamental belief in social desires as the incubators of cities, the synthetic materializations of all dreams. If prisoners were allowed to become acquainted with Architecture they would decide to re-appropriate the physical and ideological decay of our Urban Societies and to rehabilitate the metropolitan ideal and life style with their nirvanic premises.

Epilogue II Under the threat of doom, the common concern, that is fulfillment of all private desires within a subliminally collective and deliriously permissive common effort, produces phantom proposals, in the knowledge that phantom reality is the only possible successor to the present reality shortage.

Epilogue III Like the castaways on the raft of the Medusa, the last surviving realists, hanging on the parachute of hope are dropping on the rescue ship: OURSELVES which, at the end of all the cannibalism, will appear on the horizon.




































































a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p. q. r. s. t. u. v. w. x. y.

1 blue thin plexi sheet 1 clear thin plexi sheet 2 plexi thick with both covers 1 plexi front with both covers + 1 clear garbage bag behind 1 plexi front with both covers + 1 smoke folder behind 1 smoke folder + 1 plexi front with both covers behind 1 plexi with both covers + 2 layers of Andy’s black window screen 2 layers of Andy’s black window screen 1 plexi with both covers + 1 layer chrome mesh behind 1 layer chrome mesh + 1 plexi thick with both covers 1 plexi thick with both covers + 1 layer chrome mesh 1 plexi thick with both covers + transparency separator sheet behind transparency separator sheet behind + 1 plexi thick with both covers 1 smoke folder + 1 plexi thick with both covers 1 plexi thick with both covers + 1 smoke folder 1 clear garbage bag + 1 plexi clear behind 1 plexi clear + 1 clear garbage bag behind 1 plexi with both covers 2 plexi with both covers 1 plexi with both covers + 2 layers of Andy’s black window screen 2 layers of Andy’s black window screen + 1 plexi with both covers 2 plexi with both covers + Andy’s black window screen between reflective mesh 1 sheet reflective mesh 2 sheets reflective mesh + 1 plexi with both covers





Action 1. The process or condition of acting or doing (in the widest sense), the exertion of energy or influence; working, agency, operation. a. Of persons. (Distinguished from passion, from thought or contemplation, from speaking or writing.) b. Of things. (Distinguished from inaction, repose.) quantity of action, in Physics: The momentum of a body multiplied into the time. c. in action: In a condition of activity, at work, in practical or effective operation. Conversely, out of action. d. action of a verb, verbal action: The action expressed by a verb; properly of verbs which assert acting, but conveniently extended to the thing asserted by a verb, whether action, state, or mere existence, as I strike, I stand, I live, I am. e. Activity considered noteworthy or important; freq. with the. spec. in gambling or betting, esp. in phr. where the action is (freq. transf., i.e. the centre of some activity); also in drug-trafficking, etc. a piece (share, etc.) of the action, involvement in this. slang (orig. U.S.). 2. The exertion of force by one body upon another; influence. 3. a. A thing done, a deed. Not always distinguished from ACT, but usually viewed as occupying some time in doing, and in pl. referred to habitual or ordinary deeds, the sum of which constitutes conduct. 4. The thing represented as done in a drama; the event or series of events, real or imaginary, forming the subject of a fable, poem, or other composition. c. The way in which an instrument acts; also concr., the arrangement or mechanism by which this is effected. d. Used as a film director’s word of command. 7. a. The taking of legal steps to establish a claim or obtain judicial remedy; legal process; the right to raise such process. to take action: to institute legal proceedings; hence gen. to take steps in regard to any matter, to act. property in action, i.e. not in possession, but recoverable by legal process. (The earliest sense in Eng.) 8. A legal process or suit.

9. A proposition, motion, or question for discussion. (L. actio.) Obs. rare. 10. Active operation against, or engaging an enemy, fighting. 11. a. An engagement with the enemy, a fight. 12. Histrionic personation; acting of plays, performance. ? Obs. 13. A theatrical performance, a play. Obs. 14. A devotional or religious performance or exercise; a solemn ‘function.’ Action Sermon (Scotch), a Sacramental or Communion discourse. 15. A share in a joint-stock company (as if the amount of action or operation which one takes in it). (Fr.) Obs.

Apparatus 1. The work of preparing; preparation, preparatory arrangement, array. Obs. 2. The things collectively in which this preparation consists, and by which its processes are maintained; equipments, material, mechanism, machinery; material appendages or arrangements. 3. esp. a. The mechanical requisites employed in scientific experiments or investigations. b. The organs or means by which natural processes are carried on. c. Materials for the critical study of a document. In full critical apparatus: = next. d. ‘Sometimes also used in chirurgery for the bandages, medicaments, and dressings of a part; or the several matters applied for the cure of a wound, ulcer, or the like.’ Chambers Cycl. 1727-51. 4. = APPARAT; any (Communist) organization.

Artifact 1. a. An object made or modified by human workmanship, as opposed to one formed by natural processes. b. Archaeol. An excavated object that shows characteristic signs of human workmanship or








MIDWAY upon the journey of his life Dante/Koolhaas found himself upon a vast desert, For the straightforward pathway had been lost.


use. c. In fantasy role-playing games, computer games, etc.: an object which may be found or collected by a player, typically conferring an advantage in the game. 2. Science. A spurious result, effect, or finding in a scientific experiment or investigation, esp. one created by the experimental technique or procedure itself. Also as a mass noun: such efef fects collectively. 3. A non-material human construct. B. adj. That is made or modified by human workmanship. Also: that is a result of human intervention. rare.

Aura 1. A gentle breeze, a zephyr. 2. a. A subtle emanation or exhalation from any substance, e.g. the aroma of blood, the odour of flowers, etc. b. fig. Also, a distinctive impression of character or aspect. c. A supposed subtle emanation from and enveloping living persons and things, viewed by mystics as consisting of the essence of the individual, serving as the medium for the operation of mesmeric and similar influences. So aural a.3 3. Electr. a. = Electrical atmosphere: see ATMOSPHERE n. 3 (obs.). b. The current of air caused by the discharge of electricity from a sharp point, e.g. from those of the electrical whirl. 4. Path. A sensation, as of a current of cold air rising from some part of the body to the head, which occurs as a premonitory symptom in epilepsy and hysterics.

Branching vbl. n. 1. The action of throwing out branches, or of diverging in the manner of branches; ramification; concr. a collection of branches. vbl. n. 2. The action of decorating with flowers or foliage, in embroidery, gilding, engraving, etc.

Centripetal 1. Tending toward the centre; the opposite of centrifugal. a. centripetal force: a force which

Ah me! how hard a thing it is to say What was this desert savage, rough, and stern, Which in the very thought renews the fear. So bitter is it, death is little more; But of the good to treat, which there I found, Speak will I of the other things I saw there. I cannot well repeat how there I entered, So full was I of slumber at the moment In which I had abandoned the true way.

draws or impels a body toward some point as a centre, and thus acts as a counterpoise to the centrifugal tendency in circular motion; for this the name centripetal tendency is substituted by some. 2. Applied to machines or parts of mechanism which employ centripetal action: as centripetal press, centripetal pump. 3. Bot. Tending or developing from without toward the centre. centripetal inflorescence,

that in which the lowest or outermost flowers blossom first, as in spikes and umbels; also called indeterminate or indefinite. 4. Biol. a. Proceeding from the exterior to the interior or centre. b. Of nerves: Conveying


But had and reached cemetery, The after shot Irang bothabodies fell to the hot sand Through the gates opposing I stood, alone again,stood as I knew I had figures, always been, Which consternation my heart, I turnedhad andwith proclaimed to thepierced desert what I had seen. I looked, and I beheld the proceeding duel.

an impulse from the periphery to the ‘centre’; afferent.

Chaos 1. A gaping void, yawning gulf, chasm, or abyss: (chiefly from the Vulgate rendering of Luke xvi. 26). Obs. (In Greek spec. ‘the nether abyss, infinite darkness’, a use also often glanced at by English writers.) 2. The ‘formless void’ of primordial matter, the ‘great deep’ or ‘abyss’ out of which the cosmos or order of the universe was evolved. b. personified. (By some of the Greeks Chaos

was made the most ancient of the gods.) 3. transf. and fig. a. A state resembling that of primitive chaos; utter confusion and disorder. b. ‘Anything where the parts are undistinguished’ (J.); a confused mass or mixture, a conglomeration of parts or elements without order or connexion. 4. transf. An undigested or amorphous mass or lump. Obs. (Cf. the ‘rudis indigestaque moles’ of Ovid, applied to Chaos in sense 2.) 5. Element; environment; space. (Among Greek senses were ‘space, the expanse of air’.) 6. attrib. and Comb., as chaos-flood, -state; chaos-founded adj., chaos-like adj. and adv.

And Virgil/Corbusier ascended into paradise, Washed in the extremes of the exterior, Sensuous nirvana of body and mind.

Add: [3.] c. Math. Behaviour of a system which is governed by deterministic laws but is so unpredictable as to appear random, owing to its extreme sensitivity to changes in parameters or its dependence on a large number of independent variables; a state characterized by such behaviour.

Chimera 1. a. A fabled fire-breathing monster of Greek mythology, with a lion’s head, a goat’s body, and a serpent’s tail (or according to others with the heads of a lion, a goat, and a serpent), killed by Bellerophon. b. Any fish of the family Chimæridæ; 2. In Painting, Arch., etc. A grotesque monster, formed of the parts of various animals. 3. fig. with reference to the terrible character, the unreality, or the incongruous composition of the fabled monster: a. A horrible and fearinspiring phantasm, a bogy. b. An unreal creature of the imagination, a mere wild fancy; an unfounded conception. (The ordinary modern use.) c. An incongruous union or medley. d. Biol. [ad. G. chimäre (H. Winkler 1907, in Ber. d. Deut. Bot. Ges. XXV. 574).] An organism (commonly a plant) in which tissues of genetically different constitution co-exist as a result of grafting, mutation, or some other process.

Convention I. The action of convening. 1. The action of coming together, meeting, or assembling. Obs. 2. The action of summoning an assembly. 3. a. The action of summoning before a judge or other person in authority. Obs. b. In the University of Cambridge, the ‘convening’ of a student before the college authorities. (Not an official term.) 4. An assembly or gathering of persons for some common object; esp. a formal assembly met for deliberation or legislation on important matters, ecclesiastical, political, or social. 5. spec. a. Eng. Hist. Applied to certain ex-

And Beatrice/Loos descended into hell, Washed in the extremes of the exterior, Sensuous warfare of body and mind.

traordinary assemblies of the Houses of Parliament, without the summons of the Sovereign; viz. that of 1660, which restored Charles II, and that of 1688, which declared the throne abdicated by James II. Hence convention parliament, a parliament constituted of such a convention. b. In Scotland: convention of estates (Hist.): a meeting of the Estates of the kingdom of Scotland (before the Union), upon any special occasion or emergency, without the formal summons which was required for a regular parliament. convention of royal burghs: a yearly meeting of commissioners from the royal burghs held in Edinburgh. II. Agreement, conventional usage. 7. a. An agreement or covenant between parties. 9. a. General agreement or consent, deliberate or implicit, as constituting the origin and foundation of any custom, institution, opinion, etc., or as embodied in any accepted usage, standard of behaviour, method of artistic treatment, or the like. b. In a bad sense: Accepted usage become artificial and formal, and felt to be repressive of the natural in conduct or art; conventionalism. 10. a. A rule or practice based upon general consent, or accepted and upheld by society at large; an arbitrary rule or practice recognised as valid in any particular art or study; a conventionalism. b. Cards. A method of play or bidding which does not have its natural meaning but is used solely to convey prearranged information.

Creation 1. a. The action or process of creating; the action of bringing into existence by divine power or its equivalent; the fact of being so created. b. absol. The calling into existence of the world; the beginning, as a date. 2. a. gen. The action of making, forming, producing, or bringing into existence. b. The formation or flotation of a business company. 3. a. The investing with a title, dignity or function.

Experience ordered and measured, Each sense isolated and trained, Internal reproduction mechanized desire within.

b. At Cambridge University before 16 Oct. 1926, the ceremony on Commencement Day in which the professors in the various faculties (or other officials for some degrees) recited the names of those who had been admitted doctors (doctors designate) during the past year and the senior proctor the names of those who had been admitted masters (inceptors). 4. concr. a. That which God has created; the created world; creatures collectively. b. Used in various phrases with all (see quots.), or as an exclamation; also to beat, lick, or whip creation, to surpass everything. U.S. colloq. 5. a. An original production of human intelligence or power; esp. of imagination or imaginative art. b. spec. The first representation on the stage of a dramatic character or role; a dramatic character ‘made’ by a particular artist. (Cf. CREATE v. 2c and F. création.) c. A costume, etc., designed by an expert modiste. Also applied to other kinds of ‘confection’. 6. Comb., as creation-day; creation money, an annual payment by the Crown to a newly created peer; creation science chiefly U.S., science teaching based on a fundamentalist interpretation of the Book of Genesis, incorporating a creation of the universe, the individual creation of plant and animal species, and a catastrophic theory of geology.

Criticism 1. The action of criticizing, or passing judgement upon the qualities or merits of anything; esp. the passing of unfavourable judgement; fault-finding, censure. 2. The art of estimating the qualities and character of literary or artistic work; the function or work of a critic. b. spec. The critical science which deals with the text, character, composition, and origin of literary documents, esp. those of the Old and New Testaments. c. Philos. The critical philosophy of Kant. 3. (with pl.) An act of criticizing; a critical remark, comment; a critical essay, critique. 4. A nice point or distinction, a minute particular, a nicety; a subtlety; in bad sense, a

Experience threatening and chaotic, Each sense heightened and alert, Internal reproduction mechanized awareness within.


Crop v. 1. trans. To cut off or remove the ‘crop’ or head of (a plant, tree, etc.); to poll, to lop off the branches of (a tree). v. 2. a. To pluck off, remove, or detach (any terminal parts of a plant); to snip off (twigs, leaves, etc.). v. b. To gather, pluck, pick, or cull (a fruit, flower, or other produce of a plant). arch. or dial. v. c. Said of animals biting off the tops of plants or herbage in feeding; also absol. v.

d. To feed on, eat. Obs. Cf. L. carpere.


3. To gather as a crop; to reap.

v. 4. fig. (from 1 to 3). To cut off, lop off; to reap. v. 5. intr. To bear or yield a crop or crops; also with compl. v. 6. a. trans. To cause to bear a crop; to sow or plant with a crop; to raise crops on. Also intr., to cultivate land; to work as a farmer. Chiefly U.S. b. trans. To grow or rear as a crop. v. 7. To cut off the top or extremity of (the ears, tail, etc.), to cut off short; esp. to cut the ears of animals as a means of identification, and of persons as a punishment. v. 8. spec. a. To cut or clip short the ears, etc. of (an animal, person, etc.). b. To cut the hair of (a person) close. c. To clip the nap of (cloth); to shear. d. To cut down the margin of (a book) closely. 9. In mining districts (Durham, S. Wales, etc.): To dock, to fine. 10. a. intr. Min. and Geol. Of a stratum, vein, etc.: To come up to the surface; to come out and appear on the side of a slope, etc. b. fig. to crop up: to come up or turn up unexpectedly or incidentally, in the field of action, conversation, or thought.

I position myself in the middle, Dwelling in the purgatory of my action: Observing and creating, for those who sit and judge. The song of my soul is trapped in my words, Written through my eyes, my ears, my mouth, my nose, And my skin, were I to be so close, A perspective of words, let loose by faith in myself.

c. fig. to crop out (rarely forth): to come out, appear, or disclose itself incidentally. 11. To remove the crop of (a bird). 12. to crop the causey (Sc.): to take or keep the ‘crown of the causey’, to walk boldly in the centre or most conspicuous part of the street.

Design v. I. [after L. dsignre, F. désigner] To mark out, nominate, appoint, DESIGNATE. v. 1. trans. To point out by distinctive sign, mark, or token; to indicate. Also with forth, out. Obs. v. 2. To point out by name or by descriptive phrase; in Law, to specify (a person) by title, profession, trade, etc.; to designate, name, style. Sometimes with double obj. (direct and complemental). arch. v.

3. Of names, signs, etc.: To signify, stand for.

v. 4. To appoint to office, function, or position; to designate, nominate. Const. as in 2. Obs. 5. To appoint or assign (something to a person); to make over, bestow, grant, give. Const. to or dat. Obs. exc. in Sc. Law. 6. Hence, with mixture of II, and ultimately fusing with 10: To set apart in thought for the use or advantage of some one; to intend to bestow or give. Const. for, to, on. 7. To appoint, destine, devote (a thing or person) to a fate or purpose. Now merged in 10. II. [allied to DESIGN n. I, obs. F. desseigner] To plan, purpose, intend. 8. To form a plan or scheme of; to conceive and arrange in the mind; to originate mentally, plan out, contrive. 9. In weaker sense: To purpose, intend, mean. Rarely, to be designed (obs.), like to be purposed, resolved, determined, minded, etc. 10. With complement (a) inf. or n., (b) prep. phr.: To purpose or intend (a thing) to be or do (something); to mean (a thing) to serve some purpose or fulfil some plan. 11. intr. To have purposes or intentions (of a specified kind). rare.

Purgatory, oh beautiful land of question and hope, Do not dismember me with your knowledge, Distraction a crime, ornament an illusory necessity. And as I move through the desert, and my words change, Will I be humbled to the point of envy, The wrath within may be diffused by my inability to act. And as I move through the desert, and my words change, Will I be humbled to the point of envy, The wrath within may be diffused by my inability to act.

12. trans. To have in view, contemplate. 13. intr. and quasi-pass. (usually with for): To intend to go or start; to be bound for (a place). b. transf. To intend to start upon a certain course; to mean to enter upon a pursuit. III. [allied to DESIGN n. II, It. disegnare, F. dessiner] To sketch, delineate, draw; to fashion artistically. 14. trans. a. To make a sketch of (an object or scene); to sketch, draw. Obs. b. To trace the outline of, delineate. c. To make the preliminary sketch of (a work of art, a picture, statue, ornamental fabric, etc.); to make the plans and drawings necessary for the construction of (a building, ship, machine, etc.), which the workmen have to follow out. 15. To plan and execute (a structure, work of art, etc.); to fashion with artistic skill or decorative device; to furnish or adorn with a design. 16. intr. a. To trace the outline of a figure or form; to put a graphic representation on paper, canvas, etc.; to draw, sketch. b. To form or fashion a work of art; in a narrower sense, to form decorative figures, devise artistic patterns.

Dialectic n. 1. a. The art of critical examination into the truth of an opinion; the investigation of truth by discussion: in earlier English use, a synonym of LOGIC as applied to formal rhetorical reasoning; logical argumentation or disputation. n. 2. In modern Philosophy: Specifically applied by Kant to the criticism which shows the mutually contradictory character of the principles of science, when they are employed to determine objects beyond the limits of experience (i.e. the soul, the world, God); by Hegel (who denies that such contradictions are ultimately irreconcilable) the term is applied (a) to the process of thought by which such contradictions are seen to merge themselves in a higher truth that comprehends them; and (b) to the world-process, which, being in his view but the thought-process on its objective side, develops similarly by a continuous unification of opposites. b. In more general use, the existence or working of opposing forces, tendencies, etc. Also in

Should my greed be foregrounded by aspiration Or my eyes wander in desire, They inspire the archives of gluttony and false adages.

pl. form (const. sing. vb.). Duel 1. A regular fight between two persons; a single combat. spec. a. A judicial single combat; trial by wager of battle. Obs. exc. Hist. b. In current use: A private fight between two persons, pre-arranged and fought with deadly weapons, usually in the presence of at least two witnesses called seconds, having for its object to decide a personal quarrel or to settle a point of honour. c. A sustained fight between two animals. 2. Duelling, as a practice having its code of laws. 3. Any contest between two persons or parties.

Ego 1. That which is symbolized by the pronoun I; the conscious thinking subject, as opposed to the non-ego or object. Also humorously, for ‘self’. 2. In speech: I, the speaker. Hence ego v. trans., to say ‘ego’ when claiming an object, in

response to ‘quis?’. Schoolboy slang. 3. Self-esteem, egotism, self-importance. 4. Psychol. That part of the mind which is most conscious of self; spec. in the work of Freud that part which, acted upon by both the id and the super-ego (ego-ideal),, mediates with the environment. 4), as ego5. attrib. and Comb. (senses 3 and 4) attitude, -complex, -consciousness, -instinct,

The few have created the many, the few have led the many, the few have become part of the many, victims of their own constructed illusion. Have I strength to honor the light my shadow will cast?

-satisfaction; ego-altruistic, -bound, -less, (also egolessness), adjs.; ego-hood, individuality, personality; ego-identity Psychol., the sense of one’s identity or self gained from the results of self-perception and external perceptions of oneself; ego-trip, an activity, period of time, etc., devoted entirely to indulging in one’s own interests or in self-expression; also as v. intr., to indulge in an ‘ego-trip’ (chiefly as pres. pple.); hence ego-tripper; ego-tripping vbl. n. and ppl. a.

Enigma 1. a. A short composition in prose or verse, in which something is described by intentionally obscure metaphors, in order to afford an exercise for the ingenuity of the reader or hearer in guessing what is meant; a riddle. b. In wider sense: An obscure or allusive speech; a parable (obs. exc. as transf. from 1a). 2. fig. Something as puzzling as an enigma; an unsolved problem.

Ephemeral 1. a. Of diseases: Beginning and ending in a day. b. Of insects, flowers, etc.: Existing for one day only, or for a very few days. 2. a. In more extended application: That is in existence, power, favour, popularity, etc. for a short time only; short-lived; transitory. B. n. in pl. Insects which live only for a day. Also transf. of books, persons, etc.

Epoch I. A fixed point in the reckoning of time. 1. Chron. The initial point assumed in a system of chronology; e.g. the date of the birth of Christ, of the Hegira, of the foundation of Rome, etc.; an ERA. Also, in wider sense, any date from which succeeding years are numbered. Now rare. 2. a. The beginning of a ‘new era’ or distinctive period in the history of mankind, a country, an individual, a science, etc. Phr., to make an epoch. b. The date of origin of a state of things, an institution, fashion, etc.; occasionally, an event marking such a date. Obs.

The voluntary noose tightens with fear, Yet this machine is a playful friend of expansion, And the keen awareness it manufactures is invaluable.

3. In wider sense: A fixed point of time. a. The date, or assigned position in chronological sequence, of a historical event. b. [= Fr. époque.] A precise date; the exact time at which an event takes place or is appointed to take place. Formerly gen.; now only with reference to natural phenomena (cf. 4a). c. A point of time defined by the occurrence of particular events or the existence of a particular state of things; a ‘moment’ in the history of anything. 4. Astron. The point of time at which any phenomenon takes place; an arbitrarily fixed date (often the first day of a century or half-century) for which the elements necessary for computing the place of a heavenly body are tabulated. Also, the heliocentric longitude of a planet at such a date (more fully, the longitude of the epoch).

Existential 1. Of or pertaining to existence. 2. Logic. a. Of a proposition, etc.: Expressing the fact of existence; predicating existence. b. existential import: significance concerning the existence of something something, usually of items denoted by the subject-term of a propostion; the implication that something exists. 3. Philos. Concerned with or relating to existence (freq. as distinct from ‘essence’), esp. human existence as seen from the point of view of existentialism; existential philosophy = EXISTENTIALISM.

Knowledge I. Senses related to KNOWLEDGE v. and early uses of KNOW v. 1. a. Acknowledgement, confession. b. Acknowledgement or recognition of the position or claims (of any one). Obs. 2. The fact of recognizing as something known, or known about, before; recognition. to take knowledge of, to recognize. Obs. 3. Legal cognizance; judicial investigation or inquiry. Chiefly Sc. Obs. 4. gen. Cognizance, notice: only in phr. to take knowledge of, to take cognizance or notice of,

The involuntary noose tightens with comfort, Yet this machine is a playful enemy of complacency, And the dulled satisfaction it manufactures is valuable.

to notice, observe; in quot. 1609, to become aware of (cf. 8). Obs. 5. a. The fact of knowing a thing, state, etc., or (in general sense) a person; acquaintance; familiarity gained by experience. b. absol. in phr. to grow out of (one’s) knowledge: to cease to be known, to become unknown or unfamiliar. Obs. 6. a. Personal acquaintance, friendship, intimacy. b. Those with whom one is acquainted, one’s acquaintances; = ACQUAINTANCE 3. Obs. 7. Sexual intimacy. Const. of (with). Now only in carnal knowledge. (arch. and legal.) 8. a. Acquaintance with a fact; perception, or certain information of, a fact or matter; state of being aware or informed; consciousness (of anything). The object is usually a proposition expressed or implied: e.g. the knowledge that a person is poor, knowledge of his poverty. b. absol. Acquaintance with facts, range of information, ken. Esp. in phrases as to one’s knowledge, so far as one is aware; also, as one is aware, as one can testify (in latter sense, also, of one’s k.); to come to one’s knowledge, to become known to one. c. Philos. knowledge about, knowledge by description: knowledge of a person, thing, or perception gained through information or facts about it rather than by direct experience (opp. knowledge by (or of ) acquaintance, see ACQUAINTANCE 1b). 9. a. Intellectual acquaintance with, or perception of, fact or truth; clear and certain mental apprehension; the fact, state, or condition of understanding. Formerly, also, the faculty of understanding, intelligence, intellect. b. Const. of (something). Also in pl. (now rare). c. with pl. A mental apprehension; a perception, intuition, or other cognition. rare. d. Med. Diagnosis: cf. KNOWLEDGE v. 5. Obs. e. to come to (one’s own) knowledge, to recover one’s understanding; to come to one’s senses. Obs. 10. Acquaintance with a branch of learning, a language, or the like; theoretical or practical understanding of an art, science, industry, etc.; skill in or to do something (obs.). (Rarely in plural.)

Mind and body fuse a re-ascension into ante-purgatory, A tardy repentance that will inherently fall short, Only comforting its subject with societal pleasure and false hope.

11. In general sense: The fact or condition of being instructed, or of having information acquired by study or research; acquaintance with ascertained truths, facts, or principles; information acquired by study; learning; erudition. 12. Information; intelligence; notice, intimation. Obs. 13. The sum of what is known. 14. (with pl.) A branch of learning; a science; an art. (Rarely in sing.) 15. A sign or mark by which anything is known, recognized, or distinguished; a token. III. 16. attrib. and Comb., as knowledge element, power, -tree; knowledge-full, -kindled, -proof adjs.; knowledge base Computing, the underlying set of facts, assumptions, and inference rules on which a computer system operates; a store of information (as in a database) available to draw on; knowledge-based ppl. a., of an academic discipline: founded on an accumulation of facts, non-empirical; of a computer system: incorporating a set of facts, assumptions, or inference rules derived from human knowledge; knowledge-box, -casket, humorous names for the head; knowledge factory, term applied pejoratively to a university or college, etc., which places undue emphasis on vocational training; knowledge industry, term applied fancifully or pejoratively to the development and use of knowledge, spec. in universities, polytechnics, etc.

Individuality 1. The state or quality of being indivisible or inseparable; indivisibility, inseparability. b. An indivisible or inseparable entity. 2. The fact or condition of existing as an individual; separate and continuous existence. b. The action or position of the individual members of a society. 3. The aggregate of properties peculiar to an individual; the sum of the attributes which distinguish an object from others of the same kind; individual character character. b. Idiosyncrasy; strongly marked individual character. c. pl. Individual characteristics. 4. a. An individual thing. b. An individual personality.

Mind and body fuse a re-descending into purgatory, A prompt contentment that will inherently fall further, Only comforting its subject with societal pleasure and false hope.

5. Phrenology. The faculty of knowing objects as mere substances or existences; the supposed ‘organ’ of this faculty.

Intellectualism 1. Philos. The doctrine that knowledge is wholly or mainly derived from the action of the intellect, i.e. from pure reason. 2. The exercise of the intellect alone; devotion to merely intellectual culture or pursuits.

Mechanism I. The structure or operation of a machine or other complex system; a theory or approach relating to this. 1. a. The structure of, or the relationship of the parts in, a machine, or in a construction or process comparable to a machine. (In early use chiefly with reference to natural systems.) Now

Perception battles in the desert of convention, Sensory trials have left us with everything, more than we can bear, a sublime hyper reality; our heads up and eyes open to the liberating anguish, a single perspective, gravelling at the feet of our environment.

My perception yearns to isolate, the test of perceived knowledge, against all science, to find my built environment I have seen so many pictures of, but cannot casually occupy for there is no place untouched by man.

rare. b. More generally: the interconnection of parts in any complex process, pattern, or arrangement. Obs. 2. a. A system of mutually adapted parts working together in a machine or in a manner analogous to that of a machine; a piece of machinery. Also: machinery, mechanical appliances. b. spec. in a musical instrument. c. An ordered sequence of events involved in a biological, chemical or physical process; (Chem.) the steps making up a chemical reaction, frequently described in terms of the transfer and sharing of bonding electrons. d. Mech. A kinematic chain of which one link is fixed or stationary. e. Psychol. An unconscious, structured set of mental processes underlying a person’s behaviour or responses. f. gen. A means by which an effect or result is produced. 3. Mechanical action; action according to the laws of mechanics. Obs. 4. Philos. The opinion or doctrine that all natural (esp. biological or mental) phenomena can be explained with reference to mechanical or chemical processes.

Metaphysical I. Senses relating to philosophical speculation or intellectual abstraction. 1. a. Of, belonging to, or of the nature of metaphysics; such as is recognized by metaphysics. Also more generally: transcendental, philosophical. b. depreciative. Of reasoning, ideas, etc.: excessively subtle or abstract. c. Based on abstract general reasoning; determined a priori or on theoretical principles. Now rare. d. Philos. In the philosophy of Wittgenstein and the logical positivists: (of an entity or proposition) not empirically verifiable. Cf. METAPHYSICS n. 1d. 2. Of persons or their attributes: having an

I have climbed from this desert into the city of the ages, here we may be assembled, the fusion of human connectivity, elevating the masses, returning the ego to rest, in the glowing romantic ruins of two Japanese cities.

inclination towards or interest in metaphysics; suited to the study of metaphysics. 3. a. Literary Criticism. Designating certain 17th-cent. poets (esp. Donne, Herbert, Crashaw, Vaughan, Marvell, and Traherne) or their poetic style, characterized by wit, syntactic complexity, and the use of elaborate and intricate schemes of imagery to express abstract ideas and emotional states. In later use also applied more broadly to other poetry having similar concerns, or employing such techniques. b. Fine Art. In form Metaphysical. Designating an Italian artistic movement founded in Ferrara in 1917, the artists of this movement (esp. De Chirico, CarrĂ , and Morandi), or the works of these artists, characterized by unreal perspectives, bizarre imagery, and the incongruous juxtaposition of disparate objects, resulting in a mysterious, dreamlike quality. II. Other senses relating more generally to things which are immaterial, imaginary, preternatural, or supernatural. 4. a. Designating that which is immaterial, incorporeal, or supersensible (esp. in explicit contrast to physical). b. Surpassing what is natural or ordinary; extraordinary, transcendent. Obs. rare. c. That is above or goes beyond the laws of nature; belonging to an operation or agency which is more than or other than physical or natural; supernatural. d. Christian Science. Designating a healer who uses non-physical means to cure physical illnesses; also applied to such methods of healing. 5. Fanciful, fantastic, imaginary. Obs. Myth 1. a. A traditional story, typically involving supernatural beings or forces, which embodies and provides an explanation, aetiology, or justification for something such as the early history of a society, a religious belief or ritual, or a natural phenomenon. b. As a mass noun: such stories collectively or as a genre. 2. a. A widespread but untrue or erroneous story or belief; a widely held misconception; a misrepresentation of the truth. Also: something existing only in myth; a fictitious or imaginary

person or thing. b. A person or thing held in awe or generally referred to with near reverential admiration on the basis of popularly repeated stories (whether real or fictitious). Cf. LEGEND n. 8. c. A popular conception of a person or thing which exaggerates or idealizes the truth.

Narrative a. A part of a legal document which contains a statement of alleged or relevant facts closely connected with the matter or purpose of the document; spec. a statement of the parties to a deed and the cause of its granting. b. An allegation made as the basis of a legal action. Cf. NARRATION n. 2b. Obs. 2. a. An account of a series of events, facts, etc., given in order and with the establishing of connections between them; a narration, a story, an account. b. Literary Criticism. The part of a text, esp. a work of fiction, which represents the sequence of events, as distinguished from that dealing with dialogue, description, etc.; narration as a literary method or genre. c. In structuralist and post-structuralist theory: a representation of a history, biography, process, etc., in which a sequence of events has been constructed into a story in accordance with a particular ideology; esp. in grand narrative n. [after French grand rĂŠcit (1979 in the passage translated in quot. 1984)] a story or representation used to give an explanatory or justificatory account of a society, period, etc. 3. As a mass noun: the practice or art of narration or story-telling; material for narration.

Nomadism The practice, fact, or state of living an itinerant life. Also in extended use. Optimism a. Philos. The doctrine propounded by Leibniz (1710) that the actual world is the best of all possible worlds. Also: any of various similar philosophical doctrines of earlier or later thinkers. b. A view or belief which assumes the ultimate predominance of good over evil in the universe. a. The character or quality of being for the

As the euphoric high subsides Virgil/Corbusier & Beatrice/Loos survey an exposed tomb, An inner drive replaces the binge and a new cycle arises, A Sisyphus of four elements.

best. Obs. rare. b. The quality of being the best, perfection. Obs. rare. 3. Hopefulness and confidence about the future or the successful outcome of something; a tendency to take a favourable or hopeful view. Contrasted with PESSIMISM n. 2.

Parametric 1. Chiefly Math. Of or relating to a parameter or parameters. 2. Statistics. Of a test or model: incorporating assumptions as to the form or parameters of a frequency distribution. 3. Electronics. Designating or relating to amplifiers, frequency converters, etc., which utilize non-linear devices whose parameters can be modulated by an externally applied pumping frequency, leading to a transfer of power from the pumping signal to the output. parametric curve n. a curve obtained by keeping constant one of the parameters in the parametric equations of a surface.

But my words tell what I have seen, And my critics listen then plot against me, Is this a draft or a sacred instrument towards my release, Irrationality, individuality, ambiguity release me from a looming Sisyphus.


The action of illuding, the condition of being illuded; that whereby one is illuded. 1. The action of deriding or mocking; derision, mockery. Also (with pl.) an instance of this. Obs. (App. only as transl. of, or in reference to, L. illsio.) 2. a. The action, or an act, of deceiving the bodily eye by false or unreal appearances, or the mental eye by false prospects, statements, etc.; deception, delusion, befooling. Obs. b. The fact or condition of being deceived or deluded by appearances, or an instance of this; a mental state involving the attribution of reality to what is unreal; a false conception or idea; a deception, delusion, fancy. 3. Something that deceives or deludes by producing a false impression; a deceptive or illusive appearance, statement, belief, etc.; in early use often spec. An unreal visual appearance, an apparition, phantom. 4. a. Sensuous perception of an external object, involving a false belief or conception: strictly distinguished from hallucination, but in general use often made to include it, and hence = the apparent perception of an external object when no such object is present, or of attributes of an object which do not exist. Also (with pl.) an instance of this. b. the argument from illusion (Philos.): the argument that the objects of sense-experience, usually called ideas, appearances, or sense-data, cannot be objects in a physical world independent of the perceiver, since they vary according to his condition and environment. 5. A name given to a thin and very transparent kind of tulle. 6. attrib. and Comb., as illusion effect; illusiondisturbing, -proof adjs.

Pedagogy 1. A place of instruction; a school, a college; a university. Also fig. Now hist. and rare. 2. Instruction, discipline, training; a system of introductory training; a means of guidance. Obs.. 3. The art, occupation, or practice of teaching. Also: the theory or principles of education; a method of teaching based on such a theory.

MIDWAY upon the journey of my life, I found myself within a dark corridor, For the straightforward path had entranced me. Ah me! How hard a thing it is to say, What was this tunnel savage, rough and stern, Which in every thought renews me. I cannot well repeat how there I entered, So full was I of slumber at the moment In which I had captured the true way.

Perception 1. a. The process of becoming aware or conscious of a thing or things in general; the state of being aware; consciousness; (spiritual) understanding (obs.). b. The capacity to be affected by a physical object, phenomenon, etc., without direct contact with it it; an instance of such influence. Cf. PERCEIVE v. 1b. Obs. rare. 2. A perceptible trace or vestige. Obs. rare. 3. a. The process of becoming aware of physical objects, phenomena, etc., through the senses; an instance of this. b. Observation; sight. Obs. rare. 4. a. In pl. The faculties of perception collectively. b. The faculty of perceiving; the ability or power to perceive. 5. The mental product or result of perceiving something. b. As a count noun: a direct recognition of something; an intuitive insight; an understanding. Also: an interpretation or impression based upon such an understanding; an opinion or belief. c. As a mass noun: intuition, insight, perspicacity. 6. Philos. The action of the mind by which it refers sensations to external objects, phenomena, etc., as their cause. 7. Christian Church. The receiving or partaking of the elements of the Eucharist. Obs. 8. The collection or receiving of rents, profits, dues, etc. Now chiefly Law. Cf. PERCEIVING n. 2.

Perspective I. Senses relating to light, vision, and visualization.


But after I had reached the foot of a sublime sphere, At the point where the passageway terminated, Which had with consternation my heart, Upward I looked, and I beheld its subjects.

1. In sing. and pl. The science of optics, esp. (in later use) as used in assisting sight. Obs. 2. a. An optical instrument for looking through, as a magnifying glass, telescope, monocle, etc. In early use also: any of various devices, such as an arrangement of mirrors, for producing an unusual optical effect, e.g. the distortion of an image. Also fig.Cf. PERSPECTIVE GLASS n. Now arch. or hist. b. A picture or figure designed to appear distorted or confused except when viewed from a certain position, or presenting totally different aspects from different positions. Cf. piece of perspective n. at Phrases 1. Now hist. rare after 17th cent. 3. a. The art of drawing solid objects on a plane surface so as to give the same impression of relative position, size, or distance, as the actual objects do when viewed from a particular

They spoke of agendas and warned of their conventions, Rotting prisoners of their own propaganda, They stress the necessary fall of Rome.


The sphere crumbles and crushes the oracles into a pile of dust, Yet statues of my predecessors remain standing, Immortal reminders of unsuccessful constructions of the individual and mass,

point. Formerly also in pl. Cf. in perspective adv. a at Phrases 3. b. A picture drawn or painted according to the rules of perspective; spec. a picture (esp. a theatrical backcloth) appearing to enlarge or extend the actual space, or to give the effect of distance. 4. A visible scene; a view or prospect, esp. an extensive one. 5. The appearance of viewed objects with regard to relative position, distance from the viewer, etc. 6. Geom. The relation of two figures in the same plane such that every point in each figure corresponds to a point in the other, the straight

lines joining pairs of corresponding points meet in a point, and the corresponding lines in each figure intersect on a fixed straight line; = HOMOLOGY n. 4. Chiefly in in perspective. 7. An apparent spatial distribution or extent in perceived sound. Freq. with modifying word, as auditory, sound, etc. II. The action of looking into or through something. 8. Close inspection; insight, perspicuity. Obs.

Phenomenological reduction c. Philos. In phenomenology, the process of reducing an object of consciousness or an idea to its pure essence through elimination of all reference to extraneous things, in particular by eliminating (or ‘bracketing’) all reference to the real world of material objects; esp. as eidetic, phenomenological, transcendental reduction. (See quot. 1943.)

I lay down to rest just a man, one of many, in a labyrinth that I realize should be demolished.

Precision 1. Chiefly Philos. The action or an act of separating or cutting off, esp. the mental separation of one fact or idea from another; abstraction, definition. 2. a. An instance of exactness or precise-

An architecture school asks a man to slave over his work night and day. He only steps away from the drawing board to rest; many times he doesn’t step away at all. Five years pass by and the man has either chosen another path or finds himself in the midst of a labor he has come to love. Demands and deadlines are set by the system but no parameters are restricting the man’s process. There are no initial programs, budgets or construction sites, there are two clients: the institution and the man himself. Passions and adventures spur the student to create imagery. Continually presented to the system, these images are accompanied by words that “justify” their merit. These words are meaningless to the man yet so sacred to the institution for the verbiage’s presence “justifies” the existence of the critic. This is a comfortable dialogue for the responding audience that has been cherished throughout the pedagogy of architectural education. This numb routine can limit creation for students become satisfied with objects of comprehension, ignoring the mystical production of the subconscious mind or the unexplainable. A man now questions the meaning of his design without actually designing. “How will I justify the space I have constructed in my mind?” The man ponders and becomes discouraged by a problem which has ironically been placed upon him by his own kind. There are no words between the earth and the man just images, objects and auras.

ness; a particular, nicety, minute detail, esp. of language. b. The fact, condition, or quality of being precise; exactness, accuracy. c. The degree of refinement in a measurement, calculation, or specification, esp. as represented by the number of digits given. Contrasted with accuracy (the closeness of the measurement, etc., to the correct value). d. Statistics. The reproducibility or reliability of a measurement or numerical result; a quantity expressing this. e. The accuracy of an information retrieval


system, expressed as the proportion of items retrieved by a particular search that are relevant. Cf. RECALL n. 3b. B. adj. (attrib.). Possessing or intended to possess exactness of performance, execution, or construction.

Production I. Senses relating to creation or generation. 1. a. The action or an act of producing, making, or causing anything; generation or creation of something; the fact or condition of being produced. b. spec. The action or process of making goods from components or raw materials; the manufacture of goods for sale and consumption. 2. a. A thing produced as a result of an action, process, or effort; a product. Also: produce, products collectively. Now rare. b. A product of human activity or effort; spec. a literary or artistic work. Chiefly in pl. c. A consequence, effect. Cf. PRODUCT n.1 4. Obs. rare. d. The yield or proceeds of something. Cf. PRODUCE n. 3. Obs. rare. 3. In transformational grammar: a rewriting rule for the generation of expressions. Also: = production rule n. (b) at Compounds 3. II. Senses relating to presentation or exhibition. 4. a. The action of bringing forward or out; the exhibiting or provision of something for consideration, inspection, or use; (Law) the presentation of a document or article before a court. b. Sc. Law. A document or piece of evidence produced in a civil action or criminal trial. 5. a. The action or process of producing a play, record, film, etc. Also: the resulting work, esp. viewed in terms of its making or staging. b. fig. An unnecessarily elaborate performance; a fuss, commotion, drama. Freq. in to make a production of (or out of ). Cf production number n. at Compounds 3. III. Senses relating to extension.


6. Extension or lengthening in space or time. Cf. PRODUCE v. 1. Now rare. 7. Anat. An extension of or projection from a bone or other part; a protuberance, a process. Obs. IV. Senses relating to procession. 8. A leading or carrying forth. Obs. rare 1.

Projection 1. a. Alchemy. The throwing or casting of an ingredient into a crucible; esp. the casting of powdered philosopher’s stone on to molten metal to effect its transmutation into gold or silver; the transmutation of metals. Cf. powder of projection n. at POWDER n.1 5d. Now hist. b. In fig. and extended use. A process resembling this, esp. one resulting in change from one thing to another. Obs. c. gen. The action of throwing forwards or outwards; the fact or condition of being projected; ejection, propulsion. Also fig. 2. a. The drawing, esp. on mathematical principles, of a map or plan of a surface, or of a two-dimensional diagram of a three-dimensional object; esp. (more fully map projection) the representation on a plane surface of (part of ) a spherical surface, esp. that of the earth or the celestial sphere; any of the geometrical or cartographic methods by which this may be done. Also: a drawing, plan, or map so made. b. Geom. The drawing of straight lines or rays (esp. from a fixed point) through every point of a given figure, usually so as to intersect a surface and describe on it a new figure each point of which corresponds to a point of the original. Also: the resulting figure. Hence more generally: a representation of a figure on a surface according to a particular system of correspondence between its points and the points of the surface; an analogous operation performed in a space of different dimension. Also fig. c. Crystallogr. The transfer of each point on the faces of a crystal on to an imaginary containing sphere, by means of rays drawn from the centre of the sphere. Also: a geometrical projection of this sphere on to a plane surface. d. Math. A homomorphism that maps a vector space, etc., into a part of itself such that each element of the part is unchanged by the map-


ping; spec. a homomorphism from a group into a quotient group. 3. a. An object which projects or extends beyond the adjacent surface; a projecting part or thing. b. The representation of an object in a picture so as to make it appear to stand out in relief. Obs. c. The action of placing a thing or part so that it sticks or stands out, or projects beyond the general line or surface; the fact or condition of being so placed as to project; jutting out, extension. 4. a. The forming of mental plans or projects; scheming, planning, plotting. Obs. b. Something projected or planned; a project, a scheme; a design, a proposal. Obs. 5. a. An image or representation of an object formed on a surface (originally esp. the retina) from elsewhere; the action of forming such an image; (in later use) spec. the process of projecting an image on a film, slide, etc., on to a screen for viewing. Also fig. b. The action or process of making something audible at a distance; (also) the fact or condition of being so audible; projective quality of sound, acoustic penetration. 6. a. The process of causing thoughts, ideas, or emotions to exist, or appear to exist, in the external world; an instance of this, a mental image visualized or regarded as a reality. b. Spiritualism and Parapsychology. = astral projection n. at ASTRAL Additions 5. c. orig. and chiefly Psychol. The unconscious transfer of one’s desires or emotions to another person or some external object. 7. Anat. The distribution within one part of the nervous system of connections with nerve fibres from another part; the representation of one part of the nervous system upon another by means of such connections. With on, upon, to. Also: a group or tract of such fibres; = projection system n. at Compounds 2. Cf. PROJECT v. 12. 8. Psychol. Spatial localization of a sensory impression; spec. (more fully eccentric projection) the attribution of a sensation to the periphery or exterior of the body. Now rare.


9. Chiefly Econ. The action of forecasting or estimating future events, esp. based on current trends or data; an instance of this; a prediction, a forecast.

Reality I. The quality or state of being real. 1. Real existence; what is real rather than imagined or desired; the aggregate of real things or existences; that which underlies and is the truth of appearances or phenomena. Cf. REAL LIFE n. 2. a. The quality of being real or having an actual existence. b. Correspondence to fact; truth. Obs. c. Of an intention, profession, etc.: the fact of being genuine, sometimes subjectively (also with implication of sense 4). Obs. d. Resemblance to what is real or to an original, esp. in literary or artistic works. 3. Something that is real; a real fact or state of things; (also) the real nature of something. Freq. in pl. 4. a. Sincere devotion or loyalty (to a person); sincerity or honesty of character or purpose. Freq. with to. Obs. b. A sincere expression of opinion or feeling. Obs. 5. a. That which constitutes the actual thing, as distinguished from what is merely apparent or external. b. The real nature or constitution of something; the real thing or state of things. c. With modifying adjectives, as harsh reality, grim reality, stark reality, etc.: the actual circumstances or facts regarded as oppressive or unpleasant, esp. in contrast to an idealized or imagined state of affairs.

Remediation To mediate again. def. MEDIATE: I. To act or bring about as an intermediary or mediator.

Two projectors are housed in open expanded metal baskets to allow for flexible removal of the projectors, due to time constraints of borrowing and sharing, while keeping them in precise position. The front of the baskets hang by turn buckles which allow for fine tuning of the height of the baskets to the static screens . The projectors are angled inwards towards each other, crossing projections and allowing a finer gap between the two projections, one appearing on the mesh screens projecting through to the canvas back drop. Translucent screens of different shapes and sizes are hung by semi-transparent plastic line from level bar at the ceiling. The plastic line is woven through the panels in a number of configurations to provide continuity and variety for the placement of grouped and separated images. Screens are tied together and to control points on the ceiling to provide horizontal tension. Twelve one -ounce lead weights are equally spaced 1 inch off of the ground and provide vertical tension. This tension provides adequate structure to keep the screens in place while providing a translucent and hanging aesthetic.


1. a. trans. To act as a mediator or intermediary with (a person), for the purpose of bringing about agreement or reconciliation; to intercede with. Obs. b. intr. Of a person or other agency: to act as a mediator or intermediary; to intercede or intervene. In later use chiefly with between. 2. trans. a. To settle (a dispute) by mediation. Also: to mitigate (an evil, suffering, etc.) as by mediation (obs.). b. To intercede on behalf of (a cause or situation). Obs. c. To bring about or obtain (an agreement, treaty, etc.) by acting as mediator; to bring about by intercession. 3. trans. a. To be the intermediary or medium concerned in bringing about (a result) or conveying (a message, gift, etc.). In pass.: to be communicated, imparted, or carried out mediately. b. Psychol. Of a mental process, cognitive activity, etc.: to react to a stimulus so as to bring about (a response). Usu. in pass. with by. Cf. MEDIATION n. 2b. c. Science. To be the medium for, or means of bringing about (a force, reaction, etc.). Freq. in pass. with by. 4. intr. a. To lie or occupy the space between (formerly also betwixt) two things, times, etc.; to be transitional between. Now rare. b. To function as an intermediary or link. Freq. with between. 5. To divide into two equal parts. Obs. 6. intr. To take a moderate position; to avoid extremes. Obs. rare. 7. trans. To moderate, mitigate; to lessen, reduce.

Renaissance 1. a. The great revival of art and letters, under the influence of classical models, which began in Italy in the 14th century and continued during the 15th and 16th; also, the period during which this movement was in progress. c. attrib. with architecture, building, etc.

A found canvas, paintsplattered drop cloth provided the adjustable opaque surface to reflect the second layer of projection passing through the holes in the first screen. The canvas was sewed together, hanging from a separate ceiling pipe with jute. Horizontal ties attached through the middle sides of the canvas providing adequate tension to keep the canvas flat. The weight of the canvas itself was sufficient to provide vertical tension. The canvas allows precise dimensioning of the gap between screens and the canvas. Tubes stored in the gallery at that time were allowed to stay, and the system was able to be altered to flexibly allow for changes in the environment.


2. Any revival, or period of marked improvement and new life, in art, literature, etc.

Representation 1. a. Presence, bearing, air. Obs. b. Appearance; impression on the sight. Obs. 2. a. An image, likeness, or reproduction in some manner of a thing. b. A material image or figure; a reproduction in some material or tangible form; in later use esp. a drawing or painting (of a person or thing). c. The action or fact of exhibiting in some visible image or form. d. The fact of expressing or denoting by means of a figure or symbol; symbolic action or exhibition. Also pl. e. Math. The image of a homomorphism from a given (abstract) group to a group or other structure having some further meaning or significance; such a homomorphism. 3. a. The exhibition of character and action upon the stage; the (or a) performance of a play. b. Acting, simulation, pretence. rare1.


4. a. The action of placing a fact, etc., before another or others by means of discourse; a statement or account, esp. one intended to convey a particular view or impression of a matter in order to influence opinion or action. b. Insurance. A special statement of facts relating to the risk involved, made by the insuring party to the insurer or underwriter before the subscription of the policy. 5. a. A formal and serious statement of facts, reasons, or arguments, made with a view to ef effecting some change, preventing some action, etc.; hence, a remonstrance, protest, expostulation. b. Sc. Law. ‘The written pleadings formerly


presented to a lord ordinary in the Court of Session, when his judgment was brought under review’ (Bell). 6. a. The action of presenting to the mind or imagination; an image thus presented; a clearlyconceived idea or concept. b. The operation of the mind in forming a clear image or concept; the faculty of doing this. 7. a. The fact of standing for, or in place of, some other thing or person, esp. with a right or authority to act on their account; substitution of one thing or person for another. b. Law. The assumption by an heir of the position, rights, and obligations of his predecessor. right of representation, the right whereby the son of an elder son deceased succeeds to his

grandfather in preference to the latter’s immediate issue (see also quot. 1838). 8. a. The fact of representing or being represented in a legislative or deliberative assembly, spec. in Parliament; the position, principle, or system implied by this. b. The aggregate of those who thus represent the elective body.

Requiem 1. R. C. Ch. A special mass said or sung for the repose of the souls of the dead. Also Mass of Requiem (common in early use). b. A musical setting of a mass for the dead. 2. Any dirge or solemn chant for the repose of the dead. (Chiefly poet.) b. transf. of birds, the sea, etc. 3. An invitation to rest or repose. Obs. 4. Rest, repose, peace, quiet.


Hence requiem v. intr., to quieten down.


Ruin I. 1. a. The act of giving way and falling down, on the part of some fabric or structure, esp. a building. Now rare. b. The act of (a person) falling to the ground or from a height. rare. 2. a. The state consequent upon giving way and falling down; a ruinous condition. b. That which remains after decay and fall; ruins (see 3). rare. c. In predicative use: Ruinous. Obs.1 3. a. pl. The remains of a decayed and fallen building, town, etc. b. fig. Of persons, features, etc. c. fig. Of institutions, states, etc. d. transf. Of material things. 4. A ruined or ruinous building, town, etc. Also fig. of a person. 5. pl. Damage, injury, done to anything. II. 6. a. The downfall or decay of a person or society; utter loss of means, position, or rank. b. Dishonour of a woman; degradation resulting from this. c. Complete destruction of anything. 7. The condition of being ruined, of having been reduced to an abject or hopeless state. 8. That which causes destruction or downfall; a ruining influence or agent. 9. In general use: Destruction, complete overthrow or devastation. Freq. personified. 10. slang. Gin of a poor quality. Usually blue ruin (see BLUE a. 13).

Sacred A. adj. 1. Of the Eucharistic elements: Consecrated.



2. (Followed by to.) a. Consecrated to; esteemed especially dear or acceptable to a deity. b. Dedicated, set apart, exclusively appropriated to some person or some special purpose. 3. a. Of things, places, of persons and their offices, etc.: Set apart for or dedicated to some religious purpose, and hence entitled to veneration or religious respect; made holy by association with a god or other object of worship; consecrated, hallowed. b. sacred book, writing, etc.: one of those in which the laws and teachings of a religion are embodied. sacred history: the history contained in the Bible. sacred number: a number (esp. seven) to which is attributed a peculiar depth of significance in religious symbolism. sacred poetry: poetry concerned with religious themes. sacred music: music which accompanies sacred words or which has a certain solemn character of its own. sacred concert: a concert of sacred music. Sacred Blood, the blood of Christ. sacred orders [eccl. L. ordines sacri], the holy or major orders. c. rarely of a deity: Venerable, holy. d. Applied as a specific defining adj. to various animals and plants that are or have been considered sacred to certain deities. 4. transf. and fig. Regarded with or entitled to respect or reverence similar to that which attaches to holy things. b. esp. as an epithet of royalty. Now chiefly Hist. or arch.; formerly often in the phrase His (her, your) most Sacred Majesty. b. Of a person (hence of his office): Having a religiously secured immunity from violence or attachment; sacrosanct, inviolable. c. With from: Protected by some sanction from injury or incursion. d. fig. Devoted to some purpose, not to be lightly intruded upon or handled. 6. Accursed. [After L. sacer; freq. translating or in allusion to Virgil’s auri saca fames (Æn. III. 57).] Now rare. 7. Special collocations. sacred artery (see quot.). sacred axe, a mark on Chinese porcelain, supposed to designate warriors. sacred


Blue foam insulation panel provided a lightweight, rigid surface for the mounting of large format prints. The panel held a crisp forty-five degree mitred edge on all sides of the panel. Spray mount smoothly adheres a large format print on bond paper tested up to 78 inches tall and 24 inches wide.

band Gr. Hist., a body consisting of 300 young nobles, who formed part of the permanent military force of Thebes from 379 B.C. sacred bark [Sp. cĂĄscara sagrada], the bark of Rhamnus Purshianus of California, used as a tonic aperient. sacred circle, an exclusive company, an ĂŠlite. sacred college (see COLLEGE n. 1). sacred egoism = SACRO EGOISMO. sacred elixir = sacred tincture. Sacred Empire, the Holy Roman Empire. sacred fire [L. sacer ignis, see HOLY FIRE], erysipelas. sacred malady [L. sacer morbus], epilepsy (Syd. Soc. Lex. 1897). sacred month, place (see quots.). sacred tincture [= mod.L. tinctura sacra: see Chambers Cycl. Supp. (1753) s.v. Aloes], a preparation of rhubarb and aloes. sacred vein [L. vena sacra] (see quot.). Sacred War (see WAR). sacred way, a route used by religious processions, pilgrims, etc.

Sensuous 1. Of or pertaining to the senses; derived from, perceived by, or affecting the senses; concerned with sensation or sense-perception. b. Of words and their meanings, etc.: Relating to sensible objects. Of opinions, conceptions, etc.: Based on representations of sense, mate-

rial. c. Of pleasure: Received through the senses. Now often with some colouring from sense 3, implying a luxurious yielding up of oneself to passive enjoyment 2. Devoted to the gratification of the senses. rare. 3. Readily affected by the senses; keenly alive to the pleasures of sensation; occas. of a poet or artist, moved by or appealing to the sensuous imagination. Also of physiognomy, etc. indicating a sensuous temperament. 4. In recent use sometimes of climate, surroundings, etc.: Conducive to a vague sense of physical enjoyment.

Simulacrum 1. A material image, made as a representation of some deity, person, or thing. 2. Something having merely the form or appearance of a certain thing, without possessing its substance or proper qualities. b. A mere image, a specious imitation or likeness, of something.

Sisyphism 1. Unceasing and fruitless labour like that of Sisyphus, spec. as a characteristic of modern industrial conditions; also, the view that industrial labour is of this nature.

Subconscious 1. Psychol. a. Partially or imperfectly conscious; belonging to a class of phenomena resembling those of consciousness but not clearly perceived or recognized. b. Pertaining to the subconscious; belonging to that portion of the mental field the processes of which are outside the range of attention. 2. Partly or imperfectly aware. B. absol. as n. Psychol. The part of the mind that is not fully conscious but is able to influence actions, etc.

Subtlety 1. Of persons, the mind, its faculties or op-

78 inch panels match at a knee-high datum to center the structural arm. The arm is a 36”x2”x2” poplar square. Each foam panel has a 45 degree miter cut on each of the four sides, leaving the blank face of the panel with a consistent dimension of 78” x 24”. This gives a visual thinness, enhancing the lightness and floating aesthetic.


erations: Acuteness, sagacity, penetration: in modern use chiefly with implication of delicate or keen perception of fine distinctions or nice points. 2. Skill, cleverness, dexterity. Obs. 3. Craftiness, cunning, esp. of a treacherous kind; guile, treachery. 4. An ingenious contrivance; a crafty or cunning device; an artifice; freq. in unfavourable sense, a wily stratagem or trick, something craftily invented. Obs. 5. Cookery. A highly ornamental device, wholly or chiefly made of sugar, sometimes eaten, sometimes used as a table decoration. Obs. exc. Hist. 6. Abstruseness, complexity, intricacy; also pl., abstruse or intricate matters. Obs. 7. A refinement or nicety of thought, speculation, or argument; a fine distinction; a nice point. 8. Thinness, tenuity, exility; penetrativeness arising from lack of density. 9. Fineness or delicacy of nature, character, manner, operation, or the like; an instance of this.

Surrealism 1. A movement in art and literature seeking to express the subconscious mind by any of a number of different techniques, including the irrational juxtaposition of realistic images, the creation of mysterious symbols, and automatism (q.v., sense 5); art or literature produced by or reminiscent of this movement.

Surrealistic a., characteristic or suggestive of surrealism

Technical 1. Of a person: Skilled in or practically conversant with some particular art or subject. Also spec. in the official designations of certain ranks in the armed forces of the U.K. and U.S. 2. Of a thing: Skilfully done or made: cf. TECHNIC a. 2. Obs. rare0. 3. a. Belonging or relating to an art or arts; appropriate or peculiar to, or characteristic of,


a particular art, science, profession, or occupation; also, of or pertaining to the mechanical arts and applied sciences generally, as in technical education, or technical college, school, university. b. spec. said of words, terms, phrases, etc., or of their senses or acceptations; as, the technical terms of logic; the technical sense of ‘subject’ in logic. c. transf. Of an author, a treatise, etc.: Using technical terms; treating a subject technically. d. Technically so called or regarded; that is such from the technical point of view. technical foul (Basketball), a foul which does not involve contact between opponents; also ellipt. as n.; technical knockout (Boxing), the termination of a fight by the referee on the grounds of one boxer’s inability to continue (though not counted out), his opponent being declared the winner; abbrev. TKO, t.k.o.: see T6. e. So regarded according to a strict legal interpretation. Usu. in phr. technical assault. 4. Finance. Of, pertaining to, or designating a market in which prices are determined chiefly by internal factors (see also quot. 1962). B. n. In pl. Technical terms or points; technicalities.

Trope 1. Rhet. A figure of speech which consists in the use of a word or phrase in a sense other than that which is proper to it; also, in casual use, a figure of speech; figurative language. 2. In Gregorian Music, A short distinctive cadence at the close of a melody. Obs. 3. [= Gr. .] The ‘turning’ of the sun at the tropic; also = TROPIC A. 2. Obs. rare. 5. In the Western Church, A phrase, sentence, or verse introduced as an embellishment into some part of the text of the mass or of the breviary office that is sung by the choir. 6. In the Moravian Church, One of the three divisions forming the ‘Unity of the Brethren’. 7. In Greek Philosophy: see quots. 1866 FERRIER Grk. Philos. I. xv. 467 Of these tropes or Sceptical arguments Sextus enumerates ten. 1910 R. D. HICKS Stoic & Epicurean 376

Three 1.25”x1.25” uniformly perforated steel angles mount centered in the space on one level datum at 6’ with the angle extending horizontally from the bottom of the strip. Three more of the same steel angles are mounted at a level datum 1.5” directly under the first row. Each steel angle is screwed into the plywood mounting of the pin up wall with 1.5” metal screws every foot starting in the center and additionally at each end, with a fitted washer on each to keep it from pulling through. Each of the 12 poplar arms is drilled on center .75 “ from one end with a 5/16” hole, and rounded for smooth rotation. At the other end of each poplar arm a 3/8” hole is drilled on center in the same axis; one at 1” and the other at 3”. Each arm mounts with a 3/8” carriage bolt measuring 3 inches with one fitted washer on each side; between the head of the bolt and the steel and between the threaded end of the bolt and the 3/8” nut.


Ænesidemus undertook to arrange the whole material at the disposal of the Sceptic in his contention against the dogmatic position under ten heads or tropes. The word trope properly denotes procedure; the ten tropes were intended to contain the means of refuting dogmatism in all possible forms, and to provide directions for stating every line of available argument which could lead to negative conclusions and paralyse assent. 8. Geom. The reciprocal of a node on a curve or surface; in different cases, a multiple tangent or tangent plane, or a plane or developable surface touching the given surface in a particular way.

Vernacular 1. That writes, uses, or speaks the native or indigenous language of a country or district. 2. a. Of a language or dialect: That is naturally spoken by the people of a particular country or district; native, indigenous. b. In predicative use. Also with preps. c. Coupled with the name of the language. 3. a. Of literary works, etc.: Written or spoken in, translated into, the native language of a particular country or people. b. Performed in the native language. 4. a. Of words, etc.: Of or pertaining to, forming part of, the native language. b. Native or natural to a particular language. 5. Connected or concerned with the native language. 6. Of arts, or features of these: Native or peculiar to a particular country or locality. spec. in vernacular architecture, architecture concerned with ordinary domestic and functional buildings rather than the essentially monumental. 7. Of diseases: Characteristic of, occurring in, a particular country or district; endemic. Obs. 8. Of a slave: That is born on his master’s estate; home-born. rare1.

Wisdom 1. a. Capacity of judging rightly in matters relating to life and conduct; soundness of

The image is scanned at between 1500 - 2000 dpi, on a cleaned flatbed scanner, depending on the scale of the reproduced image. Photoshop is used to adjust colors, levels, contrast and cropping adjustments or rotation. Images are resampled to 300 dpi, and cropped to 80” by 26” to allow full bleed when it is mounted to the panel. All images print on Ostro as an optimized postscript file after being exported from InDesign to optimize contrast. Each panel lays on a bed on newspaper with written side down, letters oriented in the same direction across the set. The image is squared to the panel by two people, one at the top and one bottom. The image is held a foot from one end by one person, while the other thoroughly applies spray mount to the one foot section and with care smooths from the center to the edge to avoid air pockets and ripples. Once secured the other end of the image can be lifted and sprayed and smoothen over in two equal stages for the rest of the panel.

judgement in the choice of means and ends; sometimes, less strictly, sound sense, esp. in practical affairs: opp. to folly. b. personified (almost always as feminine). c. as one of the manifestations of the divine nature in Jesus Christ (cf. 1 Cor. i. 24, 30, etc.); hence used as a title of the second person of the Trinity (the Wisdom of the Father); also occas. applied to God or the Trinity. d. Contextually, usually predicative with following inf.: = a wise thing to do; also with a and pl., a piece of wisdom; a wise action or proceeding. e. (a) pl. as attribute of a number of persons; hence, with possessive, as a title of dignity or respect, esp. for the members of a deliberative assembly; also jocularly or ironically. Similarly, without possessive, as in the best wisdoms = the wisest men. (b) Less commonly in sing. of a single person. f. Phr. in his (or its, etc.) wisdom: now usually ironic. 2. a. Knowledge (esp. of a high or abstruse kind); enlightenment, learning, erudition; in early use often = philosophy, science. b. pl. Kinds of learning, branches of knowledge. rare. c. In renderings of med.L. names of substances prepared or used by the alchemists, as lute of wisdom 3. a. Wise discourse or teaching; with a and pl., a wise saying or precept. Now rare or arch. b. In the titles of two books of the Apocrypha, viz. The Wisdom of Solomon (often abbrev. Wisdomor The Book of Wisdom), and The Wisdom of Jesus the son of Sirach (commonly calledEcclesiasticus). Cf. also Wisdom literature, etc. in 5. 4. Sanity, ‘reason’. 5. Comb. a. attrib., as wisdom-book, -lecture, etc.; Wisdom literature, a collective term for the biblical books of Job, Proverbs, Ecclesiastes, Wisdom of Solomon, and Ecclesiasticus, and the Epistle of James; so Wisdom books, poetry, versification. b. instrumental, objective, etc., as wisdom-bred, -giving, -seasoned, -seeming, -working adjs.

The panel is then lifted to a clean, raised surface and rested upon the face of the image, minding the fragile edges, so that the excess image can be trimmed from all sides with a razor knife and metal ruler.


The mounting plate is a 6” x 9” strip of oak plywood. A hole is drilled a half inch squared from each corner and a half inch from the edge on the middle of the long sides. 2” x 2” poplar squares are cut to 5 inches in length. A 5/16” hole is drilled on center; one at 1” and the other at 3”. 5/16” wooden dowels are cut to 2” segments and whittled on one end to fit snuggly in each of the 5” poplar pieces. Each piece is marker with a letter between the two extending oak pegs; A-K. They line up alphabetically and are cut at increments of one degree from -1 to 9 degrees respectively. The mounting plate is marked for the center which is screwed into the center of the cut end of the angle cut blocks. The mounting plate centers vertically with the bottom of the plate aligned with the middle, and attaches with screws through the pre-drilled holes.


Variation within the crescent is controlled by the placement of the 3’ poplar arms within the perforated steel track. The first panel is mounted almost flush with the wall, but extended only by the width of the poplar arm and the rotation of the neck. The furthest peg from the panel is placed in the furthest hole in the arm so that as it is positioned in distance, it can then be rotated to control the gap and angle between panels. Panels are erected sequentially from left to right, the bottoms forming a gentle curve. Tops of the panel are sequentially tilted outward from the curve by the gradual increase in the neck angle . The panels are stripped of the distraction of their content in exchange for the simplicity of the perfected system through the back of the panels.




Epilogue: If a man acknowledges the temporal quality of an object, and he begins to love the process of making and learning based upon the knowledge that the object will be taken down and lost indefinitely he has then produced a sacred object. An investment rewarded by the brevity of a moment leaves a scar that cannot be translated into a book. Continually redefining our desires and values we strip away perceived convention to design space between the dream and constructed reality; captured images activated by human interaction. Extending beyond the filmic cropping of three-dimensional space, we activate the ruin. Complacency is not based on positive or negative events but the fear of the undesirable outcomes, limiting the ability to learn. In our dream we confront a problem, ignoring the distractions that make it unattainable to address. Pessimism is an emotion fueled by fear and anger, production is our replacement. We produce a pessimistic book in faith that the document won’t be the last word. Our intentions lie in the ability to provoke a defense or solution for these conditions. By formulating distractions into a visage of concentration we are rigorous in our confrontation with physical space. Drawing at a desk can be comfortable. We often judge the discipline of an exercise on a person’s ability to harness technical skills by transferring their mind’s vision into a physical design. Is it in the rigor of the techniques or the challenging of their merit? The physical construction is an event involving interaction; we assemble materials, we share space, we adjust our schedules, we tackle natural law, we are constrained by the conventions of humanity. Digital reproduction removes the aura of the original composition, eliminating the texture of the paper, the indentations of the graphite hitting the paper, and the actual color and resolution. The hand is replaced by the ghost. The re-mediated image, scanned at a certain resolution, with a certain scanner, into a program that allows controlled change of its visual properties can extend the boundaries of

design through pixel-for-pixel replication and production of the panels. The hand is replaced by the ghost. Surreal techniques harness impossibility as the most rudimentary, sensuous elements of our environment and perception. Deep black, rich color, fantastic scale, flattened texture, and the relationship between cropping and motion, and visa versa, extract from us a greater passion and truth. Surreal techniques call for human interaction as the brain, if not the body, is called to perform an operation to discover the void between impossible juxtapositions. Conventional techniques provide a common base of communication, as the section, a celebrated drawing inside this system, expands the viewer’s perception by composition rather than translation of the built form. Through creating more lines from a sharpened graphite pencil we reduce the importance of each individual line. More errors can occur without the recognition of the eye. We build an impossible tomb by using the conventions of architectural representation and testing the re-mediated images in physical space. Scaled imagery becomes standardized by the 24”x 78” crop. A forty-five degree mitered edge disguises the foam panels as the cropped objects float. Eleven panels are assembled yet the aura has not successfully expanded from the original two-dimensional drawing. Armatures shift and connections receive incremented and varied cuts; the series becomes a dynamic figure-ground as the scales and positions begin to dominate the occupant in space. Preoccupation with the façade misguides the crescent’s alignment until we deny the aesthetic frontage. We turn to the rear utilitarian surface and achieve perfection of the technical through repetition. Precise positioning of the panels is guided by the stripped simplicity and banality of the interior as the vernacular operator assembles the mass produced story. The mass instills a parametric variety and aesthetic of its own; a uniform crescent below and a staggered edge above. The last panel steps aside to the wall, releasing the image from its previous physical boundary. The moving image becomes a ruin which now confronts the apparatus. The image in motion now accepts a new role, and activates as a

new member of our surreal dream. The measuring of success should surpass the final product. Inherently an outsider directs their attention to sacred representations of time, rigor and ideology. Yet books, drawings and installations become commodities without the regard for the journey by which they were constructed; A journey which embraces conversation. We trust in the systems of production found outside academia; our cadence is persistent and daily. Clients of our own production we shift our ever-changing values into design and we progress. Progression relies on movement; the nature of this movement is spurred by the event of action. The constant re-mediation of our initial action has brought us to this final product. Our process will be terminated only through the complacency of comfort; a comfort that is too commonly found in professional arenas. We consciously shape our external stimuli as we bounce back and forth from our architectural education and the curriculum found outside of this accredited program. Work becomes play. Play becomes work. Images and concepts of the mind can be improved by their exposure to all spheres of dialogue. Communication of these images and concepts are presented in several communal venues: the architectural, philosophical, artistic, social, regional, parental and especially your team. Richard Ian Donnelly

Andrew Charles Innis

MIDWAY upon the journey of my life, My eyes are opened in a falling darkness, “Down – still unceasingly – still inevitably down! O, how unspeakable. It was HOPE – the hope that triumphs even in the dungeons of the Inquisition.” VIb Hot desert sand furls across the dunes, As my legs burn with the atrophy of my complacency, On the stair leading out of the darkness, Alive in the fiery agony of the moment. “As the euphoric high subsides, An inner drive replaces the binge, A desire constructed by sight. The gaze of the worshiper wanders Towards the exposed tomb And a new cycle arises.” IXe Great watching-eyes critique our journey, Rigid to one frozen position, Casting stern yet comforting judgment, Illusion of control only rescued when passed. Barely perceivable shift just within the periphery, XVII Awareness, a fearful glimpse of the truth, My vision flashes and eyes close to capture what I see, I fall to the ground as my world quakes, And my eyes go black again. “My whole body was racked and wrenched with an insupportable anguish! But my physical senses were preternaturally keen and alert. I looked at the forests on the bank of the stream, saw the individual trees, the leaves and the veining of each leaf – saw the very insects upon them:” Xb What was this forest savage, rough, and stern, A serpent of greed renews my fear. Climbing the exterior, escaping the serpent, I occupy a south facing facade,a park in the Netherlands, an iconic image of the utopian future city, an impossible dream, the song of the sirens coax you close, and a green light pulls the body into the pore of the beast, as the utopian vision falls away into a dystopian pit.

Frozen perception of the elements, sand and silt, the water turns to ice and time is still. The great man overseeing has lit himself on fire, A mass informant that has fallen victim to his own system, He burns, my gaze is drawn to the spectacle yet I run. Fear overcomes me as I discover the apparatus of the trap, I push past the frozen perception, and reenter the dark corridor The presence of the watchful eye still lingers in my mind. “There was a discordant hum of human voices! There was a loud blast as of many trumpets! There was a harsh grating as of a thousand thunders! The fiery walls rushed back! And outstretched arm caught my own as I fell fainting into the abyss.” VIc I emerged from the tunnel into a grand arena. I see Dictators and public icons vying for the attention of the masses, Brought to life only by the dream, my moment of vision, my salvation. These statues appear before me, proclaiming their moments of action, “I stuck around St. Petersburg, When I saw it was time for a change, Killed the czar and his ministers, Anastasia screamed in vain, I rode a tank, Held a generals rank, When the blitzkrieg raged, And the bodies stank, Pleased to meet you.” VId As my mind looses focus and their image fades away, I am left only with the residue of their moment, their action, The ornament, dynamic in form and static in nature, Ornament is all that remains, static scars of time, Meticulously handcrafted or dynamically operating, both no more. I awake. The sexual temptress beckons me towards myself, Yet “Materialistic ambitions push me while my broken knowledge of the consequences pulls me into complacency.” XIII “The border between work and leisure then becomes a dialogue found in the human mind: assurance and doubt. Physical action triumphs as the mind goes blank and a spectacle is born.” XIII As the Corporate Pyramid lingers in the distance, Le Corbusier takes his exclusive place on the throne of architecture, A static statue, an outdated ruin, sitting in his comfort.

Instead of bowing down and going to bed, I drive past. Follow the line between good and evil, IXE Sisyphus A rigorous journey of centripetal learning, Cast out from the interior to the exterior to be processed again. Circular floors of convention leave us with only one new direction, A delicate climb along the line of good and evil, New experiences at each level, The journey forward only with the motion around, reds and blue-greens, the seven sins opposing the seven levels of paradise. As I summit this Sisyphus darkness once again overtakes my journey. Into the light I walk, Fully exposed to what we have, I must keep moving.

XV Senses Model- Exploded An embodiment of societal stimulus and its conventions must center the full extents of each sense, a centripetal force which embellishes the absolute complacency of the mind, to impede a preternatural discovery of absolute truth. This possession is prevented by that same societal stimulus, and perceived as a nightmare. Seeing, hearing, touching, smelling, and tasting in accordance with one another, have exploded into a simultaneous labyrinth. Is this hell or purgatory? “Peyton Farquhar was dead; his body, with a broken neck, swung gently from side to side, beneath the timbers of the Owl Creek Bridge.” XVIA Imitated Space Thru the dark corridor I walk, blindly guiding my derive by touch alone. An upcoming faint glow involves the eyes and my feet’s pace arises. I raise my head to look into the heavens. Stars of various hues and intensities provide the eyes with a scale; I am just a pixel in this grandeur. The earth is not beneath my feet but aligned with the eyes; the pixilated sphere is fore grounded as I oversee 6.8 billion of my own kind. XVIB Create the Shell From Within A section cut sliced through the Cenotaph to Newton reveals a sensory journey through an impossible tomb. Passionate in creating this un-buildable derive, I sharpen my 5H pencil and begin constructing by utilizing the conventional technique of the section. The composition is carefully measured, a symmetrical sphere indented into half of the 24x36 page of arches. Rendering from the bottom left corner of the defined cut I began to split the page into fourths. The two famous 1784 renderings of Boullee’s tomb had both inspired the initial action of drawing; the transformation from section to elevation would capture or dispose certain elements of each rendering. Calculated and serendipitous moments dictated a story line devoted to a dialogue between natural and constructed space, the membrane became the mediator. Architecture is the mediator between man and nature. The membrane is a creature that skews our perspective, a collection of ideologies filtering the interior space. My partner produces a video of material perception. The elements: sand, water and light melt the Florentine perspective into a dynamic space. I draw the simultaneous interaction of the elements, a collection of events which represent the transformation in a static, two-dimensional composition. The perspective is now altered by the membrane. We project the video of material perception onto the half-completed rendering. The overlaid image is cropped into the interior of the Cenotaph and reestablishes the passage of time and its separated kinetic elements. The movie extends with no barrier on the unfinished half. The drawing is detailed. The drawing is touched-up. The drawing sits in a drawer. A section cut through the Pantheon reveals a soulless and temporal sanctuary. XVIC the Static Act The drawing is detailed. The drawing is touched-up. The drawing sits in a drawer. The drawing only continues through acts that inspire its completion, in consequence that composition becomes more influenced by the progression. The drawing, in the end, represents both the process and product. XVID Last Quarter Metaphysical Expansion of Tower Model

XVII Dynamic Perspective Perspective is dynamically transformed: split, stretched, extended, and materially adapted. I instantaneously alter the single perspective as it is visually perceived through a single view point of perception. Am I in this space? Does it exist in reality? If I see it change, and believe it is dynamically changing, have the physical limits on my world changed as I perceive them? If my actions reflect my ability to dynamically change my environment, my reality, then my environment has changed. XVIIA – Sand XVIIB – Wet Sand XVIIC – Water and Dynamic Air Bubbles XVIID – Bending Foam Sheet and Sand XVIIE – Mud (sand & water) XVIIF – Metal Mesh with Applied Mud and Subtracting Water XVIIIA Dynamic Completion (Cenotaphe a Newton (1784)) Perception breaks the shell, and the architects Eye levels with an intellectual plane cutting through the greater membrane. Experience and perceived knowledge erect this barrier against the vast exterior, the potential breadth of the sphere of perception continually limited as it reaches its apex and begins to construct it’s close, but by then it may already be too late. The Eye of the architect yearns for closure, a feeling of control between the perfection of the concrete interior and that which physical limits have now cast off. The young eye sees the apex of closure as the jittery keystone of impending doom. The activated dream, the belief not in the reality, but in the tool of dynamic perception, is the only tool of the young architect that seems to uphold the completing sphere. Trust in the flexible strength of the dream, its ingredients collected through experience and knowledge, allows the architect to test the merit of the shell that has already been completed. A self critical drive edits the past while continually projecting these lessons learned into the future to dynamically complete the sphere of perception. XIXA SUSOA Pyramid Defining the polar ends of the dialectic are the satirical and sublime representations of good and evil constructed by two exterior stimuli, the lighting system of the gallery and the 21st century educational system. Purgatory is formed as a personified ground of nature where both forces test their subjects through sensory torture as a means to move within this system of linear pedagogical hierarchy. XIXB Humanism A canvas hangs from the auditorium’s cladding as a visual plane for projection. Imagine the plane as a systemic field of human performance. A man rises from the Inferno. He crawls through the Purgatorio and his spirit is cast through a shadow in Paradiso. Human forms extort the projected image on the visual plane. The event is under the symposium. XIXC


XIXD the Puppeteer An individual’s mode of thinking is limited by the sources informing their thoughts. Unconscious of their enslavement, people have blindly evolved into the very units of the banal mold so cunningly arranged by their “informant”, the puppeteer, which has captured its students.

XX Perception of the Mass The plane of existence is a dynamic surface contorted by the push and pull of physical properties of the physical environment and the perception of this physical environment as represented externally through the group of individual projections of perceptions. This mass perception can be seen visually in the frozen image, as the individual perceptions can calculated against each other, but only after the event has occurred. Dynamic control of the initial event is the interest. The architect operates as mediator between these perceptions, physically limiting their passing through an inserted membrane or adaptation of the existing plane of existence. I use the tools I have been taught to design the system of modification. Parametric control of the plane of existence is gained by the push and pull of independent control points. XXA XXB XXC XXD XXE XXF XXG

The Man and the Mass Light in the Shadow Dueling Perspectives Seeing Through The Body Unifying Perceptions Separating Perceptions

XXI Story of Glut Love through loss. Past projects are re-represented and juxtaposed to form a narrative for a particular epoch during our process. XXII

Re-mediating Screen Axon and Cylindrical Apparatus Axon


Re-mediating Screen Axon Crop


Re-mediating Screen Axon Full

XXIIC Re-mediating Screen Axon and Cylindrical Apparatus Axon A central armature as a system for human interaction with space. The cylindrical membrane filters visual glimpses then exposes interior artifacts. XXIIIA

Material Test Screens


Cutting Screens Post-projection


Screens with Blue Screen For Digital Placement


Room Pan With Blue Screens


Two Step Narrative


Two Step Screen Push

XXVI Two Step Screen Assembly XXVIIA Tower Model Architecture pierces the landscape establishing a centripetal vortex of all that is manifest in the physical relationship between built architecture and the human. Architecture has won. Humanity has won. Individuals are no longer valued by the system of society. The idea of the individual is necessary, but the masses create this without care for the individual. Thus the individual is on a lone journey, possibly coupled with other individuals, stripped of the ego, towards a separated individual or group perception. If perception can be brought to the individual, through sensuous engagement as the gate to the perception (contemporarily muddled), possibly even utilizing technology and contemporary tools to self contain the individual to a self-critical, self-contained journey. The journey inward leads to leaving the body. A new existence is formed, and as people move into themselves, they move out of the limits of the body, and the body is left behind. The make up of the world shifts. The blood of the machine has been literally edited, there are now new relationships. Those with hope in the internal existential journey have transformed into another layer of existence, while those left in the body are entrusted with their own fate again. No one is trapped, the explorers have gone to explore, and the others have another chance to live with earth, an edited palate from the human blood up to technological innovation. This system is not the answer, it is a necessary dream. Contemporary human condition needs to be evaluated, a system of judgment of the human by the architecture, a judgment of the awareness of the self-critical human individual himself. XXVIIB

Tower Model Pointing Down


Tower Model with Juxtaposed images


Tower Model with Juxtaposed images 2


Drawing of Panel cropped to measurements


Drawing of Panel cropped to right side


Wall Mounted Test Panel


Wall Mounted Test Panels Flat System Blue Up


Wall Mounted Test Panels Flat System Add Up


Wall Mounted Test Panels Flat System Wall Mount

Requiem for an Architectural Dream