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Would you elaborate on these themes; do they intertwine how so? In a sense, It is a relation of time, to the arrow of the Time.. What is the main agenda s driving the mythomaniaS series? Ultimately, our NewT want to create — via architecture and design, myth literature , and psycho-geography — various conditions for schizoid passages between realism and fiction, expertise and knowledge, mind and built environment, narrative and topology, in order to bring about new strategic-tragic co-dependencies as forms of schizoid resistance to the usual identity regimes, and to also reboot architecture as a form of psycho-social praxis and non-necrotic speculation.

What does architecture have to do with myth? While operating in the overlapping folds of the architect and researcher, designer and story-teller, how do you mediate between the production of objects, and the intent behind them? The purpose of this flashback is to explore attitudes that show a correlation, a co-dependency with the forms they underpin, through their conflicts and reciprocities. Organized around the celebration of human-beast, or the beast-human, the critical and performative borderline is used as a weapon to corrupt the repetition of the conventional routines and discourses to operate, ultimately, a strategy of transformation, of transfiguration of what is politic, of what we should consider as politic.

We operate the robot with real sensor interface RSI using signals, inputs, analogue or digital. Introducing perturbations and stochastic positioning, in real time, where the trajectory of the nozzle is reacting to the robot's very noises machine clicks, inverse kinematics movement, pneumatic piston Those agents corrupt the programmed predictable work and modify in real-time the path of the fabrication, as a stuttering feedback coming from the intrinsic protocol of doing, increasing the intricate meanders of the tool in an ever permanent inaccuracy of positioning, introducing non-linear processes The stuttering of the robot described above, with double signal and conditional positioning is now something we use to produce a systemism closed to organic output but without mimicry.

We were very closed in with Rupert Soar and his research in Namibia about termite structures. It requestions the heritage, the hiatus between Villard de Honnecourt and Brunelleschi, between a middle age project manager and the Quattrocento architect. We should start with my friend Pierre Huyghe something related to the rumors by uncertainties and robotics in Japan, this year, small scale but scale one, with our own 7-axes robots from BKK. Could you expand on the underlying ideas that lead to such a radical concept?

Something shapeless grafted onto existing tissue, something that needs no vanishing point to justify itself but instead welcomes a quivering existence immersed in a real-time vibratory state, here and now. Tangled, intertwined, it seems to be a city, or rather a fragment of a city.

Its inhabitants are immunized because they are both vectors and protectors of this complexity. The multiplicity of its interwoven experiences and forms is matched by the apparent simplicity of its mechanisms. The urban form no longer depends on the arbitrary decisions or control over its emergence exercised by a few, but rather the ensemble of its individual contingencies. It simultaneously subsumes premises, consequences and the ensemble of induced perturbations, in a ceaseless interaction.

Its laws are consubstantial with the place itself, with no work of memory. Its existence is inextricably linked to the end of the grand narratives, the objective recognition of climatic changes, a suspicion of all morality even ecological , to the vibration of social phenomena and the urgent need to renew the democratic mechanisms.

Souvenirs d’égotisme GF t 1515 French Edition eBook Stendhal Reviews

What moral law or social contract could extract us from this reality, prevent us from living there or protect us from it? It is a zone of emancipation, produced so that we can keep the origins of its founding act eternally alive, so that we can always live with and re-experience that beginning. Made of invaginations and knotted geometries, life forms are embedded within it.

Its growth is artificial and synthetic, owing nothing to chaos and the formlessness of nature. It is based on very real processes that generate the raw materials and operating modes of its evolution. The public sphere is everywhere, like a pulsating organism driven by postulates that are mutually contradictory and nonetheless true.

Doctors, Priests, Magistrates: Stendhal, Cabanis and the Power of Medical Practitioners

The rumours and scenarios that carry the seeds of its future mutations negotiate with the vibratory time of new territories. Only fragments can be extracted from it. In , we added new paragraph in the dictionary concerning Somnambulism: n. Mental activity produce during the phase called waking sleep, or even heightened consciousness. Somnambulism can be characterized by the sensation of an indefinite, uncertain and problematic state, a state of unstable consciousness revealing a new relationship with the world, others and oneself.

Historically, this unusual state of the consciousness labeled hypnosis in the first half of the 19th century has been an attempt to develop spaces of freedom, egalitarian social projects, that could not be perceived and explored except in this state. It could be said that confronted by the impossibility of modifying the mechanisms of the real, tangible, political world, this pre-feminist movement strove, on the contrary, to create a different and distanced layer of existence somewhere out of reach.

Although diabolized and treated as charlatanism, nevertheless all of premodern reformist thought drew on this movement. In a world of instant gratification, I wonder if the complexity of your work is often lost on its viewers. Do you feel your work is understood? Yes… it is a part of the work to keep the relief as shadowing, unreadable….

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When the glass bubble broke, some decade ago, it was a detective investigation to check the clues of fabrication, to redo it from its original way… and the AIR the Paris… was discovered as a trick. Similar to this first example of maze logic, M.

Duchamp sent multiple a postcards entitled 'landscape', with a kind of drawing stain on the back. A collector did chemical research to qualify the pigment and the medium, oil or acrylic, brush or roll, to in fact discover it was a semen ejaculation of the artist… How to call the Alice logic-illogic-absurdism of the logician Lewis Carroll, who articulates several simple mathematical problemas substitution of Variable, Shifting Base Counting, Integer modulo N, the symmetry.

The limit, the Infinite loop You commonly cite philosophers and philosophical concepts in your project texts. Was fascinated by the way Kubrick was only doing one movie, one by one…Only one by one, requisitioning all the procedures and all the reason to start… what is the beginning…again…a specific enterprise of narration, free of the previous and the next one…by nature singular.. So even if we didn't construct so much, as you know … we always try to make scenario in this condition of uniqueness and it is perhaps one of the reason… we are not so involved in industrial corporate repetition… What is missing in architecture today?

As a young person, who or what had an influence on your way of thinking? Your work? Don't like to be an architect, became just by coincidences and contingencies.

One of the reasons why we created this androgynous queer avatar , in '93… was to escape from this French beaux-arts pathology, but also to escape from ourselves… Whose work is currently of interest to you? We are facing: -Wu tang Clan album bought as exclusive use by pharma' boy -Black color bought as exclusive uses by a 'square mile' trader artist -Assange refugee in Ecuador embassy -Snowden refugee in Russia What advice would you give to young up-and-coming architects and designers today?

Yes, we are only left with obscenity in order to say, to make, to make-say and make-know.

Souvenirs d'égotisme

Joseph Campbell and The Power of Myth. June 21, The Spectre is still Roaming Around! R : In relation to the debate between naturalism and artifice appealed by black ecologies, I feel part of the Eighteenth Century, when the automata of Vaucanson created a large polemic between vitalism and machinism.

Nature is no great mother who has born us. She is our creation.

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It is in our brain that she quickens to life. Things are because we see them, and what we see, and how we see it, depends on the arts that have influenced us ". One of our contemporary problems, because of the technological endlessness flight forward, is how debates are permanently being developed looking on the proto-relation between naturalism and artifice dictated by philosophical symmetry. In this sense, we cannot ignore the co-dependencies, the correlation between nature and artifice, between human machines and its creation, from the Golem to the AI.

The discourse about technological singularity, mainly about artificial super intelligence, that will abruptly trigger runaway technological growth resulting in unfathomable changes to human civilization, is a hoax: this Robocalypse is a pure nonsense…we are the machines! We have to face the role of media propaganda in all this issue, the eschatology as a part of a global merchandising, the manipulation of the fear as the main toxic junk bond.

I cannot help observing and participating in this accelerated society, both eager and powered with ever growing tools, to discover mental, emotional and physical wilderness. What we know, feel and see is never enough. Millennials, immersed in virtual and mixed reality worlds, cyborgs with augmented capacities and senses, or countries granting passports to AI humanoids I always find fascinating to enter the process of realizing the bi-directional effects and interdependencies of nature and artifice.

On the one hand, we are part of a reality of nature strong manipulation through technological agents, which in particular is starting to mutate human nature. Global organizations, scientists or other individuals all over the globe are focused on understanding even mapping how nature is affected by technology. Obviously this might be measurable or predictable, using numbers, indicators, statistics and algorithms, but what about the question on the other part of the equation on entropy?

Artificial intelligence is trying nothing more than to bring what is, in essence, coming from life and nature, into technological products or into artifice. The performance of AI or responsiveness technologies is ruled by norms of evolution, mutation and adaptability, paying no attention to any aesthetics. In this sense, as architects and space performances creators, we trigger social interactions; therefore we need, as well, to thoroughly investigate how technology is influenced by nature rather than just how nature is influenced by technology. And fortunately to do this, the traditional knowledge of our discipline is not enough.

R : Actually we are forcing the scenario with symbiosis, with mutualism. Mixing, tangling, intertwining object and subject, animal and human, nature and artifice, false and right, mad and rigorous, to touch the forbidden, something that normally is not fitting in our traditional territories of knowledge, discipline and strategy of divisions.

Abbey, Edward

That is why I created an avatar, as a political trans-androgyny, in A : I am fond of the definition of the Architect as a mediator, instead of a solitary creator. What we see or what we measure is not always reflecting the real essence of things. And what we see is who we are, what our cultural background is.

One of our last works at Digital Matter Studio has been designing building systems out of biodegradable materials. We have been foreseeing buildings to survive forever, for a very long time, while working only with a series of approximate data. In our work we bring biologists or ecologists, and together we identify, create and program new systems and their metabolism.

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We merge living organisms with mechanical agents that are trained and acquire intelligence, with the goal to create spaces designed to live and die. Is this dark or black ecology? Is it a mutated nature or the design and building evolution of the Anthropocene?