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I will never do a lecture with this kind of brainless testosterone puppet. I am glad not to have to share the poster with irrelevant people. I will leave the pleasantries for Venice…. You are a symptom, dear Alejandro as Patrick S.. Which has the advantage crime? You are a symptom, dear Alejandro, and you get money back mainly because this symptom is simultaneously your blind spot. Few of you are directly responsible of the sinking… from intellectual reductionism. I will see you in Venice with the Frida Kahlo Epigone storefront … dancing a Rumba between mister testosterone and miss nymphomaniac… superb… those people are so LVMH, so Hype, so sexy…catharsis-tic….

T here are many machines, so many desirable machines that in fact pretend to do more than they are doing. In the pursuit of pataphysics — the branch of philosophy that deals with the imaginary realm — they never reveal their deep natures: Simultaneously speculative, fictional and accurately and efficiently productive, these machines navigate the world of Yestertomorrowday , with happiness and innocence, walking briskly through the mountains of rubbish of the 21st century and beyond.

These pataphysical machines articulate symmetrically — through weird apparatuses — different arrows of time, different layers of knowledge, but more efficiently they negotiate the endless limits of what we could consider the territory of absurdity, where illogical behaviour is protocolised with an extreme logic of emerging design and geometry, where input and output are described by mathematical rules ….

In a casual and basic sense, machines have always been used to elaborate technicism as the extension of the hand, through its replacement, its improving, its acceleration of the speed and powers of transformation, of production. However, it seems very naive to reduce the machine to this obvious objective dimension, in a purely functional and mechanical approach; limiting it exclusively to a Cartesian notion of productive power, located in the visible spectrum of appearance and fact.

This is the opposite approach to a headlong critique or denouncement of capitalism that highlights the substitution of craftsmen with unskilled workers manning machines 5 the natural consequence of this now being a mechanical system without workers.

Walter Benjamin described this shift as a move from the singularity of production to mass production. They are both dependent on this schizoid potential. Following are a few examples of those pathological strategies of narration-production. Stand up and face the ghosts in the depths of your private garden! Rent this vehicle to transport yourself from a seated, peaceful, sleepy archaic body posture to a standing, lucid awakened position that induces bravery in those faced with the present.

The star-gate machine introduces the passage of time between two constructions of different origins and periods. But mainly this machine is most efficiently used as a vector of discovery that reaches a point of uncertainties, of un-determinism, to escape from a zone where everything has already been flattened, classified and validated.

Using the vehicle too often might cause a sensation of time deprivation and sometimes immortality, but also ultimately a good excuse for denial of your duties in a given time. You might also lose the sense of time passing, which can significantly impair synchronising motor actions. Ultimately, it can cause memory loss.

On the contrary, overexposure to the present time staying in one time or another might cause the user depression, cynical behaviour or other pathological distresses, which the vehicle shall not be held responsible for …. The device does not work for French architecture, which already confuses its origins. The Wanderer can be transformed for collecting other materiel.

The machine collects any ingredients to be recycled in a new productive use. This grants a second life to the waste, and the trash in polluted areas such as post-military zones with unreachable infrastructure interstices. Please take care of the backlash of those creatures. The machine is originally built with a very high self-estimation sensorial device, as well as a danger-blinding component, both necessary for its brave actions and responsibilities. However, depending on the environment it is exposed to, the machine could be subject to sudden and violent changes in self-esteem.

In case of failure or small breakdown if the danger-blind component gets hurt , the machine will exhaust itself until suicide. If you notice that the machine repeats a very high exposure to dangerous situations, put it off to avoid risks of suicidal tendencies disguised into bravery. Transforming informal heaps into deformed ones, this machine recycles waste from metallurgic and construction sites into potential troglodyte morphologies.

This machine is still in development. It is thus available for rent under a special discount as a beta test. The provision of sufficient energy levels for the effective gathering of steel has not yet been accurately gauged, and dysfunctions may easily occur when the Recycler is in operation. We recommend for this machine only to be rented in parallel with the crane that is able to stabilise its agenda and positioning.

We require feedback from customers to improve the reasons behind its design, which appear for now weak. This machine will be removed from the catalogue if there are no further reasons for it being in existence.

Due to its lack of resolution, this machine is especially vulnerable. Protect it from the feeling of identity loss by engaging with it on a private level — otherwise it might show a tendency to confuse its own being with the built environment, and develop skin camouflage diseases in order to disappear inside its own construction.

An early stage of depersonalisation can be spotted by its tendency towards metallic somatisation. Rent this device to populate a surface that will be revealed by the trajectory you convey by impulse to the machine. Its multiple arms will follow a dance of intricacy in compulsive articulated movements, giving ideal programmable empirical shape and outcomes. This machine has to be rented with a specific number of components only available in packages of units to be populated in any condition, any situation.

The individual component is developed as a Velcro termination, self-attached by a comb-feather design, with variable positions able to assume, at your convenience, polyphonic structures; be they massive, fluid, opaque or transparent. The machine is able to be packed in a pick-up of 3 x 2 x 1 metres 10 x 7 x 3 feet including the tracks that are 10 metres 33 feet long. The intricate packing fabrication will follow the isocurves you defined in the space in a repetitive adaptation.

Due to the requirement of unpredictability of its work, the machine is subject to bipolar disorder, alternating manic, hypomanic and depressive episodes of varying lengths. Although these episodes are necessary to the nature of the random intricacy process, they might in the long run cause side effects such as racing thoughts and rest mode OFF deprivation.

Take care of possible exhaustion of the machine, as well as of the feeling of impuissance in front of its never-ending chore. On the contrary, if the machine shows repetitive, ordered or systematic combination processes, bring it back to the shop immediately for emergency reprogramming.

Rent an agile hyper-proteined device, shitting liquid concrete in a vertical phallic extrusion, which is turned into coagulations that it stands on to continue the construction process in defiance of gravity. The Shitter is only made available to rent to a minimum of 30 families, dedicated and driven by a bio-politic decision.

The device is a usable, operative machine for a self-organised micro-urbanism conditioned by a bottom-up system. This structural calligraphy works like a machinist stereotomy composed of successive geometrics according to a strategy of permanent production of anomalies: The machine is set in between anal and foecal stages, leaving both unresolved in order to achieve full development of its construction capacities. Anal expulsive behaviours, as well as exhibitionism, are frequent phenomena of the machine and are to be considered as signs of good health.

Placed in an extremely social zone, these behaviours could later develop into paraphilia: It is strongly recommended, therefore, not to place it in public zones ie outside of your own multitude. The device is also slightly narcissistic, which could provoke strong reactions in similar devices of different multitudes. Rent this extremely efficient packing, ordering, classifying, numerating and xyz-positioning machine, for an endlessnessless stacking and staggering.

The Packer is only available for long-term rent. The morphological trap it creates is both a jail and a protection apparatus. This dual strategy avoids the occupant perceiving their own madness and protects others from their own pathologies. In order to achieve high efficiencies in ordering, numbering, arranging, checking, cleaning, etc, the machine was implanted with intrusive thoughts that can produce uneasiness, apprehension, fear and worry.

The repetitive behaviours aimed at reducing these anxieties can also manifest in an aversion to particular numbers or in the absurd repetition of nervous rituals. In case you notice such signs of obsessive compulsive disorder, please bring the machine back to the shop immediately for a diminution of input anxieties.

Rent this under-seawater device that behaves as an extractor removing algae and extracting chemicals calcite and particles from the water in order to agglomerate a masochism structure. The progressive accumulation is condemned to be pulled and pushed by the current and tide, which drives the orientation and the progression of the crystallisation without a forecasted positioning agenda.

The machine is usable only in seawater, which contains approximately milligrams per litre of calcium and represents 1. Before renting you need to request a survey to confirm the quantity of calcium in your location.

We can provide this expertise. In order to function, the device requires a water depth of between 6 metres and 20 metres 20 and 65 feet.

The extraction, transformation processes are patented. The chemistry filtering and reaction cannot be divulgated in these instructions of uses. Please do not open the sealed core of the machine; it is toxic. The machine is built with a total submission to external factors such as currents, tides and lunar eccentricities. The more it is ill-treated by the water, the better it will work. The machine is also cyclothymic, subject to mood swings, and is voluble in its responses to the water humiliations.

Due to the mixture of these characteristics, the device is susceptible to construct totally useless structures, and cannot be held responsible for the unusable nature of the structures built.

You are renting it at your own risk. In extreme cases of maltreatment, where the machine is overexposed to water or other environmental factors, it could become self-defeating or suicidal.

Ultimately, it could completely stop functioning. Rent this silk cocoon-weaving device — preciously precise and accurate — to create temporary buildings, camping sites, outdoor workshops or garden parties. Do not complain that this machine is both the producer and the structure of the production, trapped in its own net. It is its own process of know-how. The silk membrane could be waterproof or not. The wire is the product of bio-production, starch and flax.

Its lifespan is around 10 days before it degrades and loses its structural resistance. This melting condition is per cent natural, and the process of necrosis will provide nitrogen and nutritional elements to the ground. Do not be afraid of the ostensible pollution it seems to generate. Different time spans for synthetic silks are available on application. The synthetic silk wire is provided by a bobbin of 10 kilometres 6 miles. The machine is conditioned to have a lack of bodily feeling in its surfaces in order to keep it endlessly weaving surfaces.

However, it can unexpectedly reject the surface and return to its body, inducing the formation of a protective cocoon around itself. This bulimic tendency to recreate a virtual dimension of potential traits, connections, affects , and movements around its own body are symptoms of the future loss of the machine inside its own production.

At this stage nothing should be attempted to stop the claustrophobic process. Rent this device — the Astrolabe Stutterer — to ascertain the level of threat posed by two discrete planets, the sun and the moon, and the human pathologies they produce. This machine detects any potential harm that these planets threaten, and secures your negotiation with the celestial vault: The device can be used in correspondence with uranium powder, which has a natural afterglow that indicates the intensity of UV emissions.

The uranium powder is provided with special conditions, because of the emission of alpha rays below the administrative threshold , which have been agreed by legal settlements. This machine has the potential for a double paranoia: The moon part of the device points to the symptoms of the moon: Nothing seems real, but everything in fact affects your metabolism.

Due to the dual nature of the object to be read, schizophrenic episodes of low intensity are normal and even necessary to the effective functioning of the device. If placed under ambiguous coordinates, the clock is subject to delusive and paranoiac interpretations of the astral movements and this will induce disorganised reports and drawings, impossible to be read or understood under normal circumstances.

If pushed to its extreme, the device will run from purposeless agitation and motions to complete catatonia in which case it is recommended to unplug. In the next decade or so, the widespread adoption of robotics is set to transform the construction industry: What unique opportunities, however, does robotics afford beyond operational effectiveness explicitly for the practice of architecture? What is the potential for the serial production of non-standard elements as well as for varied construction processes?

In order to scale up and advance the application of robotics, for both prefabrication and on-site construction, there needs to be an understanding of the different capabilities, and these should be considered right from the start of the design and planning process. Together with other contributors, such as Neri Oxman, François Roche and Antoine Picon, they also look at the far-reaching transformations starting to occur within automated fabrication: To get 5 gigas bytes of Point Cloud…micro station for transferring point could in millions of Rhino point…Python to generate attractors, repulsor effect and reveal the negative, the void of the forest, where something could infiltrate… approximation of surface…3Dprint and modeling in synthetic plaster to blur the positivism of the scientific process… 3D scanning by Kinect…and distribution and cluster population on surface by Python-Rhino…grasshopper shaking…Design of the intricable component, test of cnc milling scale one by Kuka-Agilus…and preparation of the final aluminum Mold, again by CNC….

The research on geometry is a mathematical development revealing a shape according to the existing obstacles surrounding it the trees — calculation of distances to trunk, branch, foliage , followed by an equation to define a Timidity relation between the limits of the emerging shapelessness and the contour of the existing morphologies. We include in the bio-plastic of Components some D. Vous apparaissez comme un faiseur… Un plagieur…. Faut-il 10 s de plus…. Je vois le genre…. Voulez-vous bien vous renseigner à mon propos avant de vous permettre certaines banalités?

Je vous propose de nous rencontrer pour travailler ensemble. Confondant science et pouvoir de la science…Voir le Log 25 édité à ce sujet entre autre a NYC… il y a deux ans…. Epuise depuis…je crois…mais on doit le trouver sur le net…. Seriez-vous disponible pour un entretien en ligne? Le retour de flamme fait mal…. Andrea Graziano, que vous devriez connaitre et rencontrer, a la même position. As-tu embauché le chef de projet 6 mois que tu cherchais? Bon je ne vous en veux pas personnellement…..

Que vous véhiculez sans bien saisir les causalités et dépendances…Donc de votre question…. Ou pour mettre une sonde dans votre-leur système? Deuxième a x-y mètres en quatre……troisième a x-y-z etc. Le fait que je sois plus ouvert que toi ne veut pas dire que je suis un con.

On se demande même si ton projet existe vraiment. You see them everywhere: The version of the Cloud at the Serpentine [3] was no exception to the rule.

Has Friedman become, through no fault of his own, an icon for fakers, architects who reek of cheap — and lazy — political aesthetics? Perhaps his image could adorn a special bar of soap sold by art centers to raise money for the disadvantaged? It could be used for washing your hands of him as part of the collective amnesia, and take nothing from his work but the geometric inclinations and scientific and technological strategies that underpin his preambles, discarding the human, the stink, filth and comedy, to borrow a phrase from Artaud, [5] and seeing human beings as nothing more than decorative options on lop-sided cardboard shelves awaiting visitors, an attempt to summon up a soupcon of improvisation, a utopian palliative!

What are we talking about here? A cultural and museological endeavor launched 15 years ago whose mission was to rewrite history, specifically the radicality of the heroic post-war years — marked by architects like Ionel Schein and Yona Friedman — until the oil crisis and the postmodern reaction put an end to that chapter. Their brief was alluring, and historical work more necessary than ever to combat the willful blindness of the power-and-thought structure that had unceasingly ignored them in the s.

That work was well done, except for one thing, and no small thing it was: The architecture and the architects were stripped of all their combativeness and friction in the face of their society, against it and as part of it, and all that was retained was the cultural and instrumental dimension see exhibition at the Pompidou Center [5. Their work was expunged of all its pathogenic elements, the sources of disorder, incompleteness and political and social unpredictability [6] that were the very reason for its existence.

Doing political architecture politically, to rephrase Godard, means using aesthetic strategies diametrically opposed to the Fine Arts models of thought and transmission, i. Thus architecture is reduced to a lovely object, painless, odorless and inoffensive, drawing its legitimacy from the experiments of the Sixties, not to interrogate their meaning for today and their non-synchronicity with our times, their naivety and toxicity, but to use them as historical and cultural excuses, as a shield to protect its autonomy.

He himself went deaf to the world, literally, thumbing his nose one last time, like a mischievous kid or a kind of self-protection against abusive appropriation… A dialog of the deaf. This interlacing, a rational and well-ordered superstructure, is on standby, or, more precisely, suspended, in both meanings of the word. Literally, in that it hangs above the city whose aerial interstices it occupies, but also suspended pending a hypothetical human colonization, which, in contrast, is dedicated to the free will of one and all, the negotiated interfacing of individuals and groups that determine the modes of habitation and interrelation according to their impulses and moods, or in other words, to the disorder of human activities and the incompletion of the desires of the multitudes.

Precisely there and on two levels: The relationship between the mathematical enunciation and the anarchy of the modes of colonization generates a system of opposition that involves neither development nor correlation, nor organization in the sense of a co-functioning.

It is not a symbiotic symbolic protocol, and there is no mutual affinity between the elements. The hierarchized chronologies of systemic-systematic permutations are not produced by the principles of contagion and epidemics [9] that would phagocytize and dissolve the previously established geometries. The contact and development of the disordered entanglements of the human, all too filthily human multitude does not metabolize scientific causality.

Thus one becomes a member of the now hyped and has-been sect called radical architecture. Are human relationships so tricky to take into account that they have to be ideologized, idealized, carefully eschewing and excluding their excessive nature, the combinations of misunderstanding, conflict and resignation that produce meaning and thought at the price of the defection of the latter?

This will only take three minutes. Relax and slide your hand into this box. It will set a baseline by measuring your bodily equilibrium over the next 30 seconds. Your body will react naturally to my voice. Let my voice soak into you. Just let yourself feel it and react. It helps us capture the changes in your emotions without being intrusive.

Let it flow into you, breathe it in. It is simultaneously your guide and your emotional indictor, your dynamic portrait. Its movements are directly influenced and affected by the nano-particles you will inhale and exhale. Breathe deeply and slowly…. You breathe in the atmosphere of this dwelling; you let it infuse you.

You might feel more comfortable here or more uncomfortable. You took pleasure in this vertigo. In an unstable, tenuous equilibrium… you felt this dizziness like something that is still inhabits you… the void is right there, under your feet.

The family, your family, has become a conflict zone and you can no longer be in denial or calm things down.

Not that space has the power to reduce and absorb those underlying, exhausting, gnawing conflicts, but it can offer layouts that encourage the morphology of the moment, and offer you choices in your relationships…. Synchronized to your own body, your arteries, blood and genitals, to your beating organism… and you are a thing, an element amid that whole ensemble, porous, able to merge, respiring and aspiring to be your own environment.

Just let yourself slip into this silky and strange sensation that terrifies and caresses you…. You might feel slightly confused for a few seconds while the nano-receptors are being expelled and reabsorbed. You can take a look at your physiological report on the screen in front of you. Please leave the way you came in [12]. Very different than the petrified Turbulences made after an unbelievable second round, a kind of administrative prank. Developed by the mathematician Monge in the 18 th century.

The program asked individuals for their special preferences, and then analyzed and processed this data based not only on the desires of their neighbors, but also light, access to ventilation, etc. He finally abandoned this project because he deemed that his computer could not understand the twists and turns and complexity of the process of human decision-making.

It means staging a break-in to the logic of things when language has to negotiate with the depths of the body, down to the bottom folds, like with Antonin Artaud and his compulsive catatonia.

This physiological test above works like an emotion detector. It only takes seven minutes. The protocol is simple. During the test, a sort of vapor of nanoparticles is emitted, so that we can detect the evolution of these emotions without noxious intrusion. Le travail fut bien fait. La réécriture subjectivisée des temps Monarchiques par Michelet se voulait au service de la république. Lui-même étant devenu sourd au monde, littéralement….

Cela ne prendra que trois minutes. Et glissez votre main dans cet écrin…. Il va se calibrer sur votre équilibre corporel pendant les 30 prochaines secondes. Il va naturellement réagir à ma voix, laissez-la vous envahir, ne soyez pas inquiet……il vous appartient de la sentir et de la ressentir. Une machine constructive, une machine robotique est face à vous, elle est à la fois votre guide et votre indicateur émotionnel, votre portrait dynamique… ses mouvements sont directement affectés et influencés par les nanoparticules que vous allez inhaler et exhaler.

Respirez profondément et lentement…. Vous êtes dans votre habitat, votre futur habitat, celui que vous désirez sans encore le connaitre, mais vous le sentez, et vous en parcourez les lieux…. Vous avez tiré plaisir de ce vertige….

Synchronisé à votre propre corps, à vos artères, à votre sang, à votre sexe, à votre organisme palpitant….

Tout est là, en train de se faire, dans un mouvement en train de se faire … Laissez-vous emporter. Ne pensez pas et glissez-vous dans cette sensation soyeuse, étrange, qui vous effraie et vous caresse ….

Reprenez vos esprits et attendez pour vous lever que vous vous sentiez prêt à le faire. La séance a pris fin. Je ne vous raccompagne pas, vous connaissez le chemin. Dan Schulz, Eleanor Tullock. Terra Insola is a collective enterprise of scientific storytellers, speculative archeologists, regenerative engineering, deviant-mythologists and dirty-physiologist exploring the mythic figure of Ariadne as an archetype of a modern feminist, living within a suspended time between two stages of her life, in the time between her relationships with Theseus to Dionysus, between the macho-man and the alcoholic.

She is bound by a daytime routine and her perpetual commitment to a machine, releasing herself from all constraints and achieving self-sufficiency. She lives in an idyllic biotope without context or reference, extracting fluid sap from the eucalyptus tree that sustains her nourishment in an anthroposophic exchange, and mixes her physiological substances such as urine with the earth that surrounds her to secrete ceramic for the structure that shelters and interlaces her.

The structure itself is a metaphor of an endlessness creation, an architectural process that emerges within an infinite loop. The myriad of spiraling mazes and glazed clay components that wrap her body and her mind are developed by and with a machine tamed and domesticated by Ariadne to extend her desires and construct her needs in a reflexive, affective and contingent agenda.

Ariadne is a woman divided by the pathology of multiple personality disorder, haunted by the echoes of her mythic past and her involuntary landing within the Schengen trap. When she lands, the barrier of Schengen was already since a long time considered as a fortress. The physio-zones are an initial preparation, a shamanism ceremony to reach a point of emotional delivery. Clothing the shop of fashion design clothes, including prototyping on site. Faced with the autistic, blind, deaf and mute violence of our technological, industrial and mercantile machinery and our own human servo-mechanism, nature reacts… with violence and without warning, in a flattering of the original chaos… a mutiny against human organization… Gaia seems to take revenge Katrina, El Niño, Hurricane Jeanne, the cyclones Thomas and Nargis, the Xynthia storm and the Ewiniar typhoon, the Indonesian and Japanese earthquakes with their collateral tsunamis all the way to Fukujima… a chain of devastating incertitude, unpredictable despite our seismographic sciences.

Without delegating power to autocratic and aseptic technocratic experts instead of the chaotic emergences of the multitudes, the aleatory rhizomes, the arborescent growths that are simultaneously a factor for its transformation and its operational mode.

This smearing is done through the recycling of industrial glass, mainly French wine bottles that are swallowed up and vomited out by a 12 metre-high machine in a process of staggering, scattering and stacking. Random aggregation is part of this unpredictable transformation following the fuzzy logic of the vanishing point. In this move the character played be Richard Dreyfus reproduces it in his own living room, using soil, plant and mud materials acquired, in a raging fit of lucidity, by destroying a small decorative garden in the neighbourhood and taking these materials into his home.

I am an imposter. It comes in the form of a human group, a re-peopling of the social structure in the form of a dream. A dream of social climates, empty lots, existing forms of nature and people and enhanced intimacy. It alters what exists, it marks out vanishing lines, subjectivities, it throbs in the form of local stories and languages, little tales, the stuff of fables and narratives garnered by tacking together and tinkering. It grows between , among other things.

It tinkers, recycles, reconstructs in all historical senses of the term. The rhizomatic bad seed sown by the two philosopher friends that stocks us up again. When everything has once and for all suddenly descended into anything goes, the deep freeze, urban guerilla warfare, and the rest of the whole shamozzle, there remains that sixth sense, nerve endings and defensive reflexes. It lives in broad daylight, not in the shadows, because the shadows are a refuge for jumpy activists living in the comfort of their ideals… clowns, as Zizek calls them.

R2 [7] In this violent antagonism, within the hollow of this personal disorder, this personal confict, we are facing two worlds facing each other: WEF versus WSF, Davos [8] versus Porto Alegre [9] … on one side, business and its operative economy, both financial and managerial; on the other, all the multitudes and their potential for organization from the bottom up — for a productive and operative resistance against the first.

How can the architect, artist, scientist, writer, and citizen absorb, swallow, and digest this Janus-like condition without favoring one over the other? Log 25 explores ways to navigate this antagonism, which could be negotiated in an un certain and ambiguous manner… nonhierarchical, nondeterministic, defining a path in which architectural protocols could fuse bottom-up and top-down, contingently, simultaneously, as if the ingredients were making recipes, and the recipes were modifying the substance of the ingredients… apparatuses of exchange, [10] which transform the game of power and the knowledge diffused through that game.

Contradictorily, the discipline of architecture in the time of now feigns ignorance of this genuine conflict, and concurrently legitimizes more and more its identity, or the illusion of an identity, at a condition of noninvasive, nonsubversive, nonpolemic, nonpolitical consequences.

The architect has become the mainspring, the cheville ouvrière , of this process in the literal sense: It produces systemic pathological effects: It is only in strategies of conflict, opposition, indignation, and occupation that the capitalist structure, an ectoplasm with an adaptable and variable geometry and contours, agrees to renegotiate its transactional modes… But for this malleability to operate, we first have to run the risk of confronting it, causing it to crack, biting it, in close combat, using tactical strategies of visibility and fallback… facades and dissimulation… offensive drives… occupation of turf, in the hollows of conflicts, in the hollows of speech utterances, their rescripting, their de-alienation — not in the cozy living-room idealism of the defeat of thought.

This particular form of masochism, which is not so much masochism as it is acceptance of the sadism of the system, is actually, height of irony, seen as… a performative act. In these conditions, and by default, it would be prudent to ask ourselves about the legal framework of such a submission, of the protocols of Sacher-Masoch, and even to define the mechanisms of exchange, domination, enslavement, eroticization and suffering, as a potentially contractual support element of this same transaction… and to redefine what constitutes the nature of that contract… not just in terms of the relationship between the parties, but in terms of the representation of this relationship: Faced with the autistic, blind, deaf and dumb violence of our mechanisms of technological, industrial, mercantile, and human domination, nature reacts… in a stuttering version of the original chaos… in a mutiny against human organization… Gaia seems to take its revenge.

Capitalism and Schizophrenia , trans. University of Minnesota Press, , The Forum organizes its annual meeting in Davos, a mountain resort in the eastern Alps region of Switzerland.

The meeting brings together some 2, top business leaders, international political leaders, selected intellectuals and journalists to discuss the most pressing issues facing the world… as it should be. Some consider the WSF to be a physical manifestation of global civil society, as it brings together NGO, advocacy campaigns as well as formal and informal social movements seeking international solidarity.

Resilience is most commonly understood as a process, not as a trait of an individual. Yet this new designer is very different from the old. One thing seems clear: Verso, , 17— Vouloir-faire , wanting to do, is substituted for savoir-faire , know-how kunstwollen vs kunstkönnen.

It is no innocent matter, either, that the critical systems in charge of questioning their validity simply offer them a helping hand, fascinated by the power that these great strategists grant them in return for their dependence.

Jean McNeil New York: But the new world knows only resistance. When I bend in order to avoid accepting the rules of their authority, I am destroying the foundations, I am insulting their legitimacy. There is rage in the face of my madness, a ferocious rage as if they found themselves faced with an act of revolt.

University of Minnesota Press, Three ingredients of the sublime: You have to be sublime at least once a day; toxic could be the cure for it, if produced twice a day. A gravy for schmaltzy affect, effect, infects, faces, fooding facing realities and Trolls, in the childish meal of cruelty. The grotesque as a romantic notion, framed by desires for beautiful, tasteful monsters, exquisite corpses and synthetic nature. Grotesque romanticizing cannot be cooked it can only be tested, so we can only hope for them, and them forget about the hope and we left with them.

A birthday cake for the temptation of sugar-ice-comput-DIY vomiting a back tomorrow lost tasty paradise. Chromatic pastry radiating in atmospheric hues, triggering the Geeks desire to explore the past?

Therefore the alternative to paranoid delusion, paranoid atmospheres, so we are trading on an emergency of the now, maybe atmosphere becomes Lust, not a bad trade. Inky FR back tatooed for Log 25 issue. It would have trapped……….. How a line of subjectivation is used as a strategy materializing in the physical world, in the tangible, touchable zone of our environment.

It is an experiment, linked to the study circle existence and contents… how to extract from the multitude of books and knowledge stored in the site, a possibility of substantiation, a possibility of materialization…. A story of somebody which found the way to extract through signs and mathematical logic a shape, which passes from his mind to a cartography, from a cartography to a 3D object drifting slowly to a real construction at scale 1 by his own enlightening… he is himself becoming a fragment of this construction….

The pool was a pool, not any more…it turns into a deep, bottomless sinkhole, engraving and digging the ground to find the door to hell…. OPEN for architecture students application below. Call it madness, if you want.

Two worlds face each other today: Davos and Porto Alegre. One represents business and the operative economy, both financial and managerial; the other, the multitudes and their potential for organization from the bottom up — for a productive and operative resistance against the first. LOG 25 will explore ways to navigate this antagonism, which could be negotiated in an un certain and ambiguous manner.

Like the car company producing cars, where a specific social organization has been created to manage production without diagnosing the structural and human alienation produced by that system, the discipline of architecture is going back to its own ghetto, constructing simultaneously an efficiency and legitimacy of knowledge from evaluation and expertise, which gather and target a high degree of professionalism.

Paradoxically the world is being pulled and pushed in so many directions, producing contradictory tensions, new conflicts, new nationalism, new local ideologies, even new El Dorados with flickering financial fireworks — mirages in the desert.

In this context, it is not innocently that a group of philosophers requestions the foundation of democracy, the validity of its structure and the procedures of delegation of power; requestions the notion of government, of governance. It fills emptiness, grows between, and amongst other things.

The flower is beautiful, the cabbage useful, the poppy makes us mad, but grass is overflow. We are at the crossroads, where, faced with the autistic, blind, deaf and mute violence of our mechanisms of technological, industrial, mercantile and human domination, nature reacts…with violence and without warning, in a faltering of the original chaos…in mutiny against the organization of men… Gaïa seems to take revenge Katrina, El Niño, Cyclone Jeanne, Tomas et Nargis, the Xynthia storm, Ewiniar typhoon, Indonesian and Japanese earthquakes, collateral Tsunamis all the way to Fukujima…chain of devastating incertitude, unpredictable in spite of our seismographic sciences.

The elements rage and the gods, so quick to pardon our folly, seem powerless to appease the rebellion, armed with infernal force…. This session is the occasion to rethink our relation, not in terms of moralist ecology, nor in terms of preservation, but rather in terms of transaction and of body and zone of exchanges…. The project must not hold back from crossing barriers because they are too morally predictable, from negotiating repulsions, anomalies, impulses of life and death, entanglement between Eros and Thanatos …the failure of a system is not a criteria of its devaluation and disqualification…but rather a system of knowledge….

This competition calls for a radical reimagination of the current relationship between humans and the built environment through the establishment of new architectural protocols of coexistence in the search of a new Partial-Total Ecology: In the past architecture has always operated as a mediator between humans and the built environment, within an anthropocentric ideological framework with a deterministic approach.

This competition seeks to escape this direct relationship and asks for submissions able to produce new socio-ecological scenarios able to reimagine our current ideas and preconceptions, in relation to notions of equilibrium and sustainability within Western Culture. Going beyond notions of moral ecology or fake sustainability, this competition asks for entries able to envision new architectural scenarios and moments of invention by looking into spaces of residual otherness to reconstitute canonical forms of thinking.

These new socioecological architectural visions will provide a new understanding and a new set of possible relations of humans with the planet. Each entry must submit a scenario for a new P artial-Total Ecology: In order to avoid direct anthropocentrism [that in essence is impossible to bypass], the competition asks to have as the subjects of inhabitation of these new scenarios a minimum of two different species [including human] and two different by-products [i.

Due to nature of the competition, based on relations and processes, the site is to be understood as a space of conflict, transaction and relations. The site will be identified through its own sharing protocols, evolutionary dynamics and transitory transactions.

The project might be developed within spaces that go beyond current acceptable notions of correctness including disgusting, monstrous or repulsive. With a similar approach, notions of life or death, success or failure might be equally treated as value creators. From the machinistic, passing by the chemical to the visceral, some of the processes that the entrant might consider in elaboration of this new Partial-Total Ecology are: The natural stone is on the middle of the stripe in the installation.

It is a radioactive natural element at the level of 0. A Geiger counter is set to control it. Normally the average duration of after glowing mix of phosphorescence and luminescence is about hours from the intensity of sun — 50 lx.

Swarm intelligence is a revolutionary new theory for explaining how the world operates. It has already transformed a number of disciplines from biology to economics.

But how can it contribute to the discipline of architecture? And what can architects learn from those working in swarm intelligence in other disciplines? It showcases some of the freshest and most inspirational digital design work to have emerged in recent months. This exhibition is an attempt to chart this emerging phenomenon. To coincide with the exhibition, a major international book is being published, Neil Leach, Roland Snooks eds.

Architectures of Multi-Agent Systems. Click on link — picture or here to get the 5mn speeches. In a restless moment near the end of their lives, Gilles Deleuze and Félix Guattari revealed their sensitivity to the uncertainty within their work, which was constantly being reformulated, by asking what it means to create. While the act of creation is not a representation of something that already exists, it is also not an irruption of the uncontrolled or undefined; it is not born of pure chaos, nor does it refer to it.

Chaos is the ultimate enemy of thought. This danger is based on the misleading understanding of creation as an expression either of transgression, breaking order, or madness. What cannot be thought is the nonrelational — those potentials or movements that fail to be actualized. Creation is danger; however it is not the danger of madness, but rather the danger of exposing an abundant sanity.

Deleuze and Guattari place creation in the field in which it is destroyed and trembles. Stuttering, where it cracks and fractures, enables us to see the door to the rabbit hole that leads not to what is beyond, not to the transcendental, but inward, to the immanent.

It is the act of creation, the necessary act of architecture — in its singularity — that can retain the access to this door. Each time, with each new utterance, architecture is again required to generate a new, real state of creation, to avoid being trapped in the net of empty words. Stuttering is conflictual, it appears as a disruption of continuity between emotion and language — where they simultaneously corrupt each other, creating a synaesthetic rapprochement where the degree or level of confusion reveals the impossible negotiation between something that tries to articulate knowledge in the public sphere and the protest of the body against being reduced to its simple appearance.

It could appear as a field of battle, where the forces present produce noise and chaos, beauty and barbarism, Eros and Thanatos, impulses of life and death. But more to the point, it is the contradictory aesthetic generated from this field of battle that matters. The catatonia of the stutter is similar — it is an articulation or de-articulation of a psychism and the production of a new physiology accessing public territories and repressed depths of consciousness derived from zones of paranoia and permanent disequilibrium.

That is the main point. To stutter is a-social not because of the non-understandability aspect, but because it perverts the appearance of socialization — a shameless pornography. We come before dimensions that deviate from language, but attempt to define how language should be considered as capable of internalizing this energy; pulling language by the tongue, and not allowing its dialectical closure.

Voids open before us, wickets through which we meet expression in its raw state. The stuttering architect is the one who acknowledges his disability and accepts his fate, his senses, and bodily intuition. This architect is like the stuttering man who knows the pain of not being able to speak eloquently, of suffering from the sense of stammering incomprehensibly, trying not to confront certain syllables — fricatives and sibilants — since he knows too well the frustration this attempt will bring upon him.

Abandoning any grammatical semblance, the phrase falls apart. The body ceases to be an appendage, becoming instead that which makes it possible for us to have an immediate, pre-reflective familiarity with reality. This points us back to the source of creation, uncovering its finiteness in aphasia, all the while showing the greatness of what is human — that which contains the consciousness of infinity.

The act of architecture extends, deforms, and breaks the boundaries of language. It emphasizes and empowers the dryness and meagerness of architectural language. Creation is destruction; we must destroy language in its present form and create it in a different form, denying certain structures as we form a structure out of what other structures are not made of. This new structure is certainly a reality; it can be seen and touched. It is certainly not nothing.

Both the signifier and the signified are always present simultaneously; what is seen is a truth in presence. Therefore, for the architect, saying is doing. We need a measured intervention — a radical and eternal reassessment that seeks to give up the prophecy temptations to transcendence , while failing to stop stuttering time and time again. To fail does not mean to represent successfully existential failures or existential meaninglessness; it means to refuse to represent.

Thus, we preserve cracks through which we can feel the muted, endless infinity behind architectural things — an infinity more devious and secret, which rejects attempts at divisibility and striations, refuses the mere instrumentality of architecture. There is a need, an urgent and asymmetrical necessity, to act. Not only was the bestiality increased, but I suspect that it was also the highest point of horror and pleasure for the barbarian — the combined malefaction and jouissance of human perversity.

We reached so high a level of monstrosity in the 20th century — from Verdun to the slaughters of Pol Pot to the recent atrocities in Rwanda — that it is now difficult to hierarchically re-qualify this notion of human bestiality and the industrial dimensions of terror. But the musician playing and dancing in Hell cannot be compared to anything else.

This unnamable amoral cultural artifact elicits repulsion and vomiting that cannot be framed or clearly unfolded; vomiting in this case to be read as the ultimate expression of language. The most uncomfortable aspect is that they are not developed from voyeurism at a distance , but are intrinsically embedded in our own bestial, individual schizophrenia. These works force us to look at the devil, not in front of us, but contained in our own nervous sweat.

Following your multiple trajectories, shadows of the catastrophe escape from our body, screams and sparks, like an animal we had been sheltering. I hear the other voices, the gnashing of the teeth of an animal in the agony of death. The voice is in me. We meet the spirits that haunt us, that haunt creation.

Stuttering dismantles the face and we rediscover the head, the teeth, and the flesh; it emerges from beneath discourse as brute fact and takes us to the threshold.

How can architecture think the moving gap as a movement of being itself? How can we cross the threshold that lies beyond the limit beyond language, beyond the wall , which is neither virtualization nor actualization, but rather the indiscernible middle? How can architecture move from report to experience?

The animal is waking up after a long hibernation. The development of the collective and individual moralism of the 20th century hygienism, positivism, modernism, progressivism, ecologism could be perceived as the Siamese-twin brother of the industrial potential for erasure and destruction of humans, biotopes, and entire territories. This permanent disequilibrium destruction and preservation versus barbarism and humanism cannot be reduced to a simple theoretical or rhetorical game; it has been and still is, here and now, the preliminary condition of any emerging discourse and practice.

As a genesis, or a genetic illness, we were born out of these conditions and we have the choice, the irreducible and individual choice, to think the field of the battle, to take sides. On one side of the battlefield are those who are driven by the illusion of elegant moralism, where we might wrap ourselves with the mantle of the right consciousness and the denunciation of a system that at the same time feeds and clothes us.

But for exercer sa puissance , we have to go away, far away from these two evident and reductive symptoms, by moving simultaneously between the two sides of the battlefield, stuttering with the enemy as a permanent deforming mirror of ourselves. The schizophrenic creative process of stuttering architecture that I seek to stress fundamentally resembles this indispensable failure or danger that you mention. But, like any defect, it has an advantage, a depth, which the shortcoming and the shortcoming alone may possess, losing something in order to add something else, decreasing in order to yearn.

The eloquent word, the eloquent structure the highest desire of the Modern Movement is lost in order to teach people to give birth to a new ear — to feel the stutter, the pain preceding the birth of a new word. Stuttering architecture is never disconnected from reality, but rather planted in the very heart of reality.

This is architecture that does not seek to eliminate the separation by creating an identity and by abolishing the paradoxes, but rather stresses the differences and confirms them, and therefore spreads a rhizomatic complexity, which we must cross continuously, without halting.

Each of these ways coincides with a task, an experiment, a way of feeling space. In Dustyrelief, an art museum project in Bangkok, you are reflecting this schizophrenia, constantly hanging between a breakthrough toward a new model and a breakdown into an old, used, and familiar model.

The city and its surfaces and atmospheres are deeply polluted by carbon monoxide particles, which wrap the tropical environment in a gray, dusty coating. The aesthetic protocol that is the genesis for the building transforms this preliminary chemical condition. Its operation arises from a multitude of contradictions — between hygiene and dirt, topological and Euclidian geometry, panoptic and heterotopian space — and a permanent schizoid vibration between the illusion of controlling an environment and the failure — the malentendu mishearing , of its application.

This disruption of logic is a stuttering tool for developing narrative relationships, lines of subjectivization and apparatuses of de-identification. There must always be an enigma. The reality of the building may not be achieved by its physical construction, as when a subject is frozen into an object.

In this case the construction will never accomplish its objective. I have to admit that this path was borrowed from a few other architects, specifically the strategy of the disruption of architectural logic. One is Adolf Loos and his raumplan , with the disjunction between the external boxy illusion and the space within. The second is Ken Adams, the Berlin architect and set designer for some of the first James Bond films, with his strange interlocking worlds, combining exotic naturalism with glossy modernist mise en scéne.

The adventures of Alice in Wonderland proceeded from the same stuttering. But back to the Bangkok situation. The apparatus that collects the dirt and reveals the degree of pollution secreted and stored day after day, year after year , realizes its own extension from this atmospheric substance generated by the city, while becoming, simultaneously through embedding in the belly of this freak the hygiene of an art museum a refugee zone for international contemporary art. We could complain how museums are becoming deterritorialized mausolea for art tourism Bilbao, etc.

This double identity forces the museum to negotiate and articulate a strategy of stuttering, tripping over its own intrinsic contradictions. The collection of carbon monoxide particles is generated by several electrostatic machines , volts without any Ampere and intensity connected to a mesh 37 meters high. It produces a negatively charged environment that is able to attract the positive voltage of the dust. A drainage system collects the detritus after the monsoon season washes it away.

As architects, we are always confronted with strange vibrations, composed by disaster and dream, by propaganda and illusion, by hypocrisies and realities. We deeply consider architecture to be a tool that could reveal and manipulate this stuttering — to eroticize our paranoia.

The future is a Faustian contract drawn up by Sacher-Masoch. Opening of satelite of Pompidou Center, Metz, 11 may Guiheux-Migayrou and Guignol-Rambert walk arm in arm, flaunting their self-satisfaction. But the most surprising thing is to see the former, who once long ago was a pioneer, so fully assuming his present role of conservator, acting like the museum equivalent of a nightclub bouncer or a cop. In a position to write history, [1] he exploits it, helping make it congeal and turn to stone, with the illusion and fantasy of classification… something between a Creationist entomologist and the malicious comeback of an ambushing Alphonse Bertillon….

Anyway, here we are in this garrison city, with the carp and the rabbit strolling arm in arm, proud of their young friendship, with undisguised pleasure… or perhaps avowed obscenity. How did these two come to form such a perfect union? These two might seem an unlikely match unless you happen to know them personally. What is the quiddity of their coitus non-interruptus? Of their wedding night?

It was the kiss of death at the eponymous institution: A clever move to take the whole pot. The two accomplices not only coolly planned out the whole thing, they claimed the prize as the dowry due them for their embrace. The lip-smacking prospect of a funhouse mirror show bringing together the little water carrier and the pseudo-philosopher using radical architecture to rehabilitate the Boomers, on the backs of those they spit on and those they silence to keep their powers of postmodern creativity as the admen that they are.

Pseudo et mot de passe: Détail des fonctions Options payantes Forum Etat du serveur. Dans ma grotte par xrisb.

Mon ange Sassie par mon-ange-sassie. Le droit de vérité par ledroitdeverite. Mes animaux de compagnie par mesanimaux Mon ange Eskimo par myangeleskimo. Hommage à murphy par goulou Un monde plus beau par lisecreation. Entrez dans ma danse par ninanet. Sentimental Tender par coeur-d-amitie. Mon Auvergne natale par monauvergnenatale. Chez Laurent par laurentshrek.

Marylène Esthéticienne par maryleneestheticienne. Perceptions, images, matières et petits instants de vie. D'Occitanie, je vous écris Mini vêtements pour poupées mannequins par cathe. Chez Giina par giina. La sagesse des anges En mémoire de notre fils Stéphane par stephmcquay. Au fil des routes Elfina déploie ces ailes par honaline.

Musique Magique par lesmeilleuresamies. Les 3 coccinelles par les3coccinelles. Grand Maitre AZA vous ouvre les portes de la belle vie par grandmaitreaza.

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