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The unfolding scenarios it follows to manipulate our reality are becoming true transformation tools and paradoxically strategic levers to grasp the wobbling of our postdigital societies, our choked mass media culture.
But the main interest of this sudden in vivo matrix immersion lies in the anxieties it provokes. To reclaim the scenarios and substances that condition architecture and reveal the contradictions and fantasies that drive our societies, we need, on the contrary, to draw on this vibrating, disquieting and voluptuous temporality. It can only be negotiated live, in its contingency on a situation and its solubility in a set of givens.
This critical and territorialized attitude is in sharp contrast to macrocynical flights of fancy the market creates the form!
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Our tools for the codification and transformation of territories work not through an ideal projection but a local inventory,  a mutant and tangible biotope, issued from the generalized bankruptcy of urban thought  and its deception. This ambiguity gives rise to our unstable and unique scenarios. That made it possible for us to escape from Promethean dreams, millenarian apostles and cynical moralists, and walk gaily over the many and multiple dustbins of the last century, unburdened of the confusion of progressist mythologies, in the voluptuousness of a quotidian cataclysm.
It has nothing to do with a nostalgic idealization of the world in a museum soap bubble, nor a New Age utopia with its kindly moral presuppositions. Recognizing the new principles of reality, it is a space of confrontation, ceaselessly investing itself in new procedures for the reprogramming and rescripting  of existence, here and now. By necessity, it confronts its emergence, its Gestalt , and can only be negotiated in the visible spectrum.
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That is its political and operational condition. We can only harvest its often strange fruits. The following projects are a few paradigms. Because of or maybe thanks to him, ever since we've been stuck in that double bill, a scratched record stoptime without past or future, enjoying our stay between heaven and hell in Bosch's Garden of Earthly Delights.
In order to track our environment, physical sciences born out of the study of turbulence, vibration, disequilibria and probability have taken the place of the linear sciences where things are viewed as following a quantitative and determinist path. The conditions for survival at the North Pole, including Soviet nuclear waste materials carried by the Arctic Stream and the carbon effluence of the Gulf Stream, have allowed us to observe the first natural mutation. Architecture consists of revealing these two contradictory dimensions, in their constant tension.
Reminding us that hell is full of laughter, we could call this cataclysm where everything bad is foretold in dark humour, a black utopia. But why not!? The vulgarity lies in their duplicity. They may be in Lagos, at Prada or a certain floating Pavilion, but they want to lecture us about political consciousness. Contrary to what Plato says in.
Another aspect comes from its situation between two different and even contradictory states. Complexity is not driven by autonomy but by reactivity, and cannot taking into account to all that surrounds it.
It is in this sense that disturbances of identity, stealth and hybridization become modes of operation. And the hue of the skin of the figure was of the perfect whiteness of the snow. These were physical facts, not imaginary phenomena… This massive shape the shrouded figure was nothing but a colossal animal… whose power produced effects as natural as they were terrible. The other is entirely different; it seeks to exacerbate a response by extending the complexity of the site itself. Like a chemist who has conducted an experiment in order to reread it and understand it, this empirical and aleatory process is constructed through induction and deduction.
The context is no longer idealized, conceptualized or historicized; it is the substratum of its own transformation. There is a political difference. This mutant and thus imperfect dimension permits us a glimpse of technology not as the fantasy of one more progressist assertion, but as a tool of contextualization, hybridization and complexity. Beyond the fascination for technological tools and factitious metamorphoses that they engender, what concerns us is its operational function.
It is no longer a question of counterposing a project and its context, like two distinct hypotheses, but of linking them through the very process of transformation. The project no longer issues from an abstract projection, but from a distortion. Because of its low altitude and changes in the oceanic water level due to global warming , a plan for its evacuation has formulated as an objective given. Beneficent nature had nothing to do with it; conscious human effort, and cooperation, had built Stateless… the balance could be disturbed in a thousand ways….
All that elaborate machinery had to be monitored, had to be understood. It was true.
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Why would we seek to be right when there are so many people who carry the banner of morality — they are legion, as dangerous and common as criminals. A constantly mutating sequence of possibilities. Add a morsel of a difference and the result slips out of control, shift the location for action and everything is different. There is a fundamental gap between societies that base their development on scenarios and those that base their development on planning.
Freshness has a double anchorage in physical and perceptual realms. With respect to organic matter, it is immediately given as a time-dependent construct, uncomfortably dwelling the very close vicinity of degradation, decomposition and decay. This vulnerability can only be given in the visible, in the changing gestalt of matter-form, in a formal play with empirical content from which no purity is ever allowed to be extracted through abstraction, projection or idealization.
Architecture builds out of all the physiological processes that occur simultaneously on matter and form in regard to their territorialization; form-making turns out into a form-perversion process, into a hilarious and jubilant formal processing of putrescent and rotting material, conveying a high sense of quality and appetite appeal, of delicious decay, impelling for a new aesthetic and perceptual consumption.
- On the Art of War.
- Discussion modèle:Infobox Cinéma (film).
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The tension of this oscillation echoes further the frenetic insistence on the here and now, on the negotiation with the instant, on the refusal of any historicisation in favor of the immediacy of an architectural production. This production, which is not allowed to extend into any futuristic projection, makes a playful refurbishing of the 20 th century junkyard: Freshness starts from the genuine use of decaying historical material, adding to its life-time while keeping up the immediacy of the work. These fictions, which the architects themselves call scenarios, are actually reminiscent of the concept of play developed by Gadamer [i].
The work calls to play, the play-fiction is drawing the players into itself, absorbing and dissolving their subjectivity. From this dissolution of subjectivity, comes forth the notion of a soluble architecture and emerges the tacit consciousness of already being a player. The architect is but one of the players in this play. The play-fiction is non-linear, non-predictive and non-purposive. In a way, it recalls the open scenarios of soap operas in which the scenario unfolds with respect to the wishes and reactions of the spectators, evolving in an indeterminate way that cannot be anticipated by its very authors.
The play-fiction produces an interactive design device, an architect-player-citizen interface acting as a mode of operation negotiating with our troubles, fears, fantasies and perversions while revealing and confronting us to this very transaction. A genuine poetic expression unfolds through the scenario and comes to update and expose the flaws and totalitarianism of all utopia, of all social engineering, of all determinism.
The scenario acts as creative and critical compost in which resources, materials, energies, sources, structures, territories, and species syncretise with a deliberately non-anticipated outcome. In this un-founded and non-hierarchical synergy melt down technological, aesthetic, social and political layers, to which the natural and the artificial open simultaneously. An architecture of hybridization playing with the real, the fictional and the mythical opens before us a pagan atmosphere with a strange taste. Truth and Method.
New York: Seabury Press, I had to admit defeat. Something wanted it that way. I, too, was just an instrument. The world was nothing more than an infinite interweave of instruments. The respite had only lasted for as long as the mirage that it was. Les Racines du Mal, Maurice G.