But I think if you cut through those forces you get to what might be the deeper driver, the nub of the question, which is how we think about time itself. In other cultures, time is cyclical. It's seen as moving in great unhurried circles. It's always renewing and refreshing itself. Whereas in the West, time is linear. It's a finite resource, it's always draining away. You either use it, or lose it. Time is money, as Benjamin Franklin said. And I think what that -- that does to us psychologically is it -- it creates an equation. Time is scarce, so what do we do? Well -- well, we speed up, don't we? We try and do more and more with less and less time. We turn every moment of every day into a race to the finish line. A finish line, incidentally, that we never reach, but a finish line nonetheless. And I guess that the question is, is it possible to break free from that mindset? And thankfully, the answer is yes, because what I discovered, when I began looking around, that there is a -- a global backlash against this culture that tells us that faster is always better, and that busier is best.
Right across the world, people are doing the unthinkable: they're slowing down, and finding that although conventional wisdom tells you that if you slow down, you're roadkill, the opposite turns out to be true. That by slowing down at the right moments, people find that they do everything better. They eat better, they make love better, they exercise better, they work better, they live better. And in this kind of cauldron of moments, and places, and acts of deceleration, lie what a lot of people now refer to as the International Slow Movement.
http://www.ted.com/talks/lang/eng/carl_honore_praises_slowness.html
28.2.10
THE MAIN LINE
The story of the book is about a girl who only can express her feeling and passion via cooking as the repetition of everyday life has changed this adaptation in her body. Tita has a love of the kitchen and a sharp connection with food of any sort, and the story advances with the recopies which metaphorically represent the story of the novel. The internal rhythm of body is mostly neglected and mostly ended up with speaking of mind or tracking the gestural movement of body. However the natural rhythm of body which Lefebvre calls "perfect harmony" should also be considered. What he consider as a garland of rhythms. The organs of Tita's body are embedded in architecture and the rhythmanalysist is not just obliged to observe the outside of body, but to listen to them as a part of space as a whole and unify them by simulating with its own rhythm as a reference ;with integrating the outside with the inside and the position being reversed. [viced versa]
the devices which are fixed in the surrounding draws on the rhythm of breating and circulation of her blood, the beating of her heart. the device analyze this things with its body sometimes in abstract way and sometimes in lived temporarily presence and maybe both.
paintings by Fernando Vicente
27.2.10
MACHINE +++ INSTRUMENTAL IDEA OF ARCHOTECTURE
the rhythm of the affects the rhythm of the nature slow's d... The idea of the landscape as a huge device... The idea of the architecture as a device but against this Utopian notion that it should solve human's problems. rather than the device which is obsolescence and stands for something that's important for us. Architecture is the maker of the places on the one hand and maker of devices on the other hand. a divice that nutrally just reflect and immitate the pattern of everyday life. ofcourse it's figure affects the space, but it has no practical function but producing a guantitive and gualitive pattern that shows the rhythm of an ape
Abstract machine
Deleuze and Guattari’s ways of thinking are above all practical (‘Given a
certain machine, what can it be used for?’ 1972, 3) but they aim for a high
level of generality. If I recognize the same pattern in the way that my
psychology builds up from a swarm of interconnected desiring-machines,
and in the way that a crowd-psychology can form in an assembly of
individuals, then I can take the view that the same mechanism is at work in
both cases. The important thing here is the mechanism – the machine – that
brings about these effects. It is a real thing that is at work, producing these
effects, but it is abstract. It is embodied in the different people and particular
crowds that one has encountered or heard about. We might notice it in
ourselves when we act impulsively and unreasonably, for example by making
romantic attachments, or by being unable to concentrate on a boring but
necessary task.
Deleuze & Guattari for Architects (Thinkers for Architects)
by: A. Ballantyne
Abstract machine
Deleuze and Guattari’s ways of thinking are above all practical (‘Given a
certain machine, what can it be used for?’ 1972, 3) but they aim for a high
level of generality. If I recognize the same pattern in the way that my
psychology builds up from a swarm of interconnected desiring-machines,
and in the way that a crowd-psychology can form in an assembly of
individuals, then I can take the view that the same mechanism is at work in
both cases. The important thing here is the mechanism – the machine – that
brings about these effects. It is a real thing that is at work, producing these
effects, but it is abstract. It is embodied in the different people and particular
crowds that one has encountered or heard about. We might notice it in
ourselves when we act impulsively and unreasonably, for example by making
romantic attachments, or by being unable to concentrate on a boring but
necessary task.
Deleuze & Guattari for Architects (Thinkers for Architects)
by: A. Ballantyne
18.2.10
KAREN DAVIS
The concrete reality of women’s daily lives, and the importance they place on
responsibility or a rationality of caring, has led me to try and extend our
theoretical understanding of timespace from a feminist perspective. The first part
of this chapter will attempt to show why gender needs to be incorporated into
discussions of spacetime and takes as its starting point a critique of the standard
time-geography approach. With an emphasis upon an atomistic and resourcebased
notion of time, the approach fails to fully account for a relational construction
of time that lies at the heart of (women’s) everyday life as shaped by a
rationality of caring. The temporal and spatial implications that arise from women
taking care of others in both the public and private spheres results in difficulties in
carving a space for a ‘pause’ – the focus of the second part of the chapter. A major
characteristic of present-day society is argued by postmodern or late modern
theorists to be reflexivity. Yet reflexivity in the late modern age requires time – or
a ‘pause’ – for self-reflection and for women this may well be difficult due to the nature of women’s work and by the ways in which timespace is gendered.
responsibility or a rationality of caring, has led me to try and extend our
theoretical understanding of timespace from a feminist perspective. The first part
of this chapter will attempt to show why gender needs to be incorporated into
discussions of spacetime and takes as its starting point a critique of the standard
time-geography approach. With an emphasis upon an atomistic and resourcebased
notion of time, the approach fails to fully account for a relational construction
of time that lies at the heart of (women’s) everyday life as shaped by a
rationality of caring. The temporal and spatial implications that arise from women
taking care of others in both the public and private spheres results in difficulties in
carving a space for a ‘pause’ – the focus of the second part of the chapter. A major
characteristic of present-day society is argued by postmodern or late modern
theorists to be reflexivity. Yet reflexivity in the late modern age requires time – or
a ‘pause’ – for self-reflection and for women this may well be difficult due to the nature of women’s work and by the ways in which timespace is gendered.
Structure of operating
These drawings are showing a possibility space designs, based on the elements: melody, Break, beat, loop, direction, rotation, viewing angle, position and countdown / count -Loop representing the rhythm of everyday like in the kitchen of the novel.
Some times the basic structure of each leaf is dual as ...
This work is explicitly directed at an imaginary rhythmic space and a state of
Reflection and describes it in some variations. The parameters are like an orchestra together.Only it is not a specific movement, but the structure, the individual with the
Of concrete filled harmonies.
The notation describes the construction of space as a very dynamic and it urges the Very much on the viewer, position themselves dynamically.
The Rhythm The notation is neutral thought, but in view of the fact that the room in which the rhythm takes place, is never neutral, and the man who invented it, not even the shape of the lines and instrument are dynamic. The rhythms are numbered along the sake of accountability ruptures or differences.
Caesura is as important as the movements. its a hole in the rhythm. Furthermore we have rhythm of the holes in the main rhythm. its a time to discover the energy of silence. to breath in the previous harmonies.serves as a pause in the space, as a structural element within a temporal sequence.
In this notation, the break does the same function for the imaginary and visual arrangement.
"There is a crack in every thing; that's how light comes in" l. cohen
In fact the imaginary order is what is in the mind of the viewer when viewing the images is developed.
But there is no pause in everyday life however there is some point that things rests. they turned off while they exist. apparently, when tita leave the pastry to rest, when she gaze to the corner, she hesitate to remember the next stage, there are lots of pause and it should be translate to a qualitative figure.
Beat stands for the emphasis on the one in a rhythm. The various beat-heavy series can be seen in multi-speed rhythms that run cumulatively or concurrently. Together they form a
Interference. So overall rhythms occur, resulting from the overlap of the
emphasis result. The single stress progressions are not a specific timing
assigned, but only in proportion to each other faster or slower.
Beat the lines are counted from either the right or the left. The first number refers to the timing of Beat Series, the 2nd Number of placement in the series.
The number of beats for each signature is not the same and is in
each sheet subjected to a proprietary algorithm, after which the number of decreases or.
Some times the basic structure of each leaf is dual as ...
This work is explicitly directed at an imaginary rhythmic space and a state of
Reflection and describes it in some variations. The parameters are like an orchestra together.Only it is not a specific movement, but the structure, the individual with the
Of concrete filled harmonies.
The notation describes the construction of space as a very dynamic and it urges the Very much on the viewer, position themselves dynamically.
The Rhythm The notation is neutral thought, but in view of the fact that the room in which the rhythm takes place, is never neutral, and the man who invented it, not even the shape of the lines and instrument are dynamic. The rhythms are numbered along the sake of accountability ruptures or differences.
Caesura is as important as the movements. its a hole in the rhythm. Furthermore we have rhythm of the holes in the main rhythm. its a time to discover the energy of silence. to breath in the previous harmonies.serves as a pause in the space, as a structural element within a temporal sequence.
In this notation, the break does the same function for the imaginary and visual arrangement.
"There is a crack in every thing; that's how light comes in" l. cohen
In fact the imaginary order is what is in the mind of the viewer when viewing the images is developed.
But there is no pause in everyday life however there is some point that things rests. they turned off while they exist. apparently, when tita leave the pastry to rest, when she gaze to the corner, she hesitate to remember the next stage, there are lots of pause and it should be translate to a qualitative figure.
Beat stands for the emphasis on the one in a rhythm. The various beat-heavy series can be seen in multi-speed rhythms that run cumulatively or concurrently. Together they form a
Interference. So overall rhythms occur, resulting from the overlap of the
emphasis result. The single stress progressions are not a specific timing
assigned, but only in proportion to each other faster or slower.
Beat the lines are counted from either the right or the left. The first number refers to the timing of Beat Series, the 2nd Number of placement in the series.
The number of beats for each signature is not the same and is in
each sheet subjected to a proprietary algorithm, after which the number of decreases or.
9.2.10
Like water for chocolate
HERE IS THE SUMMARY OF THE MAGICAL REALIST NOVEL "LIKE WATER FOR CHOCOLATE WHICH IS ORIGINALLY TWELVE CHAPTERS. EACH CHAPTER IS NAMED AFTER THE MONTHS OF THE YEAR AND STARTS WITH A RECIPE. I’VE CONSISTED TO TO FOUR PARTS AS SEASONS WITH HIGHLIGHTING THE PICK POINTS OF THE NOVEL. IN MY PROJECT I WILL EXPLORE THE EFFECT OF FOUR RHYTHM ALLIANCE IN THE STORY BY DESIGNING A SERIES OF ADDITIONAL LINKING UTENSILS IN THE KITCHEN WHICH ILLUSTRATES THE PHYSICAL AND BIOLOGICAL RHYTHMS TO SENSIBLE EFFECTS.
The book is divided into twelve sections named after the months of the year. Each section begins with a recipe of some sort, involving Mexican foods. The chapters outline the preparation of the dish and ties it to an event in the protagonist's life.
Young Tita de la Garza, the novel's protagonist, is fifteen at the start of the events in the story, which take place in the era of the Mexican Revolution. She lives with her iron-fisted mother, Mama Elena, and her older sisters Gertrudis and Rosaura, on a ranch near the Mexico-US border.
Tita's admirer, Pedro, comes to ask for her hand in marriage, but Mama Elena forbids it on the grounds of the De la Garza family tradition, which demands that the youngest daughter (in this case Tita) must remain unmarried and take care of her mother until death. (1) Polyrhythmia, co-existence of two or more rhythms without the conflict or dissonance that suggests arrhythmia;
Pedro then reluctantly marries Tita's older sister Rosaura instead, and a distraught Tita can hardly keep from being grieved, even though Pedro maintains it is Tita he loves and not Rosaura, and that he only married Rosaura to be closer to Tita.
Tita has a love of the kitchen and a sharp connection with food of any sort, a skill her sisters lack. Tita unconsciously begins to use the power of food to draw Pedro away from Rosaura, with the rest of the family and hired help becoming pawns in the scheme.
As the story unfolds, Pedro begins to fall under the developing spell of romance caused by Tita's kitchen skills. It is also important to note that Rosaura's cooking skills are poor, and this makes Pedro even more unattracted to her, as he barely wanted to consummate their marriage to begin with. But side effects do result, as when Rosaura and Pedro are forced to leave for San Antonio, Texas, at the urging of Mama Elena, who is firmly against a relationship between Tita and Pedro, and Rosaura loses her son Roberto and is later made sterile after complications with the birth of daughter Esperanza. Meanwhile, Tita's elder sister Gertrudis accidentally becomes affected by Tita's culinary delights and leaves the ranch naked with a revolutionary soldier (though she returns as the head of a revolutionary army).
Upon learning the news of her nephew's death, whom she cared for herself, Tita blames her mother; Mama Elena responds by beating Tita furiously with a wooden spoon. Tita, not wanting to cope with her mother's controlling ways, secludes herself in a dovecote until the sympathetic Dr. John Brown reasons with her, and convinces her to come down. (2) Arrhythmia, conflict or dissonance between or among two or more rhythms, such as might occur (biologically) in an ill person;
Mama Elena clearly states that there is no place for "lunatics" like Tita on the farm, and wants her to be institutionalized. However, the Doctor decides to take care of Tita at his home instead. Tita eventually enters into a relationship with Dr. Brown, even planning to marry him at one point, but she cannot shake her feelings for Pedro.
After the removal of all obstacles to the relationship between Tita and Pedro, the lovers finally share a night of bliss that is so heated and passionate that Pedro actually dies while making love to Tita. (3) Isorhythmia, the rarest association between rhythms, implies equivalence of repetition, measure and frequency.
Upset that Pedro dies while she lives, leaving her alone in the world, Tita proceeds to consume kitchen matches whilst thinking of his face. The matches are sparked by the heat of his memory, creating a fire that engulfs them both, leading to their deaths in union and the total destruction of the ranch. The narrator of the story is the daughter of Esperanza. Esperanza is Tita's niece and Rosaura and Pedro's daughter, and Dr. Brown's son, Alex, will marry her at the conclusion of the story. (4) Eurhythmia, constructive interaction between or among two or more rhythms, such as occurs in healthy creatures; The narrator then says that all that was found under the smoldering rubble of the ranch was Tita's cookbook, which contained all the recipes described in the preceding chapters.[8]
Action and reaction, ebb and flow, trial and error, change - this is the rhythm of living. Out of our over-confidence, fear; out of our fear, clearer vision, fresh hope. And out of hope, progress.
Bruce Barton
Rhythm is the life of space of time danced through.
Cecil Taylor
ELEMENTS: HEAT – LIGHT – SOUND – MOVEMENT
• Christmas Rolls
Chabela Wedding Cake
Quail in Rose Petal Sauce
Turkey Mole with Almonds and Sesame Seeds
Northern Style Chorizo
Oxtail Soup
Champandongo
Chocolate and Three King's Day Bread
Cream Fritters
Beans with Chile Tezcucana-Style
Chiles in Walnut Sauce
Tita's admirer, Pedro, comes to ask for her hand in marriage, but Mama Elena forbids it on the grounds of the De la Garza family tradition. Pedro then reluctantly marries Tita's older sister Rosaura instead, (1) Polyrhythmia, co-existence of two or more rhythms without the conflict or dissonance that suggests arrhythmia;
ELEMENTS OF RHYTHMS:
HER HEART
MIXNG BOWL
DOOR
RHYTHM OF THE GARDEN
QUAIL IN ROSE PETAL SAUCE
12 roses, prefarably red
12 chestnuts
2 tsp. butter
2 tsp. cornstarch
2 drops attar of roses
2 Tbsp. anise
2 Tbsp. honey
2 cloves garlic
6 quail
1 pitaya
Brown the quail in butter and season with salt and pepper.
Remove the petals carefully from the roses. Ground the petals aith anise in a mortar. Separately, brown the chestnuts in a pan, remove the peels and cook them in water. Then puree them. Mince the garlic and brown slightly in butter; when it is transparent, add it to the chestnut puree along with the honey, the ground pitaya and the rose petals, and salt to taste.
To thicken the sauce slightly, you may add two Tablespoons of cornstarch.
Last, strain through a fine sieve and add no more than 2 drops of attar of rosses. As soon as the seasonings have been added, remove sauce from heat. The quail should be immersed in this sauce for 10 minutes to infuse them with the flavor, and then removed.
The quail are placed on a platter, the sauce is poured over them and they are garnished with a single perfect rose in the center and rose petals scattered all around.
Tita blames her mother; Mama Elena responds by beating Tita furiously with a wooden spoon. Tita, not wanting to cope with her mother's controlling ways, secludes herself in a dovecote until the sympathetic Dr. John Brown reasons with her, and convinces her to come down. (2) Arrhythmia, conflict or dissonance between or among two or more rhythm
TEMPRATURE OF HER HANDS AND THE TABLE SURFACE l
TEMPRATURE OD THE KITCHEN o
RHYTHM OF FIRE IN THE OVEN l
NORTHERN STYLE CHORIZO
8 kilos pork loin
2 kilos pork head or scraps
1 kilo chiles ancho
60 grams cumin
60 grams oregano
30 grams pepper
6 grams cloves
2 cups garlic
2 liters apple vinegar
1/4 kilo salt
Heat the vinegar and add the chiles after removing the seeds. WHen mixture comes to a boil, remove pan from heat and put a lid on it, so that the chiles soften.
Grind the spices with the chiles. To make the process easier, add a few drops of vinegar from time to time. Last of all, mix the meat, finely chopped and ground with the chiles and spices and let the mixture rest overnight.
The casings should be pork intestines, cleaned and cured. The sausages are filled using a funnel. Tie them off tightly, four fingers apart, and poke them with a needle to let air escape, because air can spoil the sausage. It's very important to squeeze the suasgae firmly while filling it so you don't leave any spaces.
After the removal of all obstacles to the relationship between Tita and Pedro, the lovers finally share a night of bliss that is so heated and passionate that Pedro actually dies while making love to Tita. (3) Isorhythmia, the rarest association between rhythms, implies equivalence of repetition, measure and frequency.
CHAMPANDONGO
1/4 kilo ground beef
1/4 kilo ground pork
200 grams walnuts
200 grams almonds
1 onion
1 candies citron
2 tomatoes
1 Tbsp. sugar
1/4 cup cream
1/4 kilo queso manchego
1/4 cup mole
cumin
chicken stock
corn tortillas
oil
The onion is finely chopped and fried in a little oil wit the meat. While it is frying, the cumin and a tablespoon of sugar is added.
when the meat starts to brown, the chopped tomato is added, along with the citron, the walnuts, and the almonds, cut into small pieces.
After the meat has been cooked and drained, the next step is to fry the tortillas in oil, lightly, so they don't get hard.
In the dish destined for the oven, spread a layer of cream so the other ingredients don't stick, a layer of tortillas, and over these, a layer of meat mixture, and finally, the mole, covering it with the sliced cheese, and the cream.
Repeat the prcess as many times as necessary until the pan is filled. Put the pan in the oven and bake until the cheese melts and the tortillas are softened. Serve with rice and beans.
union and the total destruction of the ranch. The narrator of the story is the daughter of Esperanza. Esperanza is Tita's niece and Rosaura and Pedro's daughter, and Dr. Brown's son, Alex, will marry her at the conclusion of the story. (4) Eurhythmia, constructive interaction between or among two or more rhythms, such as occurs in healthy creatures;
CREAM FRITTERS
1 cup heavy cream
6 eggs
cinnamon
syrup
Take the eggs, crack them and separate the white. Stir the 6 egg yolks with the cup of cream. Beat until the mixture becomes light. Pour it into a pot that has been greased with lard. The mixture should be no more than an inch thick in the baking pan. Place it on the heat over a low flame and allow to thicken.
Remove the pan from the heat and allow the custard to cool. Cut into small squares.
Next, beat the egg whites so that the custard squares can be rolled in them and fried in oil. Finally, the fitters are served in syrup and sprinkled with ground cinnamon
The book is divided into twelve sections named after the months of the year. Each section begins with a recipe of some sort, involving Mexican foods. The chapters outline the preparation of the dish and ties it to an event in the protagonist's life.
Young Tita de la Garza, the novel's protagonist, is fifteen at the start of the events in the story, which take place in the era of the Mexican Revolution. She lives with her iron-fisted mother, Mama Elena, and her older sisters Gertrudis and Rosaura, on a ranch near the Mexico-US border.
Tita's admirer, Pedro, comes to ask for her hand in marriage, but Mama Elena forbids it on the grounds of the De la Garza family tradition, which demands that the youngest daughter (in this case Tita) must remain unmarried and take care of her mother until death. (1) Polyrhythmia, co-existence of two or more rhythms without the conflict or dissonance that suggests arrhythmia;
Pedro then reluctantly marries Tita's older sister Rosaura instead, and a distraught Tita can hardly keep from being grieved, even though Pedro maintains it is Tita he loves and not Rosaura, and that he only married Rosaura to be closer to Tita.
Tita has a love of the kitchen and a sharp connection with food of any sort, a skill her sisters lack. Tita unconsciously begins to use the power of food to draw Pedro away from Rosaura, with the rest of the family and hired help becoming pawns in the scheme.
As the story unfolds, Pedro begins to fall under the developing spell of romance caused by Tita's kitchen skills. It is also important to note that Rosaura's cooking skills are poor, and this makes Pedro even more unattracted to her, as he barely wanted to consummate their marriage to begin with. But side effects do result, as when Rosaura and Pedro are forced to leave for San Antonio, Texas, at the urging of Mama Elena, who is firmly against a relationship between Tita and Pedro, and Rosaura loses her son Roberto and is later made sterile after complications with the birth of daughter Esperanza. Meanwhile, Tita's elder sister Gertrudis accidentally becomes affected by Tita's culinary delights and leaves the ranch naked with a revolutionary soldier (though she returns as the head of a revolutionary army).
Upon learning the news of her nephew's death, whom she cared for herself, Tita blames her mother; Mama Elena responds by beating Tita furiously with a wooden spoon. Tita, not wanting to cope with her mother's controlling ways, secludes herself in a dovecote until the sympathetic Dr. John Brown reasons with her, and convinces her to come down. (2) Arrhythmia, conflict or dissonance between or among two or more rhythms, such as might occur (biologically) in an ill person;
Mama Elena clearly states that there is no place for "lunatics" like Tita on the farm, and wants her to be institutionalized. However, the Doctor decides to take care of Tita at his home instead. Tita eventually enters into a relationship with Dr. Brown, even planning to marry him at one point, but she cannot shake her feelings for Pedro.
After the removal of all obstacles to the relationship between Tita and Pedro, the lovers finally share a night of bliss that is so heated and passionate that Pedro actually dies while making love to Tita. (3) Isorhythmia, the rarest association between rhythms, implies equivalence of repetition, measure and frequency.
Upset that Pedro dies while she lives, leaving her alone in the world, Tita proceeds to consume kitchen matches whilst thinking of his face. The matches are sparked by the heat of his memory, creating a fire that engulfs them both, leading to their deaths in union and the total destruction of the ranch. The narrator of the story is the daughter of Esperanza. Esperanza is Tita's niece and Rosaura and Pedro's daughter, and Dr. Brown's son, Alex, will marry her at the conclusion of the story. (4) Eurhythmia, constructive interaction between or among two or more rhythms, such as occurs in healthy creatures; The narrator then says that all that was found under the smoldering rubble of the ranch was Tita's cookbook, which contained all the recipes described in the preceding chapters.[8]
Action and reaction, ebb and flow, trial and error, change - this is the rhythm of living. Out of our over-confidence, fear; out of our fear, clearer vision, fresh hope. And out of hope, progress.
Bruce Barton
Rhythm is the life of space of time danced through.
Cecil Taylor
ELEMENTS: HEAT – LIGHT – SOUND – MOVEMENT
• Christmas Rolls
Chabela Wedding Cake
Quail in Rose Petal Sauce
Turkey Mole with Almonds and Sesame Seeds
Northern Style Chorizo
Oxtail Soup
Champandongo
Chocolate and Three King's Day Bread
Cream Fritters
Beans with Chile Tezcucana-Style
Chiles in Walnut Sauce
Tita's admirer, Pedro, comes to ask for her hand in marriage, but Mama Elena forbids it on the grounds of the De la Garza family tradition. Pedro then reluctantly marries Tita's older sister Rosaura instead, (1) Polyrhythmia, co-existence of two or more rhythms without the conflict or dissonance that suggests arrhythmia;
ELEMENTS OF RHYTHMS:
HER HEART
MIXNG BOWL
DOOR
RHYTHM OF THE GARDEN
QUAIL IN ROSE PETAL SAUCE
12 roses, prefarably red
12 chestnuts
2 tsp. butter
2 tsp. cornstarch
2 drops attar of roses
2 Tbsp. anise
2 Tbsp. honey
2 cloves garlic
6 quail
1 pitaya
Brown the quail in butter and season with salt and pepper.
Remove the petals carefully from the roses. Ground the petals aith anise in a mortar. Separately, brown the chestnuts in a pan, remove the peels and cook them in water. Then puree them. Mince the garlic and brown slightly in butter; when it is transparent, add it to the chestnut puree along with the honey, the ground pitaya and the rose petals, and salt to taste.
To thicken the sauce slightly, you may add two Tablespoons of cornstarch.
Last, strain through a fine sieve and add no more than 2 drops of attar of rosses. As soon as the seasonings have been added, remove sauce from heat. The quail should be immersed in this sauce for 10 minutes to infuse them with the flavor, and then removed.
The quail are placed on a platter, the sauce is poured over them and they are garnished with a single perfect rose in the center and rose petals scattered all around.
Tita blames her mother; Mama Elena responds by beating Tita furiously with a wooden spoon. Tita, not wanting to cope with her mother's controlling ways, secludes herself in a dovecote until the sympathetic Dr. John Brown reasons with her, and convinces her to come down. (2) Arrhythmia, conflict or dissonance between or among two or more rhythm
TEMPRATURE OF HER HANDS AND THE TABLE SURFACE l
TEMPRATURE OD THE KITCHEN o
RHYTHM OF FIRE IN THE OVEN l
NORTHERN STYLE CHORIZO
8 kilos pork loin
2 kilos pork head or scraps
1 kilo chiles ancho
60 grams cumin
60 grams oregano
30 grams pepper
6 grams cloves
2 cups garlic
2 liters apple vinegar
1/4 kilo salt
Heat the vinegar and add the chiles after removing the seeds. WHen mixture comes to a boil, remove pan from heat and put a lid on it, so that the chiles soften.
Grind the spices with the chiles. To make the process easier, add a few drops of vinegar from time to time. Last of all, mix the meat, finely chopped and ground with the chiles and spices and let the mixture rest overnight.
The casings should be pork intestines, cleaned and cured. The sausages are filled using a funnel. Tie them off tightly, four fingers apart, and poke them with a needle to let air escape, because air can spoil the sausage. It's very important to squeeze the suasgae firmly while filling it so you don't leave any spaces.
After the removal of all obstacles to the relationship between Tita and Pedro, the lovers finally share a night of bliss that is so heated and passionate that Pedro actually dies while making love to Tita. (3) Isorhythmia, the rarest association between rhythms, implies equivalence of repetition, measure and frequency.
CHAMPANDONGO
1/4 kilo ground beef
1/4 kilo ground pork
200 grams walnuts
200 grams almonds
1 onion
1 candies citron
2 tomatoes
1 Tbsp. sugar
1/4 cup cream
1/4 kilo queso manchego
1/4 cup mole
cumin
chicken stock
corn tortillas
oil
The onion is finely chopped and fried in a little oil wit the meat. While it is frying, the cumin and a tablespoon of sugar is added.
when the meat starts to brown, the chopped tomato is added, along with the citron, the walnuts, and the almonds, cut into small pieces.
After the meat has been cooked and drained, the next step is to fry the tortillas in oil, lightly, so they don't get hard.
In the dish destined for the oven, spread a layer of cream so the other ingredients don't stick, a layer of tortillas, and over these, a layer of meat mixture, and finally, the mole, covering it with the sliced cheese, and the cream.
Repeat the prcess as many times as necessary until the pan is filled. Put the pan in the oven and bake until the cheese melts and the tortillas are softened. Serve with rice and beans.
union and the total destruction of the ranch. The narrator of the story is the daughter of Esperanza. Esperanza is Tita's niece and Rosaura and Pedro's daughter, and Dr. Brown's son, Alex, will marry her at the conclusion of the story. (4) Eurhythmia, constructive interaction between or among two or more rhythms, such as occurs in healthy creatures;
CREAM FRITTERS
1 cup heavy cream
6 eggs
cinnamon
syrup
Take the eggs, crack them and separate the white. Stir the 6 egg yolks with the cup of cream. Beat until the mixture becomes light. Pour it into a pot that has been greased with lard. The mixture should be no more than an inch thick in the baking pan. Place it on the heat over a low flame and allow to thicken.
Remove the pan from the heat and allow the custard to cool. Cut into small squares.
Next, beat the egg whites so that the custard squares can be rolled in them and fried in oil. Finally, the fitters are served in syrup and sprinkled with ground cinnamon
NEW SITE... WHAT WHY HOW
WHAT: Everyday establish itself, things matter little. This project is to study rhythms of everyday life with inventing new measuring tools and analyze them with repetitive process linked to homogenous time. There is diverse spaces as geometry and diverse temporalities as rhythms in the concrete; the body. Over time the sensitive body of space goes into a modification process with rhythmic change; so do architectures. The project not oly concentrates on human activities and events, but also observe their temporality in which these activities unfold. It aims to explore the alignment of rhythms in repetitive time periods. The alliance of function and space changes at different speeds and as a result, environment and architecture fuse and a polyrhythmic or arrhythmic arrangement occurs. The question is how the rhythm of the self and the rhythm of others are oriented and distributed? In other words, how the beating hearts of the body and the connections between these hearts are revealed to disclose the trace of beating over time. This project looks at the architectural translation of the object often contained between the dynamic body and its trace in the world. Imagine a kitchen full of connected utensils from Alfred Jerry’s anti-matter which is sensitive to very small rhythmic changes, “change amplifier bodies,” that leave a trace on the timeline, itself and its environment.
WHY: Whereas there is interaction between a place, a time and an expenditure of energy, there is rhythm. Architecture is also not a static object. In other words, an architecture over its life occupies more than a topography, it occupies a timeography, a period over time in which it is affected by forces which alter the body and become in tune with these changes. Architecture does not sublimate only the functional or aesthetic rule it also has ethical function. In its relation to body, to the time, to the work, it literally illustrates qualitative life of body. Rhythm appears as regulated time, governed by rational law, but in contrast with that is least rational in human being; the lived, the carnal, the body which wraps itself in rhythms of social or mental function.
HOW: Design a system of combination of series of rhythmic objects in a kitchen in connection with a garden in a circular rhythm, developing the idea of surface and geometry between things of objects tracking the lost geometry of everyday repetition which makes the rhythm more tangible; as there are only things and rhythms. The site is the kitchen in the magical realistic novel; “Like The Water For Chocolate” by Laura Esquivel. It’s about a girl who is only able to express her passion and feeling through her cooking- the everydayness effect. The project is about exploring how to track and map the rhythms of her activities through a series of pieces and sculptures which their combination compose a sensible effect of her everyday life in the body of space. These devices are imitating and simulating her everyday rhythms in order to reflect a quantitative sensible data. Designing the series of pieces and sound sculptures linked to the functional tools will re-compose the music of everyday life which is neither natural nor artificial as architectural space. Objects are moving and vibrating constantly under circular and linear external forces. Exploring the forces that are in contradiction and resistance with each other distinguishes between the experience of time as a process, as “in-formation,” and as an instrumental notion of time that is “metronomic” or “progressive”; circular or linear. There are four kinds of alignments between rhythms: Arrhythmia, Polyrhythmia, Eurhythmia and Isorhythmia which are considered in design process.
WHY: Whereas there is interaction between a place, a time and an expenditure of energy, there is rhythm. Architecture is also not a static object. In other words, an architecture over its life occupies more than a topography, it occupies a timeography, a period over time in which it is affected by forces which alter the body and become in tune with these changes. Architecture does not sublimate only the functional or aesthetic rule it also has ethical function. In its relation to body, to the time, to the work, it literally illustrates qualitative life of body. Rhythm appears as regulated time, governed by rational law, but in contrast with that is least rational in human being; the lived, the carnal, the body which wraps itself in rhythms of social or mental function.
HOW: Design a system of combination of series of rhythmic objects in a kitchen in connection with a garden in a circular rhythm, developing the idea of surface and geometry between things of objects tracking the lost geometry of everyday repetition which makes the rhythm more tangible; as there are only things and rhythms. The site is the kitchen in the magical realistic novel; “Like The Water For Chocolate” by Laura Esquivel. It’s about a girl who is only able to express her passion and feeling through her cooking- the everydayness effect. The project is about exploring how to track and map the rhythms of her activities through a series of pieces and sculptures which their combination compose a sensible effect of her everyday life in the body of space. These devices are imitating and simulating her everyday rhythms in order to reflect a quantitative sensible data. Designing the series of pieces and sound sculptures linked to the functional tools will re-compose the music of everyday life which is neither natural nor artificial as architectural space. Objects are moving and vibrating constantly under circular and linear external forces. Exploring the forces that are in contradiction and resistance with each other distinguishes between the experience of time as a process, as “in-formation,” and as an instrumental notion of time that is “metronomic” or “progressive”; circular or linear. There are four kinds of alignments between rhythms: Arrhythmia, Polyrhythmia, Eurhythmia and Isorhythmia which are considered in design process.
2.2.10
poem and physics
I wanted to become a physicist
Your kisses make me a poet
Before that, I made a phonograph
To recognize the speed of your voices wave,
How they distribute from my device
And in which distance I can hear your voice
I decided to discover the rule to
Collect your dispersed energy from space
And make your body again
The friction module of skin on skin, fluid in fluid
I measured
The gravity of earth
I didn’t know how to calculate the frequency of your kisses
Divide which speed to the distance between us
In your arms
I was thrown to stars each time
And now, with all of my physic knowledge
I can just measure
The volume of black at the corner of the room
That turns every vocal creature
Into the energy of silence.
Your kisses make me a poet
Before that, I made a phonograph
To recognize the speed of your voices wave,
How they distribute from my device
And in which distance I can hear your voice
I decided to discover the rule to
Collect your dispersed energy from space
And make your body again
The friction module of skin on skin, fluid in fluid
I measured
The gravity of earth
I didn’t know how to calculate the frequency of your kisses
Divide which speed to the distance between us
In your arms
I was thrown to stars each time
And now, with all of my physic knowledge
I can just measure
The volume of black at the corner of the room
That turns every vocal creature
Into the energy of silence.
Photographs--Fran Landesman
Photographs are smiles that last forever;
Snow men that never melt away,
Birthday celebrations caught in amber,
Rescued from the vaults of yesterday.
Faces that were once more dear than diamonds,
Boys that kept you up until the dawn,
Houses filled with bicycles and babies,
Ghosts who left their shadows on the lawn.
Photographs are holes in time’s gray curtain,
Through them we can peek into the past,
Call upon our parents and children,
Pop a cork with members of the cast.
There they are, the days of jazz and joy-rides;
Snaps of magic moments lit by laughs;
If you ever find my house on fire
Leave the silver, save the photographs.
My life
My life is as odd and extraordinary as the drawing on my pen holder. It seems some obsessive mad man has drawn it. Wen I look at it it seems familiar. maybe that's why I keep writing.
Sadegh Hedayat
Sadegh Hedayat
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