a troubadour, a curator.
a finder but never a keeper.
2010-12-26
"Make it new", wrote Ezra Pound.
Imagine a garden of potted animals and cable cars suspended in nothing, going nowhere. Is going somewhere so important anyway? Stay nowhere in the now-here: is that not a valid destination?
Stay with me here in my imagination. A bird and a beast, it will be a magnificent feast. Partridges loaded into cartridges and shot into hungry mouths. Under each mouth (really a tube) will be another bowl of pasty delight: a trough of runny textures, mixing flavours (be careful what you pick!) Gorge on gouged gouache paints, a canvas of unearthly delights.
Merry madness, hop to it.
"The artist is always beginning," Ezra Pound once wrote. "Any work of art which is not a beginning, an invention, a discovery is of little worth. The very name Troubadour means a 'finder,' one who discovers." Readers of Poems and Translations will be able to follow, for the first time in a single volume, a poet whose career moves through a series of beginnings and re-beginnings—perhaps Pound's most distinctively American trait.
Imagine a garden of potted animals and cable cars suspended in nothing, going nowhere. Is going somewhere so important anyway? Stay nowhere in the now-here: is that not a valid destination?
Stay with me here in my imagination. A bird and a beast, it will be a magnificent feast. Partridges loaded into cartridges and shot into hungry mouths. Under each mouth (really a tube) will be another bowl of pasty delight: a trough of runny textures, mixing flavours (be careful what you pick!) Gorge on gouged gouache paints, a canvas of unearthly delights.
Merry madness, hop to it.
"The artist is always beginning," Ezra Pound once wrote. "Any work of art which is not a beginning, an invention, a discovery is of little worth. The very name Troubadour means a 'finder,' one who discovers." Readers of Poems and Translations will be able to follow, for the first time in a single volume, a poet whose career moves through a series of beginnings and re-beginnings—perhaps Pound's most distinctively American trait.
In his first published book of poems, A Lume Spento, the Pound of 1908 is still very much a late nineteenth-century poet, steeped in the archaisms of the Pre-Raphaelites. A mere four years later, in Ripostes, he has reinvented himself as a modernist proponent of "Imagism," before moving on, in rapid succession, to the avant-garde aesthetics of Vorticism and translations from the Chinese (Cathay), the Japanese ("Noh" or Accomplishment), the Provençal (Arnaut Daniel), and the Latin ("Homage to Sextus Propertius"). Each of these forays into new identities and new languages constituted, as Pound himself explained, a "search for oneself," which entailed "casting off complete masks of the self in each poem."
The title Pound chose for the first comprehensive collection of his shorter poems in 1926 was, significantly, Personae—Latin for "masks." Whether writing in the form of Browningesque dramatic monologues, medieval canzoni, satirical epigrams, Confucian analects, or Sophoclean tragic choruses, Pound in his poems presents us with a medley of masks whose multiple and contradictory features helped shape the face of American poetry in the 20th century.
In his dedication of The Waste Land, T. S. Eliot paid homage to Ezra Pound as "il miglior fabbro"—that is, "the better craftsman"—Dante's term for the Troubadour poet Arnaut Daniel. Pound remains a vital ancestral presence in the lineage of American modernist and post-modernist poetry. The list of his descendants includes not only William Carlos Williams, Marianne Moore, Louis Zukofsky, George Oppen, and Charles Olson, but also the Beats and, more recently, the Language Poets—all of whom in their own fashion learned their craft from his work while observing his central imperative: "Make it new."
2010-12-25
//Captain's Log after Conversation with Dad @ Sungei Buloh
Options for Graduation:
1) Design // End Game: Design Firm
route: no graduate school necessary. Possibilities: Bartlett
Firms: Work in firms related to smaller scaled projects, materials and detailing.
2) Urban // End Game: IBM-ish, consulting
route: graduate school, Berlage / ETH / LSE (find more)
Firms: IBM, AMO,
possibilities:
/*
Double Masters Degree in Urban Policy @ LSE / SciencesPO
Graduate Admissions Office,
LSE-Sciences Po Double Degree (Urban Policy),
LSE
Houghton Street
London W2CA 2AE
*/
Human Geography
resources:
http://www.lse.ac.uk/collections/urbanAtLSE/
Options for Graduation:
1) Design // End Game: Design Firm
route: no graduate school necessary. Possibilities: Bartlett
Firms: Work in firms related to smaller scaled projects, materials and detailing.
2) Urban // End Game: IBM-ish, consulting
route: graduate school, Berlage / ETH / LSE (find more)
Firms: IBM, AMO,
possibilities:
/*
Double Masters Degree in Urban Policy @ LSE / SciencesPO
Graduate Admissions Office,
LSE-Sciences Po Double Degree (Urban Policy),
LSE
Houghton Street
London W2CA 2AE
*/
Human Geography
resources:
http://www.lse.ac.uk/collections/urbanAtLSE/
2010-12-24
Thoughts on Marina Bay Sands:
Pushing aside initial prejudices on the factors driving the project, it feels like the sheer scale of it seems unexploited: a form chopped into three discrete elements. Also, the height is a missed opportunity. A simple example is the elevator ride up. There is no sense of.... wonder, spectacle or performance. If a building wants to be a spectacle or an icon, it should god-damn perform. Elevators should feel like rockets into the sky, not silent teleportation tombs.
The bridge that leads to it is also another disappointment. The Helix is like decoration, a christmas bauble. It feels like the centrifugal nature of a helix could be used for a sense of disorientation, an undulating path that cuts in and out of it. If not, why bother? It then appears clunky and over structured.
Thoughts on Singapore:
There is a greater and greater gap in the rich and the poor. This is engendered in the landscape itself, through larger scales of development, higher and higher prices of entry. Is singapore too small or structure?
This needs elaboration.
Pushing aside initial prejudices on the factors driving the project, it feels like the sheer scale of it seems unexploited: a form chopped into three discrete elements. Also, the height is a missed opportunity. A simple example is the elevator ride up. There is no sense of.... wonder, spectacle or performance. If a building wants to be a spectacle or an icon, it should god-damn perform. Elevators should feel like rockets into the sky, not silent teleportation tombs.
The bridge that leads to it is also another disappointment. The Helix is like decoration, a christmas bauble. It feels like the centrifugal nature of a helix could be used for a sense of disorientation, an undulating path that cuts in and out of it. If not, why bother? It then appears clunky and over structured.
Thoughts on Singapore:
There is a greater and greater gap in the rich and the poor. This is engendered in the landscape itself, through larger scales of development, higher and higher prices of entry. Is singapore too small or structure?
This needs elaboration.
2010-12-18
//Night Before SG
it was an atmospheric night.
"Reason has always existed, only not always in reasonable form."
"The reform of consciousness consists only in enabling the world to clarify its consciousness, in waking it from its dream about itself, in _explaining_ to it the meaning of its own actions."
"The reform of consciousness consists only in enabling the world to clarify its consciousness, in waking it from its dream about itself, in _explaining_ to it the meaning of its own actions."
"Our motto must therefore be: Reform of consciousness not through dogmas, but through analyzing the mystical consciousness, the consciousness which is unclear to itself, whether it appears in religious or political form. Then it will transpire that the world has long been dreaming of something that it can acquire if only it becomes conscious of it. It will transpire that it is not a matter of drawing a great dividing line between past and future, but of carrying out the thoughts of the past. And finally, it will transpire that mankind begins no _new_ work, but consciously accomplishes its old work."
- Karl Marx (1818-1883), For a Ruthless Criticism of Everything Existing(1843)
2010-12-17
//X-Lab Finals and Hollywood, Geisha House
Today was one of the more relaxing finals I've had. The presentation format went well, and Hernan's comments on the aesthetic is heartening.
After that, going out with the rest in hollywood was such a bust. I'm not sure if I felt out of place or didn't fit in, or if there's a difference between the two. Am I not making the effort to open up? I think I should observe how Proto does it. He seems to be good at handling these things. Either way, I am what I am and I don't think I'll be going out with them again.
Tomorrow, I need to cut a short video and clear up my desk. Hopefully, if there's time, the gym or something as well as pack my bag. AND call daniel.
good night.
Today was one of the more relaxing finals I've had. The presentation format went well, and Hernan's comments on the aesthetic is heartening.
After that, going out with the rest in hollywood was such a bust. I'm not sure if I felt out of place or didn't fit in, or if there's a difference between the two. Am I not making the effort to open up? I think I should observe how Proto does it. He seems to be good at handling these things. Either way, I am what I am and I don't think I'll be going out with them again.
Tomorrow, I need to cut a short video and clear up my desk. Hopefully, if there's time, the gym or something as well as pack my bag. AND call daniel.
good night.
2010-12-16
//Thursday, December 16 2010.
//The Day Before XLab3.0 Finals
"... a dream that hath no bottom." - Shakespeare
I got up late, as I have been over the past few days. Its not late nights anymore, and I worry it might become a habit. The problem with habits is that they are repetitive in a way that isn't always productive: in a way, it sometimes becomes a barrier to progress. Quite literally, the comfortable lull of procedure dulls out any desire to produce.
Out of bed to the computer, straight away. The funny thing I find is the waking hours are when I get decent ideas. I should keep up the habit of a notepad next to my bed and spending the day working through some of these ideas. I finally get on the case of the thesis trailer: the first part is done, just minor tweaks.
"Once upon a time, a dirty and messy situation was made into a clean and orderly promise." -is this the best narrative? or can you find a poem or lyric that would better suit it?
The studio video is coming out fine. Baptiste has amazing taste and aesthetics. From him I learned even more about qualities, and the rut I fall into trying to logicize things when maybe I'm not the best person to do that. But I also see the pitfalls of getting lost in a program.
Dinner with studio was slightly awkward, and I think I've withdrawn somewhat into my own shell over the past week at home. Part of me thinks I will need that individual space next semester and I will spend the other half of the time walking around alone. I should remember to meet up every once in a while with justus or something though to keep track of things. I also need to maintain a regime for fitness and sanity. Writing in this will be part of that.
Finally watched Inception. Its really cool how its four nested layers, and really is happening in a split second of a split second. Dan has such perspective on movies: its almost as if hes removed from it, understanding it.
Inception makes me wonder: do we need to construct our own redemption. Our memories can become fuel for dreams or glues to hold us back, almost. What is the tale about? is it about confront truth or constructing one. Did he really plant that seed dream in his wife? or is he
On another note, the scary part of the network is the idea of a consensus, or buying into the wisdom of crowds. Where previous consensus might have been an agreement to disagree, could agreement to agree, and subsequent agreement on top of that entirely smooth out the role of the individual? I think I need to read more to better articulate this.
In anycase, connecting this to Inception, it feels like life is the construction and pursuit of a narrative, at the end of that day. Previously this narrative might've been provided by religion, then by tradition and then by... the media now? or is that overhyped. Its looser, anyway.
Outlook on Life:
urbanism, brazil, bartlett.
Possible Goal:
stay floating, IBM
on the trailer:
1) Regular Grid (desert)
2) Box and Axes (archipelago)
3) Green Growth (an outside in the inside)
//The Day Before XLab3.0 Finals
"... a dream that hath no bottom." - Shakespeare
I got up late, as I have been over the past few days. Its not late nights anymore, and I worry it might become a habit. The problem with habits is that they are repetitive in a way that isn't always productive: in a way, it sometimes becomes a barrier to progress. Quite literally, the comfortable lull of procedure dulls out any desire to produce.
Out of bed to the computer, straight away. The funny thing I find is the waking hours are when I get decent ideas. I should keep up the habit of a notepad next to my bed and spending the day working through some of these ideas. I finally get on the case of the thesis trailer: the first part is done, just minor tweaks.
"Once upon a time, a dirty and messy situation was made into a clean and orderly promise." -is this the best narrative? or can you find a poem or lyric that would better suit it?
The studio video is coming out fine. Baptiste has amazing taste and aesthetics. From him I learned even more about qualities, and the rut I fall into trying to logicize things when maybe I'm not the best person to do that. But I also see the pitfalls of getting lost in a program.
Dinner with studio was slightly awkward, and I think I've withdrawn somewhat into my own shell over the past week at home. Part of me thinks I will need that individual space next semester and I will spend the other half of the time walking around alone. I should remember to meet up every once in a while with justus or something though to keep track of things. I also need to maintain a regime for fitness and sanity. Writing in this will be part of that.
Finally watched Inception. Its really cool how its four nested layers, and really is happening in a split second of a split second. Dan has such perspective on movies: its almost as if hes removed from it, understanding it.
Inception makes me wonder: do we need to construct our own redemption. Our memories can become fuel for dreams or glues to hold us back, almost. What is the tale about? is it about confront truth or constructing one. Did he really plant that seed dream in his wife? or is he
On another note, the scary part of the network is the idea of a consensus, or buying into the wisdom of crowds. Where previous consensus might have been an agreement to disagree, could agreement to agree, and subsequent agreement on top of that entirely smooth out the role of the individual? I think I need to read more to better articulate this.
In anycase, connecting this to Inception, it feels like life is the construction and pursuit of a narrative, at the end of that day. Previously this narrative might've been provided by religion, then by tradition and then by... the media now? or is that overhyped. Its looser, anyway.
Outlook on Life:
urbanism, brazil, bartlett.
Possible Goal:
stay floating, IBM
on the trailer:
For the second half, I think it might be a good idea to photoshop the boxes into a landscape. From the french music, it should slowly mute out that box scene zooming into a bridge scene zooming into a tv scene. It needs some movement, and I think thats where yao's library of effects will come in handy. From the bridge scene, it will pan across the bridge. I should see if I can turn off the Yao layer. Pan across bridge, pan up building, zoom out to yao pointing, then zooming into the people overlooking the city. The balloon flies by. this fades to end credits. The end credits will have all the previous content and photos. the background sound comes back to piaf.
As for sound, I will use a robotic voice output. As discussed today, the final dream is still on: a series of renders, printed out on super nice paper, next to it a mini screen playing the associated clip with the background text. Fables. It all has to be original content for it to have an original impact.
For the final, I should have a ton of test photosetc and a series of site plan iterations and 3 detailled sections, chosen from the three.
Parallel research threads: program distribution, organizational relationships, formal investigations and design exercises every other week.
.1) Regular Grid (desert)
2) Box and Axes (archipelago)
3) Green Growth (an outside in the inside)
2010-12-15
//Getting back to Habit
Dear Lennard,
Next semester will be a rough one. Tuck in, keep the eyes on the prize and work it. Don't be afraid of pushing your use of maya or any graphic program. You have a certain quality, and keep to it, but the final product has to be polished in terms of its presentation. That is your one weakness which Marc Frohn kept in check, but since then has been slightly out of control.
-Lenn
Dear Lennard,
Next semester will be a rough one. Tuck in, keep the eyes on the prize and work it. Don't be afraid of pushing your use of maya or any graphic program. You have a certain quality, and keep to it, but the final product has to be polished in terms of its presentation. That is your one weakness which Marc Frohn kept in check, but since then has been slightly out of control.
-Lenn
//Dec 14: Hernan Crit and Methods for next semester
Today was the X_Lab crits for Daniel, Sille and bunch.
A careful note, the more fussy videos were not as effective. We're not animators. Still frames are the most effective. Learn FLASH, or put it as PDF slides.
For the final presentation, it will be one short movie - narrated stills - and a slide show (maybe). Don't be too indepth about the techniques and logics - that is your blindspot - and shoot for atmosphere. Questions about technique and design decisions can come later, but thats not a conversation you want to have. This was seen in the testa studio 1, where the conversation got bumped up a notch because of it.
Techniques Learnt from
What I've learned from the people I've been under:
From Erwin Viray, I learned about the importance of precedent.
From Lai Chee Kien, the frustration/fear of introducing a new form into the city and maybe you don't need to.
From Josh Taron, to just produce. Keep producing. Sometimes, retroactive interpretations are fine.
From Heather Flood I learned to interrogate a concept from multiple, unbiased perspectives. Then, one has a buffet of criticality to work off on.
In the Greg studio, I learned the power of iterative design and the role of physical models when coupled with digital representation. No one saw what I saw until I presented it all as one, thought.
From Marc Frohn, I further learned the power of quick physical massing to understand a project spatially. A design cannot live in the computer.
From Emily, I learned that maybe everything I've been reading, a reliance on the authority of text, is just an opnion. That I am trying to say through them what I think, so why not just say what I think without them? I also learned about the powerful relationship between physical and digital models, and to take snapshots and to start drawing over them.
Raimund Abraham was a painful studio, and I learned after the fact to stand for what I believe in and to work through it. I should also have learned that architecture can be a private language, but I didn't follow through with it.
Testa gave me the space to firstly explore a whole plethora of tools. Through his comments, I learned that every medium I'm working through is a drawing, and each drawing is a design. I learned how to better articulate the interconnected systems in architecture and also learned my design process, which is halfway through free modelling, words and the rationalization of it. I also learned that I am sometimes too quick to default and get lost trying to systematize something into a repeatable language. this isn't always important.
Today was the X_Lab crits for Daniel, Sille and bunch.
A careful note, the more fussy videos were not as effective. We're not animators. Still frames are the most effective. Learn FLASH, or put it as PDF slides.
For the final presentation, it will be one short movie - narrated stills - and a slide show (maybe). Don't be too indepth about the techniques and logics - that is your blindspot - and shoot for atmosphere. Questions about technique and design decisions can come later, but thats not a conversation you want to have. This was seen in the testa studio 1, where the conversation got bumped up a notch because of it.
Techniques Learnt from
What I've learned from the people I've been under:
From Erwin Viray, I learned about the importance of precedent.
From Lai Chee Kien, the frustration/fear of introducing a new form into the city and maybe you don't need to.
From Josh Taron, to just produce. Keep producing. Sometimes, retroactive interpretations are fine.
From Heather Flood I learned to interrogate a concept from multiple, unbiased perspectives. Then, one has a buffet of criticality to work off on.
In the Greg studio, I learned the power of iterative design and the role of physical models when coupled with digital representation. No one saw what I saw until I presented it all as one, thought.
From Marc Frohn, I further learned the power of quick physical massing to understand a project spatially. A design cannot live in the computer.
From Emily, I learned that maybe everything I've been reading, a reliance on the authority of text, is just an opnion. That I am trying to say through them what I think, so why not just say what I think without them? I also learned about the powerful relationship between physical and digital models, and to take snapshots and to start drawing over them.
Raimund Abraham was a painful studio, and I learned after the fact to stand for what I believe in and to work through it. I should also have learned that architecture can be a private language, but I didn't follow through with it.
Testa gave me the space to firstly explore a whole plethora of tools. Through his comments, I learned that every medium I'm working through is a drawing, and each drawing is a design. I learned how to better articulate the interconnected systems in architecture and also learned my design process, which is halfway through free modelling, words and the rationalization of it. I also learned that I am sometimes too quick to default and get lost trying to systematize something into a repeatable language. this isn't always important.
2010-12-14
FutureCities Lab, Singapore
http://archinect.com/jobs/description.php?id=103080_0_30_0_C
http://archinect.com/jobs/description.php?id=103080_0_30_0_C
Spatial Development and Infrastructure Systems
Designing and Maintaining our Living Space
Short description
The MSc in Spatial Development and Infrastructure Systemsoffers a broad university-level education for planners and managers of our spatial environment and its infrastructure systems. Supervised by a personal tutor, students choose an individual curriculum according to their personal interests and talent. The curriculum covers obligatory courses in planning methodology and communication, spatial organization and economics, history and theory of urbanization, and land use. Each student chooses two out of four core subject areas: Transportation planning, Traffic systems, Spatial development, Environmental planning. A wide range of electives and an interdisciplinary project work allows students to specialise further in their chosen direction or broaden their knowledge. The 16-week Master's thesis focuses on one of the chosen core subject areas.
2010-12-12
//Talking Differently to Myself
What I liked most about the Merchant of Venice is how it played with my presumptions. It turned them on its head while letting the audience lead with moral smugness before turning it back on me again. It made me suspend moral judgement and to see an underlying sameness to the different point of views. It makes one think what is isn't necessarily so, and maybe that the alternatives are no different except for being different.
Salman has been on a recent craft and material revival: the fetishization of handmade objects and a rejection of the machine. But is machined perfection so bad? Why is it we crave a sort of retrospective return to this romantic notion of craft and folk. Is it because of a seeming human connection an errant stitch conveys? or is it a longing for material, tactile feedback. Has modernity been so cold? Do we regress or do we move forward. I think it is the engagement of the senses that he is craving. The smell of leather, and conversely, also the smell of PVC. The visual tic of a craggly line. Cold metal is fine, as long as it has an other to play off against. What
The Diving Bell and the Butterfly is another Schnabel beauty.
What I liked most about the Merchant of Venice is how it played with my presumptions. It turned them on its head while letting the audience lead with moral smugness before turning it back on me again. It made me suspend moral judgement and to see an underlying sameness to the different point of views. It makes one think what is isn't necessarily so, and maybe that the alternatives are no different except for being different.
Salman has been on a recent craft and material revival: the fetishization of handmade objects and a rejection of the machine. But is machined perfection so bad? Why is it we crave a sort of retrospective return to this romantic notion of craft and folk. Is it because of a seeming human connection an errant stitch conveys? or is it a longing for material, tactile feedback. Has modernity been so cold? Do we regress or do we move forward. I think it is the engagement of the senses that he is craving. The smell of leather, and conversely, also the smell of PVC. The visual tic of a craggly line. Cold metal is fine, as long as it has an other to play off against. What
The Diving Bell and the Butterfly is another Schnabel beauty.
2010-12-11
2010-12-08
//quick thoughts: Capitalism and Architecture
Superstudio's project is a commentry of a capitalist driven architecture: in terms of its scale and non-humanistic considersations. In this mode, we become refugees in a materialized capital economy.
I like this non-humanistic consideration. Human design is like ergonomic design. its boring. It lacks a level of interface or interaction. a struggle and subsequent personal triumphs, a niche in the world.
 |
| SuperStudio |
Superstudio's project is a commentry of a capitalist driven architecture: in terms of its scale and non-humanistic considersations. In this mode, we become refugees in a materialized capital economy.
I like this non-humanistic consideration. Human design is like ergonomic design. its boring. It lacks a level of interface or interaction. a struggle and subsequent personal triumphs, a niche in the world.
2010-12-04
//HalfBaked, the Wired Store Experience
The wired store is cutting edge: neither store nor museum, it is a physical node in a network of multiple identities in print and the internet. the physical location thus has been relieved of the pressure to persuade consumption.
Instead, its inducement to consume is in more nefarious, invisible ways. It ties articles to gadgets, it markets itself by association to geekologie. it made it alright to be a geek by mixing it into a loose sterotype: easy to buy into, hard
The wired store is cutting edge: neither store nor museum, it is a physical node in a network of multiple identities in print and the internet. the physical location thus has been relieved of the pressure to persuade consumption.
Instead, its inducement to consume is in more nefarious, invisible ways. It ties articles to gadgets, it markets itself by association to geekologie. it made it alright to be a geek by mixing it into a loose sterotype: easy to buy into, hard
2010-12-01
//Rocket List from NY
(from a conversation with Kevin, Phoebe , Nikki and the city in general)
Tired ot Tourists
I am now wary of the idea of the Tourist and fear the traps of being a dilettante. Smooth experiences reinforcing the beliefs that maybe Belize is about the sand and the ocean, the NY is about the Grid and LA is about sprawl. All boringly true.
What is a tourist and what is its opposite? I propose a tourist is one who experiences an expectation. A vision of the world that is already stale with repetition and stinks of boredom.
"Have you been to [insert it reference] in [insert vogue location]?"
"You haven't? its fabulous. The [insert it-dish] is to-die-for."
Conversations scripted by Zagat and Yelp and the Lonely Planet and gobbled up and chewed on and spat out. An experience structured by someone elses and filled with empty synonyms, propped to life with other actors who smile sparkle and dazzle. I smell the smoke but see no fire.
How to Be A Ghost
How you draw the world is how you see it. How you see it structures how you experience it. When all the buildings and clothes and programs and ideas in the world look the same, feel the same, work the same, doesn't this mean.... everyone lives the same life? How boring. When all the experiences collapse into each other,
Progress is a violent lie.
A ghost is a spectre from another world. An inconsumable, drifting mystery. Through the ghost one views alternative snippets: a different posture, a different conversation, a different reality.
Ghosts are perspectival tools.
Through ghosts, we understand lies so we can construct new ones. Self-conscious lies, freed to construct its own responsibilities and agenda and understands the boundaries of its agency.
These boundaries oscillate between free horizons and the understanding that maybe all we do is construct material worlds and structural skeletons.
Lie Alone
Ghosts are alone in a crowded world. It is a personal journey to offer up a different world: one must live it before one can share it. One must dream it with the freedom of an artist but record it with the precision scientist.
Beauty is a premonition of another world.
An Atmosphere is when you gently circle this world, a faint inkling of how it feels and might be.
I construct beauty and atmosphere through words, pictures and colours. A simple 2-dimensional representation of a desire.
An atmosphere can be built up into a collage, found objects cobbled together to try and build a spatial scaffold. At this point, textual words must be forgotten, and the material becomes a language. A silent conversation through the hands.
Trust the process, it can later be reverse engineered. Trust the gut.
Machined Insecurities (Landmines to Ponder)
Too much consumption too little production, I said 2 years ago. Too much too much, too little of the little.
Too much of my ranting too, might I add.
But I fear I am driven more by anger and frustration and less by passion and desire. I oscillate between the two and I despair when I realize my misplaced anxieties. Keep calm and carry on, give yourself goals, or in the absence, give yourself boundaries. Respect them.
Today a visit to the ITP left me slightly jaded. A ton of energy and bravado, but headless soldiers marching on in footprints they aren't aware of. More and more, I think the point of a graduate program is not what you learn, but who you learn from. Knowledge is malleable and easily transferred and absorbed. Experience less so.
When I am dead, I would like to send my family (this includes non-blood brothers) on adventures to open their minds. To John, bring my ashes to Los Angeles and scatter it into the ocean. You will stay there for a week and everyday bring a new stranger to the coast and tell him a story.
To Kevin,
I despise the comfortable familiarity enjoyed with friends. I despise that I enjoy it, and I fear that I cannot not enjoy it. Sadly I am sometimes human.
On my death marker it will read:
"Finally Human."
Ghost
. Kool-
-Spend a few months in Belize
-Visit a Monastary
-If dead, send friends on adventure
- MORPHOSIS
(from a conversation with Kevin, Phoebe , Nikki and the city in general)
Tired ot Tourists
I am now wary of the idea of the Tourist and fear the traps of being a dilettante. Smooth experiences reinforcing the beliefs that maybe Belize is about the sand and the ocean, the NY is about the Grid and LA is about sprawl. All boringly true.
What is a tourist and what is its opposite? I propose a tourist is one who experiences an expectation. A vision of the world that is already stale with repetition and stinks of boredom.
"Have you been to [insert it reference] in [insert vogue location]?"
"You haven't? its fabulous. The [insert it-dish] is to-die-for."
Conversations scripted by Zagat and Yelp and the Lonely Planet and gobbled up and chewed on and spat out. An experience structured by someone elses and filled with empty synonyms, propped to life with other actors who smile sparkle and dazzle. I smell the smoke but see no fire.
How to Be A Ghost
How you draw the world is how you see it. How you see it structures how you experience it. When all the buildings and clothes and programs and ideas in the world look the same, feel the same, work the same, doesn't this mean.... everyone lives the same life? How boring. When all the experiences collapse into each other,
Progress is a violent lie.
A ghost is a spectre from another world. An inconsumable, drifting mystery. Through the ghost one views alternative snippets: a different posture, a different conversation, a different reality.
Ghosts are perspectival tools.
Through ghosts, we understand lies so we can construct new ones. Self-conscious lies, freed to construct its own responsibilities and agenda and understands the boundaries of its agency.
These boundaries oscillate between free horizons and the understanding that maybe all we do is construct material worlds and structural skeletons.
Lie Alone
Ghosts are alone in a crowded world. It is a personal journey to offer up a different world: one must live it before one can share it. One must dream it with the freedom of an artist but record it with the precision scientist.
Beauty is a premonition of another world.
An Atmosphere is when you gently circle this world, a faint inkling of how it feels and might be.
I construct beauty and atmosphere through words, pictures and colours. A simple 2-dimensional representation of a desire.
An atmosphere can be built up into a collage, found objects cobbled together to try and build a spatial scaffold. At this point, textual words must be forgotten, and the material becomes a language. A silent conversation through the hands.
Trust the process, it can later be reverse engineered. Trust the gut.
Machined Insecurities (Landmines to Ponder)
Too much consumption too little production, I said 2 years ago. Too much too much, too little of the little.
Too much of my ranting too, might I add.
But I fear I am driven more by anger and frustration and less by passion and desire. I oscillate between the two and I despair when I realize my misplaced anxieties. Keep calm and carry on, give yourself goals, or in the absence, give yourself boundaries. Respect them.
Today a visit to the ITP left me slightly jaded. A ton of energy and bravado, but headless soldiers marching on in footprints they aren't aware of. More and more, I think the point of a graduate program is not what you learn, but who you learn from. Knowledge is malleable and easily transferred and absorbed. Experience less so.
When I am dead, I would like to send my family (this includes non-blood brothers) on adventures to open their minds. To John, bring my ashes to Los Angeles and scatter it into the ocean. You will stay there for a week and everyday bring a new stranger to the coast and tell him a story.
To Kevin,
I despise the comfortable familiarity enjoyed with friends. I despise that I enjoy it, and I fear that I cannot not enjoy it. Sadly I am sometimes human.
On my death marker it will read:
"Finally Human."
Ghost
. Kool-
-Spend a few months in Belize
-Visit a Monastary
-If dead, send friends on adventure
- MORPHOSIS
//A Letter for Ah Kong
This is how I will remember Kong Kong.
He has a low and guttral viking grunt. With this, he spoke with the calculated eloquence of thunder washing over an imprecise horizon. Some nights though, his fingers danced light as ballerinas over a large black piano. And I think he used this to speak another gentler language. Back to the piano, he played with an odd set of thumbs: fat, flat and squashed and liked to croon "Danny Boy". I suspect he liked Andy Williams. And sometimes on some nights, Oma, would sing along, whiskey glass in hand.
Oma, my heart is with you.
Kong Kong lived a soldiers regime. He was very strict and severe: on everyone, himself included. But he also had a mischievous child's curiosity for adventure. I think some of this came from a deeper defiance: to prove that whatever we think life should or should not be, it could and would be. If only we dared.
Kong Kong, cheers to you.
On my wall in my room is a picture of you in a white singlet, sun-kissed and grinning with sweat on your forehead. You're raising a black glass of tarry Guiness. Oma, you are on the wall too, next to him, with a pot of delicious in your hand at the large round table where we shared all our meals. This is a standing definition of my childhood, a gift I will to pass on to my own family and them to theirs.
"Oh Danny boy, the pipes, the pipes are calling."
Kongkong, this is how you are remembered: a viking's ballerina, an artisanal lawyer and a soldiered child. An artist who chiseled life from the hard rock of living. Thank you Kongkong for having the audacity to be who you want to be.
I love you and I miss you dearly.
Your grandson,Lennard.2010-11-29
//NY_Notes
_On Material Enthrophy // Geometry and facting can be used to channel elemental forces that subsequently act on the building, creating lines of rust, decay and maybe melts. // Visually this can be used to emphasize contouring and depth, not unlike how a pencil shades.
_On Mies // His forms were planes floating in the air, a proun in stable equilibrium held up by lines. The spatial proportions played through, from facade to interior letter boxes The qualities of this were achieved by detailing edge definitions, hiding connections as well as the material finish, which hid in the shadows and shone bright in the light: it picked up the tones from the surrounding colours, colour runoff. // The material was inbetween a matt material and a pearly gritty finish that flirted with the light. The interior was a muted wash of orange light: a warm colour temperature that contrast with the cold exterior that caged it.
_On Silhouettes // There is a visual game between opacities, the forms they veil and unveil and on a secondary filigree that is a cacophony of lines, nest like, that wraps it. Order and disorder. It flirts between expectation and anticipation.
_On Wildness // It seems that the Igualada Cemetary is actually a surprising precendent for manicured wildness. Cuts, tears and holes: oscillating light levels or dark and light. Two intertwining bodies: synthetic and controlled, curated and wild. What this means is one is where there is shopping, housing, all the civil programs we have come to know as associated to the city. The other is a winding route, partially an accident from the fall out between the new and the existing. what this means is I need to define a larger territory, and then reduce it. (whatever that may mean, at this point). // Could the THICK wall be made of garbage? The point is that it could be something that grows with time, like flubber. What will be interesting is when they encroach upon each other: entirely filled up. Could it be used as formwork? A residual imprint. What material would be interesting?
_Halfway Observations
//The two boys self-consciously explored each other. Their implicit submission to each other was painfully obvious to everyone but them.
//Her berber blue blousen dress accented her skin subtly. The silhouette of her high-waisted puffy pants echoed the silhouette of how her hair fell which silhouetted the shape of her soft face. She also played the cello and laughed like one too.
//It was hard to regard her with any preset assumptions. I liked the strangeness of her: it wasn't subversive or reactionary, just raw and stripped. She was sensual without being sexual and perhaps its because of the matter-of-factness and almost machinic precision with which she treated her body- no smirk of self-satisfaction or strain of effort. It forced me to regard her body as a thing- a material thing that moved and had shape and texture. History without baggage. Maybe that is what experience is.
_On Material Enthrophy // Geometry and facting can be used to channel elemental forces that subsequently act on the building, creating lines of rust, decay and maybe melts. // Visually this can be used to emphasize contouring and depth, not unlike how a pencil shades.
_On Mies // His forms were planes floating in the air, a proun in stable equilibrium held up by lines. The spatial proportions played through, from facade to interior letter boxes The qualities of this were achieved by detailing edge definitions, hiding connections as well as the material finish, which hid in the shadows and shone bright in the light: it picked up the tones from the surrounding colours, colour runoff. // The material was inbetween a matt material and a pearly gritty finish that flirted with the light. The interior was a muted wash of orange light: a warm colour temperature that contrast with the cold exterior that caged it.
_On Silhouettes // There is a visual game between opacities, the forms they veil and unveil and on a secondary filigree that is a cacophony of lines, nest like, that wraps it. Order and disorder. It flirts between expectation and anticipation.
_On Wildness // It seems that the Igualada Cemetary is actually a surprising precendent for manicured wildness. Cuts, tears and holes: oscillating light levels or dark and light. Two intertwining bodies: synthetic and controlled, curated and wild. What this means is one is where there is shopping, housing, all the civil programs we have come to know as associated to the city. The other is a winding route, partially an accident from the fall out between the new and the existing. what this means is I need to define a larger territory, and then reduce it. (whatever that may mean, at this point). // Could the THICK wall be made of garbage? The point is that it could be something that grows with time, like flubber. What will be interesting is when they encroach upon each other: entirely filled up. Could it be used as formwork? A residual imprint. What material would be interesting?
_Halfway Observations
//The two boys self-consciously explored each other. Their implicit submission to each other was painfully obvious to everyone but them.
//Her berber blue blousen dress accented her skin subtly. The silhouette of her high-waisted puffy pants echoed the silhouette of how her hair fell which silhouetted the shape of her soft face. She also played the cello and laughed like one too.
//It was hard to regard her with any preset assumptions. I liked the strangeness of her: it wasn't subversive or reactionary, just raw and stripped. She was sensual without being sexual and perhaps its because of the matter-of-factness and almost machinic precision with which she treated her body- no smirk of self-satisfaction or strain of effort. It forced me to regard her body as a thing- a material thing that moved and had shape and texture. History without baggage. Maybe that is what experience is.
I should get to writing an obituary or memoriam soon. and a call to Yoon is owed. The Peter letter will be finished in the plane.
2010-11-24
//Thesis: Reflections
Wildness
_Afterthoughts:
Its hard to judge if today's review went well or not. Feedback was scant and the main concern was
1) how to bridge between the gap of the urban plan and the human scale in terms of representation
this feeds into two issues
a) the dogmatic logic of developing the urban plan
b) how ths generates aberrations
two videos were well received, "didactic" was a term positively used. Herwig expressed concern about my time scheduling for such a project, especially when done by 1 person.
The lecture by Thom Maybe was especially useful. "What is that useless bridge?" "thats architecture"
The urban scale logical development has been brewing in your mind for a long time, and its time to punch it out for the final. This will be the scaffold for the architecture. It will be approached sequentially and diagrammatically in two veins:
1) Massing Exploration
2) Organizational Strategies
These are two independent studies that will intertwine at a later date by translating organizational strategies into a simple architectural language: line (3 thicknesses), surface (three opacities) and volumes/objects (aberrations)
XL
(1)_Massing Explorations
Step 1) Path Optimzation
network all the points and study it via path optimization.
+does this network cut through voluntary building surrenders?
-yes it does. this one is entirely fabricated based on the 99 year lease.
+what happens when you meet an empty area?
-engage the centroid of the empty area. to this end, a voronoi may actually be useful.
Step 2) Datum Planes
establish 2 datum planes which define 3 zones: everything above, everything below and everything in-between.
+this gives you the flexibility to burrow and hurdle
+three lines oscillate within these boundaries. They can kiss and delaminate.
+These three lines have three widths
(2)_Organizational Strategies (semi spatial, ribbon studies)
study strategies:
+Nodal - open areas
+Interface - crash through
+Stack - even field
+Earthworm
-RESIDUE: wildness.
(do 3 in different decision hierarchies)
things to consider:
environmental strategies (shading, solar orientation)
programmatic adjacencies to existing program
programmatic %
ref: Studio3A- AmericanApparel
(3)_ Collision
not sure yet, but work these two parts together.
The three lines start to vary their thicknesses
Evaluate these via character narrative. Final Output: like a subway map.
The first 2 parts will be done in NY
note to self: give the text a rest, you need more content again.
*PRESENTATION OUTLINE: Thom Mayne, BLACK BG, bottom left, SIMPLE TEXT (look in dropbox)
can this tie into the metabolists?
Wildness
_Afterthoughts:
Its hard to judge if today's review went well or not. Feedback was scant and the main concern was
1) how to bridge between the gap of the urban plan and the human scale in terms of representation
this feeds into two issues
a) the dogmatic logic of developing the urban plan
b) how ths generates aberrations
two videos were well received, "didactic" was a term positively used. Herwig expressed concern about my time scheduling for such a project, especially when done by 1 person.
The lecture by Thom Maybe was especially useful. "What is that useless bridge?" "thats architecture"
The urban scale logical development has been brewing in your mind for a long time, and its time to punch it out for the final. This will be the scaffold for the architecture. It will be approached sequentially and diagrammatically in two veins:
1) Massing Exploration
2) Organizational Strategies
These are two independent studies that will intertwine at a later date by translating organizational strategies into a simple architectural language: line (3 thicknesses), surface (three opacities) and volumes/objects (aberrations)
XL
(1)_Massing Explorations
Step 1) Path Optimzation
network all the points and study it via path optimization.
+does this network cut through voluntary building surrenders?
-yes it does. this one is entirely fabricated based on the 99 year lease.
+what happens when you meet an empty area?
-engage the centroid of the empty area. to this end, a voronoi may actually be useful.
Step 2) Datum Planes
establish 2 datum planes which define 3 zones: everything above, everything below and everything in-between.
+this gives you the flexibility to burrow and hurdle
+three lines oscillate within these boundaries. They can kiss and delaminate.
+These three lines have three widths
(2)_Organizational Strategies (semi spatial, ribbon studies)
study strategies:
+Nodal - open areas
+Interface - crash through
+Stack - even field
+Earthworm
-RESIDUE: wildness.
(do 3 in different decision hierarchies)
things to consider:
environmental strategies (shading, solar orientation)
programmatic adjacencies to existing program
programmatic %
ref: Studio3A- AmericanApparel
(3)_ Collision
not sure yet, but work these two parts together.
The three lines start to vary their thicknesses
Evaluate these via character narrative. Final Output: like a subway map.
The first 2 parts will be done in NY
note to self: give the text a rest, you need more content again.
*PRESENTATION OUTLINE: Thom Mayne, BLACK BG, bottom left, SIMPLE TEXT (look in dropbox)
can this tie into the metabolists?
2010-11-22
//Things I've Learnt This Week
//MAYA
goodwebsite: creativecrash.com
_Ncloth:
+tweak global scale for large objects (default units = cm)
+its not a simulation tool, just make it look realistic
_Texturing:
+3D maps dont need mapping. easy.
+map both reflections AND refractions
_HDRI
+this is editable in photoshop! useful
_Shadows
+use raytrace, settings: 0.5, 10, 6
+Area lights: use linear decay and tweak the values
_Cut animation
+Cut Face>Options>CutFaceAuto
_OpeningFiles
+open>options>ignore version
+export as MA, open in text doc, delete words
//AE
website: videocopilot
_ObjectTrack
+track with four points and map to video file.
+Track backwards and forwards to sidestep disappearance
_AE + PS = Awesome
+can import layers
//Photoshop
_ScreenType
+Shift/F
//note to self: be disciplined about your hours.
//MAYA
goodwebsite: creativecrash.com
_Ncloth:
+tweak global scale for large objects (default units = cm)
+its not a simulation tool, just make it look realistic
_Texturing:
+3D maps dont need mapping. easy.
+map both reflections AND refractions
_HDRI
+this is editable in photoshop! useful
_Shadows
+use raytrace, settings: 0.5, 10, 6
+Area lights: use linear decay and tweak the values
_Cut animation
+Cut Face>Options>CutFaceAuto
_OpeningFiles
+open>options>ignore version
+export as MA, open in text doc, delete words
//AE
website: videocopilot
_ObjectTrack
+track with four points and map to video file.
+Track backwards and forwards to sidestep disappearance
_AE + PS = Awesome
+can import layers
//Photoshop
_ScreenType
+Shift/F
//note to self: be disciplined about your hours.
2010-11-15
Dear Lennard-Future,
How have you been? The past few weeks has been a headlong rush into work with reckless abandon to everything else. Fun has been reduced to the residual time spaces, which makes it lack the oomph. Fun has been reduced to smoking and drinking, which also is another problem .
The pressures of school are piling on: to produce more and more. balancing this with WHY makes it frustrating, and you fidget too much. one test model after another. stop doing that.Friday nights and saturday are no work days, don't try to squeeze in "one more text". Work is work, outside of that, breed a life man.
For example, you could ask ingrid to the museum next week. OR. an afternoon visit to the wanderkammer museum. Also, when you go out, bring your sketchbook and pencil. Draw more. It was good for you.
You're doing semi well with food: cooking and bringing food to school. Problems arise when its a two meal deal, so maybe its best if you have lunch in school and go home for dinner. rest, and then go back to school. Could this be a new work order/ it would fuck somethings up, but could be a useful test. You do good work when you are forced to sit down and work. Cut out the distractions. 25min work bursts are useful, and dont forget to work iteratively.
You can still try to have a life.
Love,
Lennard
How have you been? The past few weeks has been a headlong rush into work with reckless abandon to everything else. Fun has been reduced to the residual time spaces, which makes it lack the oomph. Fun has been reduced to smoking and drinking, which also is another problem .
The pressures of school are piling on: to produce more and more. balancing this with WHY makes it frustrating, and you fidget too much. one test model after another. stop doing that.Friday nights and saturday are no work days, don't try to squeeze in "one more text". Work is work, outside of that, breed a life man.
For example, you could ask ingrid to the museum next week. OR. an afternoon visit to the wanderkammer museum. Also, when you go out, bring your sketchbook and pencil. Draw more. It was good for you.
You're doing semi well with food: cooking and bringing food to school. Problems arise when its a two meal deal, so maybe its best if you have lunch in school and go home for dinner. rest, and then go back to school. Could this be a new work order/ it would fuck somethings up, but could be a useful test. You do good work when you are forced to sit down and work. Cut out the distractions. 25min work bursts are useful, and dont forget to work iteratively.
You can still try to have a life.
Love,
Lennard
2010-11-08
2010-11-06
2010-11-04
2010-11-02
//Looking for References
SHOWstudio: Gareth Pugh A/W'09 by Ruth Hogben from SHOWstudio on Vimeo.
Gareth Pugh S/S 2011 Collection - Director: Ruth Hogben from SHOWstudio on Vimeo.
This is an example of a highly refined video.
Ruth Hogben uses cutting very evocatively. The use of symmetry and very intentioned pacing of the video is another enticing prospect. So is the restrained palette.
The space of the screen itself is a canvas, an abstract medium which she engages. Its painting with time, light, shadow and sound.
There is a dynamic balance between the compositional symmtery and connotative asymmetry. Time is malleable, she stretches and compresses it at will: viewing it lends the same feeling of a roller coaster.
SHOWstudio: Gareth Pugh A/W'09 by Ruth Hogben from SHOWstudio on Vimeo.
Gareth Pugh S/S 2011 Collection - Director: Ruth Hogben from SHOWstudio on Vimeo.
This is an example of a highly refined video.
Ruth Hogben uses cutting very evocatively. The use of symmetry and very intentioned pacing of the video is another enticing prospect. So is the restrained palette.
The space of the screen itself is a canvas, an abstract medium which she engages. Its painting with time, light, shadow and sound.
There is a dynamic balance between the compositional symmtery and connotative asymmetry. Time is malleable, she stretches and compresses it at will: viewing it lends the same feeling of a roller coaster.
2010-10-29
2010-10-19
//Exorcising Ghosts in Our Machine
What does it mean to be human? The simple answer might be "the soul", which rephrases the initial question into a comfortable word which doesn't beg for a deeper answer. But avoiding lyrical poetics, what is a soul?
"The Ghost in the Machine is a 1967 non-fiction work by Arthur Koestler. Koestler is aiming at a more general explanatory principle, the hierarchical organization of life and the adaptability of living forms through a continuous exchange of energy and information.
Following this principle down to its consequences, the book gets to a theme which has somehow never ceased to be of actuality, man's tendency towards self-destruction.
The book is particularly critical of B. F. Skinner's Behaviorist theory of psychology.
One of the book's central concepts is that as the human brain has grown, it has built upon earlier, more primitive brain structures, and that these are the "ghost in the machine" of the title. Koestler's theory is that at times these structures can overpower cognitive logic, and are responsible for hate, anger and other such impulses."
The book is particularly critical of B. F. Skinner's Behaviorist theory of psychology.
One of the book's central concepts is that as the human brain has grown, it has built upon earlier, more primitive brain structures, and that these are the "ghost in the machine" of the title. Koestler's theory is that at times these structures can overpower cognitive logic, and are responsible for hate, anger and other such impulses."
This metaphor of the ghost alludes to the idea of a soul, or, the irrational. Can one map the soul? And if it can be mapped and understood, does this mean it is no longer irrational and thus no longer within the domain of the soul?
If the soul is the territory of the unknown, are these boundaries (of the unknown) a constantly expanding horizon, or is it something that is fast closing down on us.
And if so, are we losing, or lack of a better word, our souls or what it means to be human in the first place. Is the act of being human, in part, a surrender to our partial mysteries.
2010-10-18
//When Words are Necessary
"... During this period El Lissitzky proceeded to develop a suprematist style of his own, a series of abstract, geometric paintings which he called Proun (pronounced "pro-oon"). The exact meaning of "Proun" was never fully revealed, with some suggesting that it is a contraction of proekt unovisa (designed by UNOVIS) or proekt utverzhdenya novogo (Design for the confirmation of the new). Later, El Lissitzky defined them ambiguously as "the station where one changes from painting to architecture."
//from Rhizome.Org
this is too cool! its like drawing infrastructure, or paths. its such a simple interface to create simulations
2010-10-17
// Polite Humour
There is a dutch-ness to that dutch that could be described as polite indifference, which is a very spectral form of self-centered selfishness.
"Dutch life is gentle. As the German poet Heinrich Heine supposedly said (though nobody can find the reference): “When the world ends I’ll go to Holland, because everything happens there 20 years later.”"
There is a dutch-ness to that dutch that could be described as polite indifference, which is a very spectral form of self-centered selfishness.
"Dutch life is gentle. As the German poet Heinrich Heine supposedly said (though nobody can find the reference): “When the world ends I’ll go to Holland, because everything happens there 20 years later.”"
2010-10-16
// Public Announcement
Starting the week after Halloween, this privately public life is going to be public-ally private. Thank you to whoever has taken the time to read any of this, and moreover, a debt to Bruce for encouraging me to write more and checking in every once in a while.
For the curious, another log has been going underway in the guise of LookingForTheLookingGlass.Tumblr.com for a thesis that I am in the midst of. My more public thoughts and opinions will be channelled there.
Check back in a few months or years, who knows. The Whale may resurface at any time.
Till then, its been a fun experiment and best wishes to this phantom public.
Adios to who you think I think I am,
(and who I think I am by who you think I am),
Hello to my honest reflection.
tschues,
Lennard Ong
12.45am,
Saturday, October 16 2010.
Starting the week after Halloween, this privately public life is going to be public-ally private. Thank you to whoever has taken the time to read any of this, and moreover, a debt to Bruce for encouraging me to write more and checking in every once in a while.
For the curious, another log has been going underway in the guise of LookingForTheLookingGlass.Tumblr.com for a thesis that I am in the midst of. My more public thoughts and opinions will be channelled there.
Check back in a few months or years, who knows. The Whale may resurface at any time.
Till then, its been a fun experiment and best wishes to this phantom public.
Adios to who you think I think I am,
(and who I think I am by who you think I am),
Hello to my honest reflection.
tschues,
Lennard Ong
12.45am,
Saturday, October 16 2010.
2010-10-15
//fun brain clutter
apomechanes is derived from "��o ������� ����" literally "god from the machine", which is a plot device of ancient greek drama. In numerous tragedies, the poet would gradually steer the plot/myth to an inflection point at which the natural resolution of the conflict would be very difficult if not impossible. Then, an unexpected event in the form of an intervention of a god would take place and allow for the play to continue. The term "from the machine" was established due to the fact that the god would enter the stage with the help of a "machine" - a wooden crane on which he would appear floating from above.
deux ex machina
apomechanes is derived from "��o ������� ����" literally "god from the machine", which is a plot device of ancient greek drama. In numerous tragedies, the poet would gradually steer the plot/myth to an inflection point at which the natural resolution of the conflict would be very difficult if not impossible. Then, an unexpected event in the form of an intervention of a god would take place and allow for the play to continue. The term "from the machine" was established due to the fact that the god would enter the stage with the help of a "machine" - a wooden crane on which he would appear floating from above.
deux ex machina
2010-10-14
//He Makes My Toes Twinkle
http://www.myspace.com/meekintheweb
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