Dance doesn’t exist in a separate space and time from the audience.
In America kitsch is Nature. The Rocky Mountains have resembled fake art for over a century.
Admiration of the antique is not admiration of the old but of the natural.
Architecture arouses sentiments in man. The architect’s task therefore, is to make those sentiments more precise.
(Source: archi-tecture, via rosswolfe)
The bourgeois want art voluptuous and life ascetic; the reverse would be better.
In general, I try and distinguish between what one calls the Future and “l’avenir” [the ‘to come]. The future is that which – tomorrow, later, next century – will be. There is a future which is predictable, programmed, scheduled, foreseeable. But there is a future, l’avenir (to come) which refers to someone who comes whose arrival is totally unexpected. For me, that is the real future. That which is totally unpredictable. The Other who comes without my being able to anticipate their arrival. So if there is a real future, beyond the other known future, it is l’avenir in that it is the coming of the Other when I am completely unable to foresee their arrival.
The fall of Rome, as the very name implies, was accompanied by a reassertion of the elemental power of gravity. The suspension of stone in midair came to an end, as did the towering arguments of classical philosophers. The ectoplasmic theories of early Christianity permeated reason and dissolved the mortar holding together the refined syllogisms of the previous millennium. The precise connections joining the granite blocks of the Greco-Roman structures underwent a parallel dissolution and their monumental stone structures toppled. So lost were all the vestiges of this classical tradition that when the Renaissance began a thousand years later most ordinary people could not remember who had built the magnificent ruins that dotted the landscape of Europe. The consensus was that they had been erected by a vanished race of giants.
A man who limits his interests limits his life.
Humbert Camerlo, Peter Rice, and Nicolas Prouve, Theatre de la pleine Lune, France, 1987-92 (via notech)
The principle concept behind this poetic project involves capturing full moonlight in an array of mirrors and reflecting it onto a stage for a nighttime performance. Conceived by Humbert Camerlo but never fully executed by engineers Peter Rice and then Nicolas Prouve, this project requires an amphitheatrical site, engaging the history of performance as well as a low-tech solution for a high-tech problem. Further proof engineers can be just as creative as architects, given the correlation of interest, challenge and budget.