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#exist – @nickkahler on Tumblr
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el laberinto

@nickkahler / nickkahler.tumblr.com

chronicling an eclectic labyrinth of architectural contemplation based in new york city
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Defensive architecture is therefore instrumental, existing less in itself that with a view to 'doing' something: waiting, watching, then acting or, rather, reacting. To live in such a place is not so much to 'dwell' there as it is to 'take it on' for an act for which the casemate is the instrument.
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There is a place at the centre of the World, between the zones of earth, sea, and sky, at the boundary of the three worlds.  From here, whatever exists is seen, however far away, and every voice reaches listening ears. Rumour lives there, choosing a house for herself on a high mountain summit, adding innumerable entrances, a thousand openings, and no doors to bar the threshold. It is open night and day: and is all of sounding bronze. All rustles with noise, echoes voices, and repeats what is heard. There is no peace within: no silence anywhere. Yet there is no clamour, only the subdued murmur of voices, like the waves of the sea, if you hear them far off, or like the sound of distant thunder when Jupiter makes the dark clouds rumble. Crowds fill the hallways: a fickle populace comes and goes, and, mingling truth randomly with fiction, a thousand rumours wander, and confused words circulate. Of these, some fill idle ears with chatter, others carry tales, and the author adds something new to what is heard. Here is Credulity, here is rash Error, empty Delight, and alarming Fear, sudden Sedition, and Murmurings of doubtful origin. Rumour herself sees everything that happens in the heavens, throughout the ocean, and on land, and inquires about everything on earth.
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At the beginning of modernity (late 18th century), European philosophy was beginning to show that human beings are TARDISes. They contain infinities that make them qualitatively (not quantitatively) bigger than the entire universe. All OOO does is argue that this isn’t a specially human trait. Everything is like that. To exist is to be a TARDIS – and that includes sentences, poems, ideas, hallucinations, dreams… That’s our motto, in a way. 'If it exists, it’s a TARDIS.'
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unhistorical
When you talk about a revolution, most people think violence, without realizing that the real content of any revolutionary thrust lies in the principles and the goals that you’re striving for, not in the way you reach them. On the other hand, because of the way this society’s organized, because of the violence that exists on the surface everywhere, you have to expect that there are going to be such explosions. You have to expect things like that as reactions.
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A work of art exists as a part of a never-ending conversation—as statement or reply, parody or tangent. Erasure of others’ material, whether crossing out the words of a predecessor or demolishing a work overall, is rare in the realms of art. If there could ever be an aspect of art that life was compelled to imitate, I wish it could be one similarly respectful of civil communication.

Ed Hall, "On Vandalism and Art," 2014

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The ceiling used to be decorative, a symbolic plane, a place invested with intense iconography. Now, it has become an entire factory of equipment that enables us to exist, a space so deep that it begins to compete with the architecture. It is a domain over which architects have lost all control, a zone surrendered to other professions.

Rem Koolhaas, "On the Venice Biennale," 2014 (via guardian)

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Scenography - the creation of a stage space - does not exist as a self-contained art work. ...Scenography is always incomplete until the performer steps into the playing space and engages the audience. Moreover, scenography is the joint statement of the director and the visual artist of their view of the play, opera or dance that is being presented to the audience as a united piece of work.
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Happenings are events that, put simply, happen. Though the best of them have a decided impact - that is, we feel, “here is something important” - they appear to go nowhere and do not make any particular literary point. In contrast to the arts the past, they have no structured beginning, middle, or end. Their form is open-ended and fluid; nothing obvious is sought and therefore nothing is won, except the certainty of a number of occurrences to which we are more than normally attentive. They exist for a single performance, or for a few, and are gone forever as new ones take their place.
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