mouthporn.net
#myth – @nickkahler on Tumblr
Avatar

el laberinto

@nickkahler / nickkahler.tumblr.com

chronicling an eclectic labyrinth of architectural contemplation based in new york city
Avatar
'What is your opinion of Singleton?' he asked abruptly. She raised her head and appeared to look through him. 'A Christ-figure,' she said. The boy was stunned. 'I mean as myth,' she said scowling. 'I’m not a Christian.' ...  'I’m here only because of my sympathy for Singleton. I’m going to write about him. Possibly a novel.' 'I intend to write a non-fiction study,' the girl said in a tone that made it evident fiction was beneath her.
Avatar
The devil for Thomas was only a manner of speaking, but it was a manner appropriate to the situations his mother got into. Had she been in any degree intellectual, he could have proved to her from early Christian history that no excess of virtue is justified, that a moderation of good produces likewise a moderation in evil, that if Antony of Egypt had stayed at home and attended to his sister, no devils would have plagued him.
Avatar
The bunker has become a myth, present and absent at the same time: present as an object of disgust instead of a transparent and open civilian architecture, absent insofar as the essence of the new fortress is elsewhere, underfoot, invisible from here on in. … The bunker is the protohistory of an age in which the power of a single weapon is so great that no distance can protect you from it any longer.
Avatar
The orientation facing the ocean, facing its void, the mythic character of this watchman's wake before the immensity of the oceanic horizon were not distinct from the anguished waiting of populations for the arrival of bomber squadrons in the darkness of the sky at night. From then on, there was no more protective expanse or distance, all territory was totally accessible, everything was immediately exposed to the gaze and to destruction.
Avatar
Naturalisation can no longer signify the return to an Arcadia, a mythical status of nature in accordance with the immanence of the biological context of life. The world, turned to an anthropocene, has imposed the technologies of human activities over all other natural or geological forces. Nature is no longer a resource open to mechanical and technological regulation. A profound transformation of the very concept of nature has been set in motion; it is now inseparable from artificiality, technological and digital production. Moving far beyond the discipline's borders, architecture and urbanism are currently developing a praxis at the intersection of design, computer science, engineering and biology. As in biotechnology, physics, economics, social control, politics, the systematisation of computational simulation has opened new fields of research. Between nature and technology, the material condition of the 'artefact' is henceforth transferable to other materials and other scales. Architects and urbanists can generate complex models resting on self-generation processes of matter and integrating computational, social, material, political and environmental variables. Architecture imposed itself on to other production scales, from the nano to the macro, intersecting other disciplinary fields and initiating new professional skills. Architecture redefines itself as an 'ecophysics' of heterogeneous domains, a condition that is as much architectural as it is political and cultural.

Frédéric Migayrou, “Naturalising Architecture,“ 2015

Avatar
It was an adventure much could be made of: a walk On the shores of the darkest known river, Among the hooded, shoving crowds, by steaming rocks And rows of ruined huts half buried in the muck; Then to the great court with its marble yard Whose emptiness gave him the creeps, and to sit there In the sunken silence of the place and speak Of what he had lost, what he still possessed of his loss, And, then, pulling out all the stops, describing her eyes, Her forehead where the golden light of evening spread, The curve of her neck, the slope of her shoulders, everything Down to her thighs and calves, letting the words come, As if lifted from sleep, to drift upstream, Against the water’s will, where all the condemned And pointless labor, stunned by his voice’s cadence, Would come to a halt, and even the crazed, disheveled Furies, for the first time, would weep, and the soot-filled Air would clear just enough for her, the lost bride, To step through the image of herself and be seen in the light. As everyone knows, this was the first great poem, Which was followed by days of sitting around In the houses of friends, with his head back, his eyes Closed, trying to will her return, but finding Only himself, again and again, trapped In the chill of his loss, and, finally, Without a word, taking off to wander the hills Outside of town, where he stayed until he had shaken The image of love and put in its place the world As he wished it would be, urging its shape and measure Into speech of such newness that the world was swayed, And trees suddenly appeared in the bare place Where he spoke and lifted their limbs and swept The tender grass with the gowns of their shade, And stones, weightless for once, came and set themselves there, And small animals lay in the miraculous fields of grain And aisles of corn, and slept. The voice of light Had come forth from the body of fire, and each thing Rose from its depths and shone as it never had. And that was the second great poem, Which no one recalls anymore. The third and greatest Came into the world as the world, out of the unsayable, Invisible source of all longing to be; it came As things come that will perish, to be seen or heard Awhile, like the coating of frost or the movement Of wind, and then no more; it came in the middle of sleep Like a door to the infinite, and, circled by flame, Came again at the moment of waking, and, sometimes, Remote and small, it came as a vision with trees By a weaving stream, brushing the bank With their violet shade, with somebody’s limbs Scattered among the matted, mildewed leaves nearby, With his severed head rolling under the waves, Breaking the shifting columns of light into a swirl Of slivers and flecks; it came in a language Untouched by pity, in lines, lavish and dark, Where death is reborn and sent into the world as a gift, So the future, with no voice of its own, nor hope Of ever becoming more than it will be, might mourn.
Avatar
Lights were beginning to go out all around him. Under the trees on the boulevards, in a mysterious darkness, fewer people wandered past, barely recognizable. Now and then the shadow of a woman coming up to him, murmuring a word in his ear, asking him to take her home, would make Swann start. He brushed anxiously against all of those dim bodies as if, among the phantoms of the dead, in the kingdom of darkness, he were searching for Eurydice.
Avatar
As the snow descended it turned to blood during the night transforming the river to the  color of mahogany the ocean remained Prussian blue whent he starfish  floated upwards as soul filaments released from undersea volcanoes the moon became  an ellipse before collapse the flames of the sun froze when Orpheus began his turn to his horror Eurydice continued her journey towards him kissing death A shudder ran through  the winds of the angel causing the air to chill.

John Hejduk, “The Hesitation of Orpheus” from The Riga Project, 1987

Avatar
[The Eiffel Tower’s] uses are doubtless incontestable, but they seem quite ridiculous alongside the overwhelming myth of the Tower, of the human meaning which it has assumed throughout the world. This is because here the utilitarian excuses, however ennobled they may be by the myth of Science, are nothing in comparison to the great imaginary function which enables men to be strictly human.

Roland Barthes, "On the Eiffel Tower," Paris, France, c. 1960

You are using an unsupported browser and things might not work as intended. Please make sure you're using the latest version of Chrome, Firefox, Safari, or Edge.
mouthporn.net