The Plasticity of the Real: Speculative Architecture

2017 ◽  
Author(s):  
Elisabeth von Samsonow
Keyword(s):  
Point Of View ◽  
The Body ◽  
Speculative Philosophy ◽  
The Real ◽  
The Earth ◽  
Technical Production ◽  
Artificial Earth ◽  
Contemporary Architecture

Von Samsonow argues that architecture can play an important role in the framework of contemporary speculative philosophy as it is founded on geology. Speculative philosophy might engage architecture to rediscover and reintegrate the geo-historical foundations of being as well as of architecture. Contemporary architecture is critizised being largely driven by a feeling of resentment towards the earth.  Architecture is of ontological interest because it borrows its key function from geology; from the arrangement of various materials, offering spaces or biotopes. In contemporary architecture however, this function got lost. Whereas old architecture seeks to ground dwelling in the earth and invites our bodies to understand what the earth can be to it, contemporary architecture disregards the body and is fixated on the eye, making architecture an issue of vision. Contemporary architecture is pure pornography; it simulates sensations and affirms the logic of capitalism. It degenerates the original earth to dirt and replaces it with an artificial earth, that is erected upwards in the form of an overground, which forms the anti-thesis to the earth. Von Samsonow calls this the 'takeoff strategy' of contemporary architecture. Because it is driven by a theoretical pre-oedipalization, speculative philosophy may play an important role in the regrounding of contemporary architectures takeoff strategy. To understand this we have to look at Meillassouxs concept of the ancestral object, that gives us the existence of the earth prior to thought and knowledge. Von Samsonow interprets this ancestral object as a symbolic mother, in order to open up the possiblity of thinking the earth in terms of universal generation. From the point of view of the earth itself, it is filled up with objects generated by her; there is no distinction between organic and inorganic or between (natural) generation and (technical) production. Von Samsonow calls the quest for ancestrality the gaia-istic turn in speculative philosophy. This turn has revolutionary potential.

The king's head

Iraq ◽  
2004 ◽  
Vol 66 ◽  
pp. 115-119 ◽  
Author(s):  
Zainab Bahrani
Keyword(s):  
Point Of View ◽  
The Body ◽  
Roland Barthes ◽  
Historical Event ◽  
The Real ◽  
Narrative Art ◽  
Current Events ◽  
Distinctive Aspect

The composition of the battle of Til-Tuba from Sennacherib's palace at Nineveh is usually described as a relief depicting a recorded historical event. It is considered a good and solid example of the Assyrian concern with history and the Assyrian propensity for propagandistic depictions of current events. The scene, which is surely saturated in the ideology of empire, has already been discussed from that point of view. Is it true to the historical event? Is it an exaggeration? Did the Assyrians really do these things? How close or how distant is this depiction of the battle from the real historical event of war?The Assyrian method of representation is generally one that is attentive to minute details and concerned with ethnographic accuracy, even when the composition is hierarchical and representations of the body are stylised into abstract patterns. Realism is certainly a distinctive aspect of Assyrian narrative art and accurate details of dress and landscape were used to create what Roland Barthes would have called the effect of the real.

scholarly journals Suvorov’s Cycle of Odes in the Battle Lyrics of Gavriil Derzhavin

2021 ◽  
Vol 3 (1) ◽  
pp. 24-39
Author(s):  
Alexander N. Ratnikov
Keyword(s):  
Historical Context ◽  
Point Of View ◽  
The Body ◽  
The Real ◽  
Poetic Image ◽  
The Alps

The article analyzes G. Derzhavin’s battle odes, comprehends the generalAbstract: The article analyzes G. Derzhavin’s battle odes, comprehends the generalconcept of the Suvorov cycle, its thematic originality, problematics and ideological pathosfrom the point of view of the influence of the historical context on the representation of theimage of Suvorov. The article examines the artistic reflection of the real historical features ofSuvorov, reflected in the body of works of the battle cycle in the form of a collective image.The author of the article reconstructs the image of the famous commander, represented bythe poet, based on the results of studying the battle odes in which he is mentioned, as wellas on the analysis of the ode “On the Capture of Izmail,” where he is implied. Odes “On thecapture of Izmail,” “On the Capture of Warsaw,” “The Eagle,” “On Victories in Italy,” and “Onthe Crossing of the Alps” are suggested to be considered as a cycle of battle odes based onthematic similarities and correlations in the depiction of the object. The paper also considersthe method of revealing the poetic image of Suvorov through the method of comparison.

scholarly journals Consistency

2017 ◽  
Vol 4 (1) ◽  
pp. 41
Author(s):  
Kiki Rahmatika
Keyword(s):  
Body Movement ◽  
Real Life ◽  
Point Of View ◽  
The Body ◽  
The Real ◽  
The Third ◽  
Practice Based Research ◽  
Thinking Process ◽  
Way Of Thinking ◽  
The Way

This choreography is started from Practice based Research. The research is about Dajang Rindoe’s manuscript which is deconstructed. In the process of cultivation of this work, the foundation of creation used text deconstruction, creativity, and choreography. Text deconstruction is implemented in finding the new point of view of the women freedom. Creativity approach is used for the reason that the artwork creation is not separated from the thinking process and work creatively. By this approach, the way of thinking and working creatively will be developed. The third approach that is choreography is used as the foundation in creating the dance aesthetic that involving the body movement, composition, unity, harmony, behaviour and other visual aspects. CONSISTENCY dance work is a description about woman toughness to get her freedom in order to maintain her integrity. The freedom that need the full struggle for her to get. Because the freedom itself has the meaning to be able to live independently and responsibly. In the real life, the freedom women who able to preserve her firmness independently and responsibly are very scarce. The imbalance of this firmness then fades the women integrity.

scholarly journals On the dilatational stability of the Earth

1906 ◽  
Vol 77 (519) ◽  
pp. 486-499 ◽  
Keyword(s):  
Hydrostatic Pressure ◽  
Equilibrium Configuration ◽  
Three Dimensional ◽  
Point Of View ◽  
The Body ◽  
Elastic Solids ◽  
Ordinary Experience ◽  
One Dimensional ◽  
The Earth ◽  
Interesting Paper

The theory of elastic solids usually proceeds upon the assumption that the body is initially in a state of ease, free from stress and strain. Displacements from this condition, due to given forces, or vibrations about it, are then investigated, and they are subject to the limitation that Hooke’s law shall be applicable throughout and that the strain shall everywhere be small. When we come to the case of the earth, supposed to be displaced from a state of ease by the mutual gravitation of its parts, these limits are transgressed; and several writers who have adopted this point of view have indicated the obstacles which inevitably present themselves. In his interesting paper Professor Jeans, in order to attain mathematical definiteness, goes the length of introducing forces to counteract the self-gravitation: “That is to say, we must artificially annul gravitation in the equilibrium configuration, so that this equilibrium configuration may be completely unstressed, and each element of matter be in its normal state.” How wide a departure from actuality is here implied will be understood if we reflect that under such forces the interior of the earth would probably be as mobile as water. It appears to me that a satisfactory treatment of these problems must start from the condition of the earth as actually stressed by its self-gravitation, and that the difficulties to be faced in following such a course may not be so great as has been supposed. The stress, which is so enormous as to transcend all ordinary experience, is of the nature of a purely hydrostatic pressure, and as to this surely there can be no serious difficulty. After great compression the response to further compressing stress is admittedly less than at first, but there is no reason to doubt that the reaction is purely elastic and that the material preserves its integrity. At this point it may be well to remark, in passing, upon the confusion often met with in geological and engineering writings arising from the failure to distinguish between a one-dimensional and a three-dimensional, or hydrostatic, pressure. When rock or cast iron is said to be crushed by such and such a pressure, it is the former kind of pressure which is, or ought to be, meant. meant. There is no evidence of crushing under purely hydrostatic pressure, however great.

scholarly journals OLHAR PARA O CORPO QUE DANÇA - UM SENTIDO PARA A PESSOA PORTADORA DE DEFICIÊNCIA VISUAL

2007 ◽  
Vol 5 (11) ◽  
pp. 65-73
Author(s):  
Valéria M.C. De Figueiredo ◽  
Maria Da Consolação G.C.F. Tavares ◽  
Silvana Venâncio
Keyword(s):  
Life Experience ◽  
Real Life ◽  
Point Of View ◽  
The Body ◽  
The Real ◽  
Visually Handicapped

Buscamos, neste trabalho, compreender o significado da Dança para pessoas portadoras de deficiência visual, na perspectiva de uma abordagem fenomenológica. Para isso, coletamos os discursos de 13 (treze) sujeitos que experimentam a vivência da Dança no presente momento de suas vidas. Não nos preocupamos com estilos prédeterminados de Dança, mas sim com a vivência e o olhar do sujeito em relação à sua experiência na Dança. A partir dos discursos coletados, orientados por nossa interrogação: "O que é isto, vivenciâr a Dança para você?", trilhamos nossos entendimentos e reflexões visando compreender o significado do corpo que dança com seus próprios olhares. De modo coerente com os fundamentos da pesquisa fenomenológica, procuramos encontrar uma perspectiva particular, em um determinado momento, e olhamos para o fenômeno situado, buscando aprofundar-nos na essência desse universo. A study was carried out to investigate the understanding of the significance of Dance for visually handicapped persons, using a phenomenologicaí approach. We collect the discourses of 1 3 (thirteen) subjects, ali of them being involved in a Dance experience at the time of the study. Our concern was not about pre-determined dance-styles, but about the real-life experience and the point-of-view of the subjects about their dance experience. The question to be answered by the subjects was: "What does it mean foryou do experience dance?", and it was based on the collected discourses that we traced our understanding and reflections, aiming to understand the significance of the body that dances, wíth their own eyes. Therefore, according to the rationale of the phenomenologicaí research, we aimed to find a particular perspective, at a certain moment,- we looked at the situated phenomenon, trying to enter the essence of this unique universe.

2. Why the Barometer does not always indicate the Real Weight of the Mass of Atmosphere aloft. A continuation of the Paper on this subject laid before the Society in Session 1876 and 1877

1880 ◽  
Vol 10 ◽  
pp. 212-223
Author(s):  
Robert Tennent
Keyword(s):  
Point Of View ◽  
The Real ◽  
Rapid Motion ◽  
The Earth ◽  
Imperfect State ◽  
The Subject

Meteorological phenomena are in all cases to be regarded as being both a cause and an effect; owing to this, and also to the imperfect state of our knowledge on this subject, it may be safely asserted that exception proves or tests the rule. Taking up the subject in this point of view, much assistance is in this way to be acquired when attempts are made to explain the phenomena which are under consideration, and hence these negative conclusions can to a large extent be taken advantage of. As an illustration of this, can it be assumed that a barometer placed on the surface of the earth, and which always correctly indicates the amount of pressure on its cistern, will also always correctly indicate the weight of the mass of air aloft, both when it is at rest and when it is in rapid motion, accompanied by the important element of friction.

scholarly journals De revolutionibus Mikołaja Kopernika a doktryna podwójnej prawdy

2021 ◽  
Vol 33 (1) ◽  
Author(s):  
Marek Sołtysiak
Keyword(s):  
Mathematical Structure ◽  
Point Of View ◽  
Real Character ◽  
Basic Principles ◽  
The Real ◽  
New Science ◽  
The Earth ◽  
The World

The presented article is an attempt to answer the question: whether Copernicus in De revolutionibus did not preach the doctrine of double truth? In the first part it is pointed out that the thesis he adopted about the real character of the Earth movement is contrary to the scholastic principles of philosophy and theology. From this point of view, it is exposed to the above allegation. The second part of the article shows the strategy adopted by Copernicus to avoid suspicion of proclaiming the double truth. He defined the basic principles of the new science. He has adopted the mathematical structure of the world. He synthetically linked the movements of all planets due to the movement of the Earth. He showed the coherence of the heliocentric system with the biblical arguments.

scholarly journals The Body, the morality, and the passions in Descartes’ philosophy

2021 ◽  
pp. 76-92
Author(s):  
ONGAGNA Serge Roland
Keyword(s):  
Rene Descartes ◽  
Human Life ◽  
Theoretical Aspect ◽  
Decisive Role ◽  
Practical Aspect ◽  
Point Of View ◽  
The Body ◽  
The Real ◽  
René Descartes ◽  
True Knowledge

This article attempts a discussion of the philosophy of Rene Descartes, about the relationship between the human body and its passions, in the process of learning the morality of virtues. Descartes has repeatedly mentioned the decisive role that the true knowledge of the good must play and trouble by regulating our passions, but without ever providing us with the answer satisfying the following question: where does and what exactly does this awareness? Even if do not find a complete answer to our question in the last great work of Descartes, we still see several elements emerging from it important in some articles of the Passions of the Soul. Thus we learn in article 143 that desire "is always good when it follows a true knowledge”, but this true knowledge only seems to be reduced to a distinction fundamental that takes place inside the soul of things "which depend entirely on us, of those which do not depend on it”. But if true knowledge, that is true, does not seem to have any other criterion apart from what it depends entirely on us, here we are in full philosophical modernity. To what Descartes immediately adds that if one succeeds in one's life in distinguishing fatality from posture, "one easily gets used to regulating his desires in such a way that, especially as their fulfillment depends on us, they can always give us complete satisfaction ” (article 146). Theoretical aspect, practical aspect, thus reconciled and harmonized with each other, it remains for us to ask one more question: why the true joy, which makes the greatest happiness of human life (felt, for example, by the husband mourning his wife in section 147) can only be a "joy secret ”? René Descartes frequently mentioned the importance of the real knowledge of good and evil, supposed to rule our lives. However he never clearly explained what this knowledge really meant to him. If there's no full answer to that to be found in his work, at least it seems that the real knowledge, meaning the truth, is totally dependent on us. Quite a modern vision of Philosophy was suggested by Descartes but also, in this article, an unusual point of view of the philosopher's work.

scholarly journals A Comparative Study on the Developmental Trends in the Contemporary Iranian Architecture; Case Study-Khosrawi Leather Factory of Tabriz

2020 ◽  
pp. 1-18
Author(s):  
Shayan Mahmoudi ◽  
Ali Rezvani ◽  
Mehdi Niknam
Keyword(s):  
Point Of View ◽  
The Body ◽  
Islamic Art ◽  
Back Door ◽  
The Subject ◽  
Architectural Structures ◽  
Traditional Structures ◽  
Contemporary Architecture ◽  
Method Show

Architecture and urbanization are representatives of our architectural and cultural histories. Many of the lost historical characteristics can come out of the back door citing such representatives. Reconstruction and restoration are a set of activities that deal with the body and spirit of a subject. The subject can be a city, a natural environment or an architectural structure. There are different approaches to reconstruction and restoration, which differ significantly in terms of the level of intervention in a historical subject. This is a technique that our archaeologists are not sufficiently familiar with. From an archaeological point of view on the historical subjects, any document could not be as consistent as the architectural works with the circumstances of the community. The nature of the art of modern history is to see which cases have not been addressed in historical documents. As the historical subjects’ evidence, we were not so diligent in the preservation of such subjects as a documentary. The aim of this study is to investigate the heritage of contemporary architecture and to determine how to preserve such works, as well as to review the Khosrawi leather factory in Tabriz, which has now maintained its role as the Islamic Art University. The results of this research, which are obtained through a descriptive-analytical method, show that we can preserve the architectural structures by changing the application of traditional structures to the cultural or social ones.

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

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