Art visual np2

The TAZ is an art of life in continual rising up, wild but gentle--a seducer not a rapist, a smuggler rather than a bloody pirate, a dancer not an eschatologist. TAZ or Temporary Autonomous Zone is an essay written by Peter Lamborn Wilson aka Hakim Bey about the creation of small territories free of any structure of control for a moment. This time issue is a very important point of the TAZ, because it advocates a non-revolutionnary way of acting which would imply that it should be perrenial. Instead of that, the TAZ takes advantage of the system's folds to exist for a short while. You can read it online here

The TAZ is an art of life in continual rising up, wild but gentle--a seducer not a rapist, a smuggler rather than a bloody pirate, a dancer not an eschatologist. TAZ or Temporary Autonomous Zone is an essay written by Peter Lamborn Wilson aka Hakim Bey about the creation of small territories free of any structure of control for a moment. This time issue is a very important point of the TAZ, because it advocates a non-revolutionnary way of acting which would imply that it should be perrenial. Instead of that, the TAZ takes advantage of the system's folds to exist for a short while. You can read it online here

Several years ago, before ever having visited Tokyo, I decided that before my delirious vision of the place was contaminated by the rigors of actual observation, we'd better do a project there. Although we've called the building Godzilla, it isn't mean to be sinister, just large: a building with presence. Perhaps it would seem less threatening had we called it Barney. The project's affinities with Godzilla, however, are not merely morphological but conceptual. Just as that monster (I mean the term not pejoratively but genetically) stand for a certain intensification of Japanese post-nuclear anxieties, so this building represents, for me, an intensification of Tokyo-ness. In it, the tangled skein of the city finds a critical mass and erupts into form, a verticalization of what I took - from my distant vantage point - to be the fundamental (dis)order of the city. extract from the book Wiggle by Michael Sorkin Studio published by The Monacelli Press

Several years ago, before ever having visited Tokyo, I decided that before my delirious vision of the place was contaminated by the rigors of actual observation, we'd better do a project there. Although we've called the building Godzilla, it isn't mean to be sinister, just large: a building with presence. Perhaps it would seem less threatening had we called it Barney. The project's affinities with Godzilla, however, are not merely morphological but conceptual. Just as that monster (I mean the term not pejoratively but genetically) stand for a certain intensification of Japanese post-nuclear anxieties, so this building represents, for me, an intensification of Tokyo-ness. In it, the tangled skein of the city finds a critical mass and erupts into form, a verticalization of what I took - from my distant vantage point - to be the fundamental (dis)order of the city. extract from the book Wiggle by Michael Sorkin Studio published by The Monacelli Press

La Filmotheque du quartier latin , a little but well known Parisian theater proposes currently a Stanley Kubrick retrospective with seven movies: 2001 A space odyssee, The shining, Barry Lyndon, Clockwork orange, Lolita, Full metal jacket and Eyes wide shut. One can regret here that the fantastic Dr Strangelove does not belong to this list but the initiative already desserve to be salute !

La Filmotheque du quartier latin , a little but well known Parisian theater proposes currently a Stanley Kubrick retrospective with seven movies: 2001 A space odyssee, The shining, Barry Lyndon, Clockwork orange, Lolita, Full metal jacket and Eyes wide shut. One can regret here that the fantastic Dr Strangelove does not belong to this list but the initiative already desserve to be salute !

Henry David Thoreau wrote Civil disobedience in 1849 principally against war between the United States and Mexico, and slavery which was still running at this time in America. However it became an a-temporal essay about resistance against a government. Some extract being more explicit that anything I could write, here are two of them: If the injustice is part of the necessary friction of the machine of government, let it go, let it go: perchance it will wear smooth—certainly the machine will wear out. If the injustice has a spring, or a pulley, or a rope, or a crank, exclusively for itself, then perhaps you may consider whether the remedy will not be worse than the evil; but if it is of such a nature that it requires you to be the agent of injustice to another, then I say, break the law. Let your life be a counter-friction to stop the machine. What I have to do is to see, at any rate, that I do not lend myself to the wrong which I condemn. [...] I meet this American government, or its

Henry David Thoreau wrote Civil disobedience in 1849 principally against war between the United States and Mexico, and slavery which was still running at this time in America. However it became an a-temporal essay about resistance against a government. Some extract being more explicit that anything I could write, here are two of them: If the injustice is part of the necessary friction of the machine of government, let it go, let it go: perchance it will wear smooth—certainly the machine will wear out. If the injustice has a spring, or a pulley, or a rope, or a crank, exclusively for itself, then perhaps you may consider whether the remedy will not be worse than the evil; but if it is of such a nature that it requires you to be the agent of injustice to another, then I say, break the law. Let your life be a counter-friction to stop the machine. What I have to do is to see, at any rate, that I do not lend myself to the wrong which I condemn. [...] I meet this American government, or its

I eventually found Zarathoustra's extract I published earlier in English ! Here it is: Then, however, something happened which made every mouth mute and every eye fixed. In the meantime, of course, the rope-dancer had commenced his performance: he had come out at a little door, and was going along the rope which was stretched between two towers, so that it hung above the market-place and the people. When he was just midway across, the little door opened once more, and a gaudily-dressed fellow like a buffoon sprang out, and went rapidly after the first one. "Go on, halt-foot," cried his frightful voice, "go on, lazy-bones, interloper, sallow-face!—lest I tickle thee with my heel! What dost thou here between the towers? In the tower is the place for thee, thou shouldst be locked up; to one better than thyself thou blockest the way!"—And with every word he came nearer and nearer the first one. When, however, he was but a step behind, there happened the frightful t

I eventually found Zarathoustra's extract I published earlier in English ! Here it is: Then, however, something happened which made every mouth mute and every eye fixed. In the meantime, of course, the rope-dancer had commenced his performance: he had come out at a little door, and was going along the rope which was stretched between two towers, so that it hung above the market-place and the people. When he was just midway across, the little door opened once more, and a gaudily-dressed fellow like a buffoon sprang out, and went rapidly after the first one. "Go on, halt-foot," cried his frightful voice, "go on, lazy-bones, interloper, sallow-face!—lest I tickle thee with my heel! What dost thou here between the towers? In the tower is the place for thee, thou shouldst be locked up; to one better than thyself thou blockest the way!"—And with every word he came nearer and nearer the first one. When, however, he was but a step behind, there happened the frightful t

Here is a house designed by Pascal Hauserman and built in 1968 in east of France (near Annecy). This building represents pretty well the way of designing of this French architect who realized several projects that he calls bubbles . two first pictures were extracted from the book Architecture Sculpture published by HYX .

Here is a house designed by Pascal Hauserman and built in 1968 in east of France (near Annecy). This building represents pretty well the way of designing of this French architect who realized several projects that he calls bubbles . two first pictures were extracted from the book Architecture Sculpture published by HYX .

Once again, Camus is speaking about the creative act. Here is an extract of the Rebel ( L'homme révolté ) which, once again, make me being sorry I don't have it in English... En attendant, la révolution conquérante, dans l’égarement de son nihilisme, menace ceux qui, contre elle prétendent maintenir l’unité dans la totalité. Un des sens de l’histoire aujourd’hui, et plus encore de demain, est la lutte entre les artistes et les nouveaux conquérants entre les témoins de la révolution créatrice et les bâtisseurs de la révolution nihiliste. Sur l’issue de la lutte, on ne peut se faire que des illusions raisonnables. Du moins, nous savons désormais qu’elle doit être menée. Les conquérants modernes peuvent tuer, mais semblent ne pouvoir créer. Les artistes savent créer, mais ne peuvent réellement tuer. On ne trouve de meurtriers que par exception parmi les artistes. A la longue, l’art dans nos sociétés révolutionnaires devrait donc mourir. Mais alors la révolution aura vécu. Chaque

Once again, Camus is speaking about the creative act. Here is an extract of the Rebel ( L'homme révolté ) which, once again, make me being sorry I don't have it in English... En attendant, la révolution conquérante, dans l’égarement de son nihilisme, menace ceux qui, contre elle prétendent maintenir l’unité dans la totalité. Un des sens de l’histoire aujourd’hui, et plus encore de demain, est la lutte entre les artistes et les nouveaux conquérants entre les témoins de la révolution créatrice et les bâtisseurs de la révolution nihiliste. Sur l’issue de la lutte, on ne peut se faire que des illusions raisonnables. Du moins, nous savons désormais qu’elle doit être menée. Les conquérants modernes peuvent tuer, mais semblent ne pouvoir créer. Les artistes savent créer, mais ne peuvent réellement tuer. On ne trouve de meurtriers que par exception parmi les artistes. A la longue, l’art dans nos sociétés révolutionnaires devrait donc mourir. Mais alors la révolution aura vécu. Chaque

This article has a strong connexion with last one about the canyon street. As a matter of fact, Paris' Commune was one of the most important urban conflicts in European history. It stayed nowadays as a good example of people's revolution as it last for a too short time to create a disenchantment. People who theorised about this event are many (Marx, Lenin, Debord...) During seventy two days of 1871’s spring, Paris city lived in secession from the National Assembly which just capitulated in war against the Prussians. Simultaneously the Commune defends itself against the national “versaillaise” army lead by Thiers and “play the game” of considering to exist for a long period. Thus is created a Central Comity whose representatives are originally from the working population. As far as urbanism is concerned, Situationnists Guy Debord, Raoul Vaneigem and Attila Kotanyi, one century after the Commune was declared, considered that " it has been in Human History, the only pr

This article has a strong connexion with last one about the canyon street. As a matter of fact, Paris' Commune was one of the most important urban conflicts in European history. It stayed nowadays as a good example of people's revolution as it last for a too short time to create a disenchantment. People who theorised about this event are many (Marx, Lenin, Debord...) During seventy two days of 1871’s spring, Paris city lived in secession from the National Assembly which just capitulated in war against the Prussians. Simultaneously the Commune defends itself against the national “versaillaise” army lead by Thiers and “play the game” of considering to exist for a long period. Thus is created a Central Comity whose representatives are originally from the working population. As far as urbanism is concerned, Situationnists Guy Debord, Raoul Vaneigem and Attila Kotanyi, one century after the Commune was declared, considered that " it has been in Human History, the only pr

In a little more than one month, next G20 summit will happen in London. These pictures has been shot during G8 summit in Genoa in 2001 by Armin Linke . They show how much streets can be used as controled canyons. A lot of western cities has been replanned during XIXth century for this kind of purposes. Napoleon the 3rd/Haussmann Paris is obviouly an example of that. No more narrow network maze within urban fabric, only wide axis police can easily control. History war used to happen outside of the cities or at its periphery at least, new conflicts are now almost exclusively happenning within cities.

In a little more than one month, next G20 summit will happen in London. These pictures has been shot during G8 summit in Genoa in 2001 by Armin Linke . They show how much streets can be used as controled canyons. A lot of western cities has been replanned during XIXth century for this kind of purposes. Napoleon the 3rd/Haussmann Paris is obviouly an example of that. No more narrow network maze within urban fabric, only wide axis police can easily control. History war used to happen outside of the cities or at its periphery at least, new conflicts are now almost exclusively happenning within cities.

Alain Robert develops an original way of moving in the city, he litteraly climbs on high rises' facades without any security device and eventually...get arrested by authorities. He is now famous all over the world as the "French spiderman" and architects such as Renzo Piano (NYTimes' tower) invent devices to prevent him to climb their buildings !