This is the project of Laura and Stephanie, whom I thank very much for sending me the material necessary for its publication ...
images will be quite small, but as always you can click on and enlarge. I regret that, however, are quite laborious to read even when enlarged, but because of the tight pixel image server does not tolerate too great.
Their project by all accounts is very interesting and I make them great compliments for the quality ...
missing notes that unfortunately can be reached through file.doc from whom I got the lyrics ... calmly figure out a solution to this lack, and I apologize now with Laura and Stephanie.
Thank you, John
Attitude diagrammatic
"The plot is actually a possibility,
not the fact itself."
(G. Deleuze , Francis Bacon. The logic of feeling.)
διαγραμμα: dia through something written program.
The diagram as a tool for theoretical investigation - and put into practice has accompanied our search form, and through organizing texts, knowledge and insights acquired during the course in a sort of visual image given to the construction of an "investigation" that reflects on hard data, such as the space of the museum and its collection of Philadelphia, and how to think, to observe, to read them.
The diagram as a tool for reading and writing, reading and project, shows significant relationships between reality and its interpretations by organizing and showing the possible evolution, or rather transformations.
What does it mean to read in this design perspective? And what is the perspective point of view?
Using a graphical tool like the diagram is inevitable to deal with some architectural concepts that involve spatial data - Such as graphics design. E 'in the design, central perspective, the point of view puts the form in the same way of thinking, an image that points out a certain solidity, but also a certain fixity apriorostica or anthropocentric.
In a project that chooses to place his attitude a diagrammatic view of the concept is linked to the concept of a reference system and in this sense to the thinking behind the idea of \u200b\u200borigin of the system. By implementing a dynamic strategy and then the origin of our reference system does not want to belong to a single plan but to adopt a motion that is the idea of \u200b\u200bcrossing its specific character.
"[...] men have become totally private, that have been deprived of the right to see and hear others, being seen and heard from them. They are all imprisoned in the subjectivity of their experience, that never ceases to be unique even if the same experience is multiplied innumerable times. The end of the world community is bound to occur when it is viewed under one aspect and can appear in a single perspective. "
The attempt would be to build that world community as a space in-between that is produced by maintaining a vision striped or a multiplicity of points of view.
The diagram serves to create an environment, a background, where you can move ideas, thoughts, people, and in this case works. It turns out to be a space of possibilities open to the workings of the mind that runs and organizes it by juxtaposing visual, conceptual, how different are the different types of crossing as possible. It works by using a reduction mechanism and connection are also useful for a search of historical order. In this sense it was used by the architect Peter Eisenman in his studies on Terragni and in its innovative compositional strategies in architecture.
The diagram thus allows the connections, and descriptions that do not, but build a new kind of reality. This "abstract machine" approach works for successive approximations that are not precisely directed to the construction of an object, a solution, but the organization of a cognitive process, which is being constantly challenged and questioned.
Similarly, our research sought to investigate, go through, learn a new framework for doing so and turn right and follow its characteristics and in-form through our specific attitudes. An attempt to approach the nearest to crystallize it not block the process, but to show it.
Bend / explain, this is the movement that has in-formed our space / context of action, the architecture of the museum in Philadelphia, and our material, its permanent collection.
The idea of \u200b\u200ba folded origami describes in the image, ultimately, the process that we followed trying to see the juxtapositions that bring with them a rest at the edge of a baroque Wunderkammer.
"The unfolding is therefore the opposite of the fold, but below the fold until the formation of a new turn."
Creating and Preserving
Stefania Filizola
"Poetry is not arises from the rules, except for slight accident, but the rules are derived from poems, and therefore are many genes and species of true rules, As are the genes and species of true poets. "
(G. Bruno, of the heroic fury)
data are sensitive.
space remains unprotected.
structure resists without imposing itself.
The attempt to bring together a path around the art of the century just ended, the institution of the museum, seem to pose many questions about how to configure time to be taken (which can not be resolved by adopting the most convenient choice chronological) and ability to trace a coexistence in the relationship between modernity and the contemporary.
course, the name of "categories" in relation to these words does not help to development of reasoning useful time, even with its human ruptures, it remains a historical continuum interrupted and elusive. The only category applicable then: the contemporary, this moment when, here and now, grasp the knowledge and products that were produced, and look at history to offer the other groped for a new vision and profound able to organize these knowledge, is very similar to the action of writing a book that comes from reading, most important thing for the actual reading of Benjamin: "There are men who really do not understand [...] never a book, why not read a second time . Yet it is only then that - like when you look at a wall knocking and you get a dark resonance here and there - you come across treasures that the previous player - that really we were ourselves - we had buried. "
E 'movement: the experience of knowledge.
residue of a vision deeply rooted in the concept of modernity is limited solely to the second half of the fifties and early sixties, when, from action painting to Pop Art, American Art has a strong initiative recomposes the area of \u200b\u200binternational 'contemporary art.
This restructuring highlights a variety of production facilities, products, information flows and historical traditions and methodologies which enhance the consciousness of artistic realities from 1905 onwards. Is then placed in a circle, and standing, the whole range of relationships (including strangeness) of the different areas and artistic expressions with the "modern".
It 'difficult to identify, from the fifties, currents or movements consistent and planned, as it is difficult if not impossible, to implement the visual arts, and not only them, the same parameters as feedback until then in use in those years.
The first signs appear of a dispute by the American critic Harold Rosenberg, against modernism understood as a new form of sliding disengaged in a new form. Twenty years later, Robert Hughes was the vision to offer the debate a dulling of the capacity of an impact of the new: "All art, in one way or another, is located in the world and hopes to act as a catalyst between the self and the non-ego. The major project of modernism was to multiply the ways in which it was possible. But any view that insists on the significance of art in the right place to do what you have not already done so, tend to deny the advantages of the modern spirit. Swap the ideological fetters el'angustia historicist for open discourse and cultural anxiety that our ancestors have left us [...] Perhaps the great energies of modernism are still latent in our culture, like the bow of Ulysses the house of Penelope. But it seems that nobody is able to stretch it. " And again: "When it comes to the end of modernism, and now you can not avoid doing so, since the idea that we are in a postmodern culture has become a commonplace in the mid-sixties, is not to suggest the ' idea of \u200b\u200ba sudden the terminus of history. The stories do not break neatly as a glass rod, wear out, fray. There was an exact year that ended in the Renaissance. But eventually, even if the culture is still permeated by the residual assets of Renaissance thought [...] The results of modernism continue to influence the culture for at least another century to were impressive and convincing. But the momentum is over and our relationship with it is becoming archaeological [...] The New Age has entered history. Like that of Pericles. "
The diagram of Alfred Barr thought the exhibition "Cubism and Abstract Art" in 1936 shows us how, through a vertically arranged chronologically, a number of definitions of movements and currents, and influence and cross each other in their time to explain, the here lies in determining the final conclusion of a formula that sees the juxtaposition of abstraction and geometric abstraction not - geometry. Everything is so tight to the prediction of a future to do, to anticipate and to be desired: a result.
In fact, the history, filtered by the messianic aspects, is a process. It 'a becoming more open. And we exceeded what we call modernity we can gather in this very act of moving to implement the processes and shows like "When Attitudes Become Forms", "Information" and "Documenta 5" are well known to stigmatize.
A diagram to design a show so it can be a tool to view and compress multiple aspects, provided that you release the proliferative aspect of creating the ideal setting on which to lay the artists by identifying the forces, the reasons and connections of each search . The diagram
proposed here is built on the basis of data supplied by the Museum of Philadelphia for the reorganization of modern and contemporary collection, will not impose his answer but still continue to tirelessly demand; time does not extend vertically to score a hierarchy, but is condensed in a juxtapositions of movement and approximations. The key to adoption of a possible coexistence of works belonging to different periods does not dissolve the issue in an indistinct spettacolarizzante but, through his assumption of spatial and historical overview, and on to the promise of offering a real experience for the viewer.
think that might flow from a number of modern works in the central area still being planned, as nuclei or cell osmotic "could contaminate the existing, we can reproduce the artist's perspective, which always acts in a web of connections with the past and not voluntary, and the ability to track crossings which encourage the viewer to an effort of reconstruction and rehabilitation towards the achievement of greater awareness of the content.
And in the end, perhaps we will never know where the desire to place the work in the institutional space runs out, so that the gaze position on a place in the mind that is not there and that there still waiting to be created.
