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#modernity – @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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Deceit is of course not practiced as an art or an end in itself, contrary to tendencies sometimes prevailing in the modern world. Rather, false measures, feints, prevarications, troop deployments, dragging brush, feigning chaos, and other such acts are all designed to further the single objective of deceiving the enemy so that he will be confused or forced to respond in a predetermined way and thereby provide the army with an exploitable advantage. Warfare must be viewed as a matter of deception, of constantly creating false appearances, spreading disinformation, and employing trickery and deceit. When imaginatively created and effectively implemented, the enemy will neither know where to attack nor what formations to employ, and will accordingly be condemned to making fatal errors.

Ralph D. Sawyer, “Introduction” for Sun Tzu’s The Art of War, c. 450 BCE

#ralph d. sawyer#military#introduction#sun tzu#art of war#deceit#practice#art#tendency#modernity#world#false#feint#prevarications#prevaricate#troop#deploy#dragging brush#feign#chaos#design#decieve#objective#strategy#deception#predetermine#reaction#action#action reaction#enemy
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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.'

Timothy Morton, “On Object-Oriented Ontology,” 2016

#timothy morton#quote#beginning#modernity#european#philosophy#tardis#doctor who#infinity#big#universe#exist#ontology#object oriented ontology
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Artisan, genius, professional: underlying all these models is the market. In blunter terms, they’re all about the way that you get paid. If the artisanal paradigm predates the emergence of modern capitalism—the age of the artisan was the age of the patron, with the artist as, essentially, a sort of feudal dependent—the paradigms of genius and professional were stages in the effort to adjust to it. In the former case, the object was to avoid the market and its sullying entanglements, or at least to appear to do so. Spirit stands opposed to flesh, to filthy lucre. Selling was selling out. Artists, like their churchly forebears, were meant to be unworldly. Some, like Picasso and Rilke, had patrons, but under very different terms than did the artisans, since the privilege was weighted in the artist’s favor now, leaving many fewer strings attached. Some, like Proust and Elizabeth Bishop, had money to begin with. And some, like Joyce and van Gogh, did the most prestigious thing and starved—which also often meant sponging, extracting gifts or “loans” from family or friends that amounted to a kind of sacerdotal tax, equivalent to the tithes exacted by priests or alms relied upon by monks.

William Deresiewicz, The Death of the Artist and the Birth of the Creative Entrepreneur, 2014

#william deresiewicz#quote#artisan#genius#professional#model#market#way#paid#payment#money#patron#modernity#modernism#capitalism#artist#feudal#dependent#paradigm#profession#practice#spirit#flesh#lucre#pablo picasso#rainer maria rilke#elizabeth bishop#marcel proust#james joyce#vincent van gogh
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The traditional modern dialectic of ideal type and real context has been avoided, or rather replaced, by a more complex intercalation of intellectual narrative and material proposition. Here, the city, as existing, stands as the object and generator of so many possible futures, each calculated according to the nature of its opposition to those futures. The architectural project, while crystallizing one or more of these futures, is then presented to the city, so to speak, as a whole, not as a replacement or substitute, as in the utopian urbanism of modernism, but as a material to be submitted to the life and consuming power of the context.

Anthony Vidler, "Oneirism" from The Architectural Uncanny, 1992

#anthony vidler#oneirism#architecture#uncanny#design#dialectic#modernity#type#real#context#avoid#replace#intercalation#future#possible#crystal#modernism#utopianism#utopia#power#life#material#whole#project#generator#object
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The rise of modernity is the development and exacerbation of an historical consciousness; some form of historicism thus essentially inheres to it. To be modern, moreover, is not so much a matter of committing oneself to the new conditions from a realist point of view, as it is to engage in an act of separation: “to move away from something, to cut oneself off,” as Octavio Paz wrote in Children of the Mire. One of the principal modes of criticizing the present is to invoke the past.

Martin Bressani, Architecture and the Historical Imagination, 2014

#martin bressani#quote#consciousness#history#exacerbation#development#modernism#modernity#principal#mode#octavio paz#children of the mire#past#present#criticism#movement#separation#realism#new#newness#condition#modern#architecture#imagination
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Every modern person in a pluralistic democracy such as ours must constantly question what he or she assumes to be true about the world. Every cosmopolitan, multi-cultural society in modern history has developed some culture of healthy doubt, and the US is no exception. Doubting our received beliefs is what allows different races, different religions, and those of different political viewpoints to avoid all-out war and, occasionally, even live in something approaching harmony. The opposite of doubt is certainty. And it’s certainty—the belief that no legitimate explanations for the world exist outside one’s own—that marches soldiers onto battlefields and flies planes into buildings.

Cinqué Hicks, "Living Walls and the Perils of Public Space," 2013

#cinque hicks#living walls#doubt#united states#america#cosmopolitan#belief#race#heterogenaity#battle#field#plane#soldiers#war#world#society#modernity#history#pluralism#democracy#religion#politics#art#harmony
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The history of religions reaches down and makes contact with that which is essentially human: the relation of man to the sacred. The history of religions can play an extremely important role in the crisis we are living through. The crises of modern man are to a large extent religious ones, insofar as they are an awakening of his awareness to an absence of meaning.

Mircea Eliade, Ordeal by Labyrinth: Conversations with Claude-Henri Rocquet, 1982

#mircea eliade#labyrinth#quote#claude-henri rocquet#history#religion#contact#humanity#human#man#sacred#crisis#modernism#modernity#awareness#epistemology#philosophy#literature#lit#meaning
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