Big brother is knitting you.

http://www.stanford.edu/group/SHR/4-2/text/foerster.html

Neil Spiller

For Architectural Education and Fighting Ubiquitous Fashion

"A building project...has to be substantially completed before construction can begin. In order to live up to these imperatives and yet be capable of innovation, some contemporary architects have sought to collapse "theory" and "practice" in new "algorithmic" processes of design that avoid subjective "judgement" and produce novelty through instrumental mathematical operations. Made possible by powerful computers and ingenious software, the new algorithmic magic creates novelty without love, resulting in short-lived seduction, typically without concern for embodied cultural experience, character, and appropriateness" Alberto Perez Gomez (1) The term "Cyberoque" is probably ten years old. It was predicated on the notion that the new virtual technologies would blow life into architecture and we would head off to a new architecture of billowing surfaces, voluptuous skins and seductive invaginations. Indeed, the formal articulations that are possible to the contemporary architect are much increased, albeit mostly in a familiar series of articulations begat by similar software applications. Much has been sacrificed to this formal necromancy and this includes properly articulated plans, expedient economic structural logics and the exquisite dovetailing of form and programme. Unfortunately all these tropes and trends lead us not to an architectural world of individual liberation, unleashed creativity and empowerment but to a world of ubiquity and a lack of self-critical engagement in the process of design and, most crucially of all, a lacuna of human communication through architecture that engages the human condition in all its myriad complexities and desires. Alberto Perez- Gomez's work is a shining beacon that advocates the erotic, the love-ly and the poetic possibilities of architecture. Most contemporary architects shy away from these exuberant notions and are content to hide like children under corporate skirts.

During the last five years the MArch Architectural Design AVATAR Course has been developing a large and dense series of theoretical projects that address some of the surreal possibilities of the new technologies in response to ideas of individuality, mnemonics, poetics, machinery and the history of art and architecture. We are living in an era of millennial ecstasy, we are now cast forever out of our skins. We are transparent, elsewhere and smeared across our world, our digital or visceral smudge visible and vulnerable. Our new architectures search for an ecstasy of creation, a choreography of chance, the liberation of particularity and a dislocation of the designer self, `I got mine, get yours! in a world where all is possible, the question is begged: Are you doing anything that really needs to be done or are you blinded by the sweet caress of the digital delirium, the warm embrace of the hyper connected, disconnected spectacle? It sucks you dry, adapting to your every action, and growing stronger bit by bit. Now is the time to think differently. All our post-modern desire is good for is an obsession with Apples and BlackBerrys � Digital Fruit. We desire the exceptional, we want to be different, and we want all things to have a special relationship with us. We make our world by desiring within it. We should build our architecture with desire.

Neil Spiller



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;

CHAPTER TWELVE + + + NUTS AND NUTS + + + POLYRHYTHMIA

Being shelling the nuts several days in advance. For that is a big job to which many hours must be devoted. After the shell is removes, you still have to take off the skin, not a single bit, is left clinging to the nuts, because when they ground and mixed with the cream, any skin will make the nut sauce bitter, and all of your previous work will have been nothing.
Tita and Chencha were finishing shelling the nuts sitting around the kitchen table. The nuts were to be used for the chillies nuts souse they would be serving as the main course at the next day ‘s wedding. All the other members of the family had gone, deserting the kitchen table on the pretext or another. Only these two indefatigable women were continuing to the bottom of the mountain. To tell the truth, Tita didn’t blame the others. They had given her enough help already that week; she knew quite well that it wasn’t easy to shell a thousand nuts without getting sick of it. The only person she knew who could do it without any sign of fatigue was Mama Elena.
Not only could crack sack after sack of nuts in a short time, she seemed to take great pleasure in doing it.
Applying pleasure, smashing to bits skinning, those were among her favourite activities. The hours just flew by when she sat on the patio with a sack of nuts between her legs, not getting up until she was done it with it.
For her it would have been child’s play to crack those thousand nuts, which required so much effort from everyone else. They needed that enormous quantity because for each twenty five chillies they had to shell one hundred nuts; so it figured that two hundred and fifty chillies, they needed thousand nuts. They had invited eighty people to the wedding, between relatives and close friends, each one could eat three chillies if they wanted, a fairly generous estimate. This was to be quite wedding; none the less, Tita wanted to give a twenty course banquet the like of which had never been given before, and , of course, she couldn’t leave the delicate chillies in walnut sauce off the menu, even though they took so much work- such a memorable occasion surely warranted it. It didn’t matter to Tita if she had black fingers after taking the skin off so many nuts.

CHAPTER NINE + + + CHOCOLATE AND LIP AND BREAD+ + + POLYRHYTHMIA

The first step is to toast the chocolate beans. It’s good to use the metal pan rather than an earthenware griddle since the pores of the griddle soak up the oil the beans give off. It’s very important to pay attention to this sort of details, since the goodness of the chocolate depends on three things, namely: that the chocolate beans used are good and without defect, that you mix several types of beans to make the chocolate, and finally the amount of toasting.
It’s available to toast the cocoa beans just until the moment they begin to give off oil. If they are removed from the heat before then, they will make a discoloured and disagreeable looking chocolate, which will be in- digestible besides. On the other hand, if they left on the heat too long, most of beans will be burned, which will make the chocolate bitter and acrid.
Tita extracted just half of teaspoon of this oil to mix with sweet almond oil for an excellent lip ointment. Her lips always chapped every winter, no matter what precautions she took. When she was a child, this caused her considerable discomfort; whenever she laughed the fleshy part of her lips would crack open and bleed, producing a sharp pain. In time she grew resigned to this. Now that she didn’t have a lot of reasons to laugh, it no longer concerns her. She could wait patiently for spring for the crack disappears. The only reason she was making the pomade was that same quests were coming to the house tonight to share the kings day bread.
Break up the yeast in a quarter of kilo of flour using your hand or fork and adding half a cup of warm milk a little at time. When the ingredients are well blended, knead briefly, from into a ball and let rest, until the dough grows to double it size.
Just as Tita was putting the dough to rest, Rosaura made her appearance in the kitchen. She came to ask Tita’s help in carrying out the diet john a bad prescribed for he. For some weeks now , she had been having serious digestive problems, she had been having serious digestive problems, she suffered from flatulence and bad breath.

CHAPTER EIGHT + + + CHAMPANDONGO AND BABY + + + ARRHTHMIA

The onion is finely chopped and fried a little oil with meat. While it is frying, the ground cumin and a tablespoon of sugar are added. As usual Tita was crying as she chopped the onion. The tears clouded her vision so completely that before she realized it she cut her finger with the knife. She gave an angry cry and went back to preparing the champandongo as if nothing had happened. Right now she didn’t had a second to take care of her wound. That evening John was coming to ask about her hand , and she had to prepare a good supper in only half an hour. Tita didn’t like to have to hurry with her cooking.
She always allowed enough time to cook food perfectly; trying to organize her activities in such a way that she had the peacefulness she needed in the kitchen to be able to prepare succulent dishes exactly as they should be prepared. Now she was so late that her movements were jerky and hasty, which led to then sort of accident.
The main cause of her lateness was her adorable niece, who had been born three months before, permanently, just like Tita. The death of her mother affected Rosaura so deeply that it brought on the birth of her daughter and nursing the child was impossibility. This time tTta couldn’t or wouldn’t take on the role of wet nurse, as she done with her nephew, and what’s more she didn’t even try perhaps because of the devastating experience that she when they took the child from her.

CHATTER FIVE + + + WORMING PEGIONS ANG SAUSAGES + + + POLYRHYTHMIA

Heat the vinegar and add the chillies after removing the seeds. When the mixture comes to the boil, remove the pan from the heat and put a lid on it, so that the chillies soften.
Chencha set the cover on the pan and ran to the kitchen garden to help Tita to look for worms. Mama Elena kept coming into the kitchen to supervise the preparation of the sausage and the preparation for her bath, and they were behind on both. Ever since Pedro, Rosara and Roberto had gone to the can Antonio Tita had lost all interest on life. Except for her interest in feeding worms to the helpless pigeon, apart from that, the house could fall down and it wouldn’t matter to her.
They had decided to make the sausage because it’s one of the best ways to use the meat from a pig economically and get the food that both taste good and keeps well without risk of spoiling. They had also prepared a lot of salt pork ham, bacon and lard. They had to get every possible use from this pig, one of the few animals they had survived, the visit the revolutionary army had made to the ranch a few days before.

CHAPTER FOUR + + + TURKEY AND + + + POLYRHYTHMIA AND ISORHYTHMOA

two days after killing the turkey, clean it and cook with salt. Turkey meat can be delicious and even be exquisite if the turkey has been fattened up properly. This can be accomplished by keeping the birds in clean pens with plenty of corn and water. 15 days before the turkey is to be killed begin feeding it small walnuts, start with one on the first day, the next day put two in its beak and keep increasing the number this way until the night before it’s to be killed regardless of how much corn it eats voluntarily during this period. Tita took care to feed the turkeys properly she wanted the feast to go well.
She was really excited as she started to prepare the mole the day before the baptism. Pedro, hearing her from the killing room, experienced a sensation that was new to him. The sound of pans bumping against each other, the sound of Tita’s melodious voice, singing as she cooked, had kindled his sexual feeling. Just as lovers know the time for intimacy as approaching from the clones and scent of their beloved, or from the caresses exchanged in foreplay, so Pedro knew from those sounds seeds, especially the aroma of browning sesame seeds, that there was a culinary pleasure to come.
The almonds and sesame seeds are toasted in a griddle. The chillies anchors, with membranes removed, are also toasted- lightly, so they don’t get bitter. This must be done in separate frying pan, since a little lard is used. Afterwards the toasted chillies are ground on the stone along with the almonds and sesame seeds.
Tita, on the knees, was bent over the grinding stone moving in the slow regular rhythm.
under her blouse,her breast/ body moved freely, since she never wore a brassiere. drops of sweat formed on her necka nd ran down into th crease between her firm round breast.

CHAPTER TWO + + + EGG AND WEDDING CAKE + + + POLYRHYTHMIA IN DIFFERENT TIME SCALES

Place five eggs yolks, four whole eggs and sugar in a large bowl. beat until the mixture thickens and then add two more whole eggs; repeat, adding the remaining eggs two at a time until all the eggs have been added. To make the cake for pedro's and Rosaura's wedding, Tita and Nacha had to multiply this recipe by ten, since they were preparing a cake not for eighteen people but for one hundred and eighty. Therefore, they needed 170 eggs, which meant they had to arrange to have that number of good eggs on the same day.
To get that number of eggs together, they preserved all the eggs laid by the best hens for several weeks. this preserving technique has been employed on the ranch since time immemorial to ensure a supply of this nourishing and immemorial to ensure a supply of this nourishing and indispensable food throughout the winter. The best time to preserve eggs is august or September. The eggs must be very fresh. Nacha preferred to use only eggs laid same day. The eggs are placed in the cask then covered completely. this will keep the eggs fresh for months. If you want to keep them more than a year, place the eggs in an earthenware crock and cover them with a ten per cent lime solution. Cover tightly to keep the air out and store in the wine cellar.
when she has beaten barely a hundred eggs, the phenomenal energy required for the task began to have a bad effect mood. To reach the goal of 170 seemed unimaginable.

A fit of trembling shook Tita's body and she broke out in goose bumps when each egg was broken. The egg whites remained her of the testicles of the chickens they had castrated the months before. Rosters that are castrated and then fattening up are called capons.

Heat the apricot paste together with a little bit of water after comes to the boil, strain it preferably through a hair of floured sieve, but a courser strainer can be used if you don’t have either of those. Place the paste in a pan, add the sugar, and heat, stirring constantly, until the mixture forms a marmalade. Remove from the heat and allow to cool slightly before spreading it on the middle layer of the cake which, of course, had previously been sliced into layers.

CHAPTER ONE + + + ONIONS AND TEARS + + + POLYRHYTHMIA AND EURHYTHMIA WITH ONE SMALL ARRHYTHMIA

Take care to chop the onion fine. to keep from crying when you chop it( which is so annoying) I suggest you place a little bit on your head. The trouble with crying over onion is that once the chopping you have started and the tears begin to well up, the next thing you know is just can's stop. I don’t know whether that's over happened to you but I have confess it's happened to me, many times.
Tita was so sensitive to onions, anytime they were being chopped they say they should just cry and cry; when she was still in my great-grandmother’s belly her sobs were so loud that even Nacha , the cook, who was half-deaf, could hear them easily. Once her wailing got so violent that it brought on an early labour. And before my great-grandmother could hear them, easily. Tita made her iterance into this world permanently, right there on the kitchen table amid the smell of simmering noodle soup, thyme. bay leaves and coriander, steamed milk, garlic and, of course onion. Tita had no need for the usual slap on the bottom because she was already crying as she emerged; maybe that was because she knew then that it would be her lot in life to be denied marriage. The way Nacha tells it, Tita was literally washed into this world on the great tide of tears that spilled over the edge on the table and flooded across the kitchen floor.
That after noon when the uproar had subsided and the water had been dried up by the sun, Natcha swept up the residue the tears had left on the red stone floor. There was enough salt to fill a tea pound sack - it was used for cooking at lasted a long time. Thanks to het unusual birth, Tita felt a deep love for the kitchen, where she spent most of her life from the day she was born.

...

From that day on, Tita's domain was the kitchen, where she grew vigorous and healthy on diets of teas and thin corn gruels. This explains the sixth sixth sense Tita developed about everything concerning food. Her eating habits, for example, were attuned to the kitchen routines; in the morning when she could smell that the beans were ready; at midday, when she sensed the water was ready for plucking the kitchens; and the afternoon , when the dinner bread was baking, Tita knew it was time for her to be fed.

DRESSAGE

http://coe.ksu.edu/jecdol/Vol_3/articles/Viner.htm


Contributions by von Glaserfeld (1995), indicates that traditional learning and teaching models were developed based upon the perceived scientific laws of cause and effect. B.F. Skinner’s behavioral experiments on rats and pigeons were used to develop relationships and connections on the belief that learning could test for a true reality. For example, a type of empirical testing for knowledge would be a behavioral approach to teaching and learning such as B. F. Skinner’s stimuli-response reactions where reinforcement fosters repetition. Training by repetition may modify behavior but according to von Glaserfeld, it does little for knowledge acquisition and thinking. von Glaserfeld suggests knowledge is not a series of stimuli-response reactions. It is “real” and connected to an experimental world that looks for “… a viable model of how we manage to construct a relatively stable, orderly picture from the flow of our experience” (p. 57).



Constructivists’ perspectives encourage the building of meaning and knowledge by changing the very nature of the questions we ask about reality. Constructivism promotes the development of learning theories for understanding by concerning itself with ways of knowing how someone makes a claim of knowledge. It does not concern itself with external truths. Constructivist educational settings would incorporate knowledge building. They would have students explain their reasoning by the means of developing a viable “fit” or explanation (Staver, 2000). The notion of truth in education becomes replaced by the concept of viability. Conceptual models and scientific theories are viable if they prove competent in the contexts in which they were created. They become relative to the goal or problem presented. Viability is a matter of constructing a model of a coherent world which eliminates the ultimate truth because there is always more than one way of knowing and doing (Steffe & Gale 1995).

WITTGENSTEIN and fabric of evaryday life

Yet whatever those views, his patent concern with language has made his
work suspect among those concerned with ‘material conditions’ and the like.
Indeed, some would argue that he can only be viewed as an idealist, as
someone operating at the level of the superstructure.
Wittgenstein’s work is simply too abstract, too far removed from the everyday practice of geography to make a difference.

qoutes

Happiness is the longing for repetition.
Milan Kundera

History is an endless repetition of the wrong way of living.
Lawrence Durrell

My greatest fear: repetition.
Max Frisch

The oblique paradox of propaganda is that the lie in the throat becomes, by repetition, the truth in the heart.
John Grierson

fractal patterns#
http://sprott.physics.wisc.edu/FRACTALS/collect/2005/

why choosing kitchen as the site

why choosing kitchen as the site?/

1-in the kitchen we are faced to direct confronting of nature and indusry.

"The machine is composed of organic and inorganic parts,
which act together to constitute its life and to produce its
power and speed."
Deleuze & Guattari for Architects (Thinkers for Architects)
By A. Ballantyne


2-in every house kitchen can be considered as the beating heart for the house. (Historically it was playing a social role in every family)... it holds one of the most routin activity of human which is eating, however there is a variation in this activity. we doonot eat the same food eaveryday but we sleep the same and shower the same ect... so this can be properly the place to analyze the liniar and cyclical rhythm in a system.

the victorian era is selected as it's the era that thecnology has started to bloom and the project maybe is offering a missed technology enhanment which considers the qualitative development along with quantitive development.

CYBERNETIC PATTERNS

basically nowadays we consider human as a information reciever. But what is information? we can consider information as a internal process of in-formation; construction og thoughts that just happen in the brain without any extrenal factor. in other words no one can give you any information thats all in you.
(Dressage)


art of listeninig to the possibilities of what we can do can enhance design becouse we some how cannot resist to prevent something happen; it's more matter of time and design would be more wise to be dependant to it's external forces rather than forcing them to direct in a particular way or a combination of this two methods.

(control theory:Control theory is an interdisciplinary branch of engineering and mathematics, that deals with the behavior of dynamical systems. The desired output of a system is called the reference. When one or more output variables of a system need to follow a certain reference over time, a controller manipulates the inputs to a system to obtain the desired effect on the output of the system.)...
control comunication as early order we have machine and in second




pattern is so important to being human that we can call ourselves man;the pattern maker rather than the wise man or homo designates
we as a human mae pattern and construct it appropraite...

“Objectivity is the delusion that observations could be made without an observer” (von Foerster 1995, p. v).


movie blowup by antonioni
second order of cybernatics talks about the observor in the system... observor involved in system taking part rather than just observing... we cannot recognise a reality wicjh is indipendant from us... we cacnnot know this if I'm not there... we can talk about it but we shouldnt insist.

Therefor the shofting between this two point of view; concrete and abstract, real and unreal, actual and in-actual is the most imoportant thing to us.
....................... qoute


sitting on the henge and not deciding one on other...
I dont know and i dont wish to know... knowledge of black box whic is based on nothing ... amazing structure... our knowledge is lots of patterns that we had make ...
Randomness is a concept with somewhat disparate meanings in several fields. It also has common meanings which may have loose connections with some of those more definite meanings.
Having no definite aim or purpose; not sent or guided in a particular direction; made, done, occurring, etc., without method or conscious choice; haphazard.
life may determined by pure randomness???? We could not, for example, arrive at a principle like that of entropy without introducing some additional principle, such as randomness, to this topography.
Michael Polanyi

is it possible to make a random code generator but on paper it's undoable as it should be an order..

all of this is about us try to make pattern; makingb regularities exist between diffenebt experiences. we live in our experience whatever it is an invention or natural... we cannot deny and they are diffenent. there is a distinction between our experiences that these things are mede diffenent. what we share of our experience is nothing we just make stories of our experiences and it makes another experiense for the others. So rhythm analysis could be non linguistic way to share experience of oure everyday lihe without a narrative but along with archive traces that it naturaly we make. it is still an experience for others.


we have the whole sets of experience and we manage when we learn to see to abstract the things in mind but we can put all of thesde things together and we made from all these things.

jean paul piaget :
making pattern is the power ful trick to take all this experiences and connect those together and make as one; it's a business of reducing complexity... a powerful
science is not what it's absolute it is the way to describe the way it is. it's how
we describe what we do... we manage to reduce etraordinary of things and experience that we have and turn them into objects that populated in the world; it's not an abject and it's not the same as the object; that's here that we say I dont know; and I cannot know, I like not to know and I dont wanto know...

that's why pattern is important ....

I observe and things getting in this world as I observe them. how do I know that there is an I to do with observing.when we are looking at the same object, we wont see the same as different thing we hopwever we are making a same pattern and that's how we believe thatr we are seeing the same thing.
if two gus observ tehsame thing
we've our ability to live in moment that we are living in... music, sex television and addictions... things we do to take oureselves out of our world we lost our seves, take us out of ourselves where we forget oureself and we lose the pattern that we ,ade for our world....
the problem with pattern is they restrict us becouse to learned to see this pattern ad got adppted to that. we also take away the possibility of seeing things in the way rthey are becouse we always see those in our pattern, also we dont see things in contradictory with the part of the patterns that we had made.the pattern blindf us...#

TIME IN EAST AND WEST

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

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

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

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.

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.

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

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.

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.

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

How should |I draw rhythms/?/Collapsing the Tetrahedron

Jules Moloney
Collapsing the Tetrahedron: Architecture with(in) Digital Machines
Keywords: architecture, history, drawing, computing

http://www.chart.ac.uk/chart1999/papers/moloney.html

Projections
For theorist / historian Robin Evans, architecture is inextricably linked to geometry and in particular the technique of projective drawing. As he wryly notes in his earlier Translation from Drawing to Building the actual output of an architect are drawings1. The buildings are translations from these drawings and often this resultant built form is as much constrained by drawing knowledge as by construction technology. His last book The Projective Cast builds on this observation to expose the history of architecture as a series of explicit or implicit references to developments in projective geometry: Piero della Francesca's 'turned heads' is selected as the ultimate virtuoso performance in Renaissance perspective projection 2; the use of traits by Gothic architects pushed the masons craft to gravity defying feats 3; techniques of ruled surfaces borrowed from advances in engineering enabled Le Corbusier to develop and realize Ronchamp, the High Court Building at Chandigarh and the Phillips Pavilion 4. All of these remarkable innovations required developments by mathematicians and exacting drafting technique. Thus, The Projective Cast demonstrates the historical development of Architecture as being limited by the ability to describe form on paper, and hence related to the drafting tools and techniques available at any given period.

Historian as draftsman detective, Evans engages drawing in his own text, culminating in a final diagram of the relationships between the designed object (realized building) and projective geometry. In this diagram "Projection and its analogues" (Fig 1) Evans proposes that all architectural activity - thinking, sketching, building and evaluation - is carried out via, in his words, "projective transactions".



Figure 1: Projection and its analogues, Evans 1995

Within this diagram the idea forms as an internalized 'picture' (9,10), it is explored via the architectural sketch (2,4,6), sold to the client via perspective drawing (5) and realized by orthographic drawings (3). The 'designed object' (8) is but one node within this tetrahedron of projective transactions - the majority of creative activity is spent describing the architectural object via drawing. Evans diagram makes explicit the separation between the creative activity of architects and the end result of these activities - the realized architecture.

Design is action at a distance. Projection fills the gaps; but to arrange the emanations first from drawings to buildings, then from buildings to the experience of the perceiving and moving subject, in such a way as to create in these unstable voids what cannot be displayed in designs - that was where the art lay 5

Evans' thesis is an admirable history of architecture and his diagram a useful summary of architectural activity in which drawings is the dominant activity. While Evans is aware of the closure implicit within such diagrams and proposes it merely as a tool to summarize his thesis, in his words a "a reasonable good rough guide" 6, the particular closure I would like to address is the exclusive preoccupation with drawing as the medium for conceiving and developing architecture: physical models are accommodated within Evans' thesis as intermediate modes which require translation via projective drawing; the observation that since the advent of cinema we have had successive generations whose experience of vision has been dominated by the mobile image is not addressed; the fact that by the early nineties computers were increasingly prevalent in architectural studios does not deserve a mention. As an investigation of the influence of geometry via media it is a history that stops with the advent of photography.

Leaving the question of physical models and cinema for another discussion, the questions addressed in this paper are the implications posed by the adoption of digital media. What changes, if anything, by projecting the digital into Evans' diagram? Could new digital technology address the problem of design as "action at a distance"? Would it be possible to revise Evans' diagram, to close down the distance between representation and building?

A review of developments in architecture and computing unearthed three procedures that to my mind have the potential for such a revision - emergence form, immersive editing and computer aided construction. These procedures are presented here via the following examples: artist William Latham serves to illustrate the use of the computer to produce emergent form; technology developed at the University of Illinois suggests the possibilities of the immersive editing of digital models; while the precedent of Frank Gehry's Bilbao project serves to demonstrate the reality of computer aided construction.

Emergence
William Latham is a British artist who, after observing evolutionary processes in nature, experimented with hand drawn systems as a means to extend his formal vocabulary. Taking large sheets of paper, Latham would draw 'evolutionary trees' in which simple geometry is subject to repeated deformation by the application of a few repeated rules. Latham describes his initial discovery of emergent form and his decision to utilize computers.

Simple as the rules of FormSynth were, they seemed to have a creative power of their own. Even though I created and applied the rules, they produced imaginative forms I had not expected ... Systems can assist an artist to create imaginative forms, and computers are good at applying systems, and very fast at drawing. It seems natural to apply the power and speed of computers to realize the potential of artistic systems and extend the creative power of the artist. 7

Latham collaborated with computer programmer Stephen Todd to develop a sophisticated computer application in which the artist delimits the rules by which form can emerge. The initial 'genes' are random numbers that produce a vast quantity of form. This runs autonomously and form emerges according to parameters determined by the designer. The act of designing is the design of the mathematical functions that describe these parameters.



Figure 2: Mutator

It can be argued that once activated, such codified geometry is outside Evans' diagram. Form starts 'life' as a projection - Latham has either a drawn or mental picture of form that may emerge from the definition of parameters. However, subsequent to this initial picture the generation of form is outside Evans' regime of projective representation. Forms exist as algorithmic description rather than projective geometry. Not for long. Latham quickly asserts control in a process analogous to gardening. Form that is of interest to the artist is used as the seed gene for a second program, 'Mutator'. This program produces nine mutations from the chosen seed gene. The artist then intervenes via a range of functions - Latham describes this editing process as being analogous to gardening.

From the artist's viewpoint, using Mutator is like being a gardener. The gardener breeds, weeds out, destroys and selects forms to steer evolution, replacing survival of the 'fittest' by survival of the most 'aesthetic'. 8

Latham's emergent form is literally 'cultivated' according to subjective editorial procedures. He is a visual artist and while he describes the form as digital sculpture his 'pruning' is based on projected images. We are firmly back within the cyclic procedures of projection and evaluation defined by the Evans. There is though, a rustling of 'life' outside the tetrahedral diagram. Emergent form, prior to being represented by perspective projection for editing, is removed from the regime of projective transaction.

Immersive editing
Editing digital sculpture through the evaluation of perspective pictures suits Latham's ends. His 'pruning' is based on evaluating perspective projections which are satisfactory given the final designed object is a picture. However the evaluation of an architectural proposal requires the ability to intuit space as well as form. Evans demonstrates that the architecture evaluation of form and space has been developed primarily on the basis of drawn orthographic and perspective pictures. For those interested in the spatial aspects of architecture recent advances in computer simulation offer the potential for 'experiential' editing of three-dimensional models. Such developments suggest potential for the architect to edit from the point of view of simulated occupation. The aim would be to approximate the spatial experience of the building during the act of designing by 'inhabiting' digital models.



Figure 3: CAVE, University of Illinois

The most advanced technology available in this field is computer automated virtual environments known by the acronym CAVE. Originally developed at the University of Illinois there are now several throughout the world 9. A CAVE is a physically existing room with high quality stereo graphics projected on the walls and on the floor. Real time images of the virtual model are projected from behind and the participant can interact with the virtual model using input devices such as a pointer or data glove. The visual illusion is augmented by three-dimensional sound that interacts with the simulated movement through space.

In terms of architectural space, critics of attempts at such simulation quite rightly make the point that the sensory experience of real space is a total body experience and that we will never be able to reproduce all the nuances of the experience of actual architecture. 10

However as argued by Alan Bridges 'perfect simulation' is not necessary for virtual environments to be applicable.

... virtual environments should not attempt to model the 'real' world in either increasing detail (like Borges' map makers who drew maps at greater and greater levels of detail until they produced a map that fitted exactly over the real space), but rather recognize that the participant/observer can cope with discontinuities. 11

The obvious precedent for such discontinuity is that of film, which, after preliminary attempts to simulate live theatre, has evolved into a genre incorporating spatial and temporal montage. I would argue that virtual environments are in a similar stage of development to early film and that it that a 'language' for interacting within virtual environments will likewise evolve. One can anticipate that visual and aural senses will be adequately catered for, and it is not beyond the realms of imagination that approximations of such phenomena as air movement, temperature, texture, and incline will be simulated. The approximations will be discontinuous between spaces and through time yet, just as we have learnt to accept such discontinuity in film, so we will also willingly engage with immersive environments. Already what is evident within present examples, such as CAVE, is the potential to supersede the 'perspective snapshot' as the means by which architecture is developed and appraised.

Computer Aided Construction
Techniques of emergence and developments in computer simulation described above have the potential to allow an architect to evade the 'projective transactions' between perception and orthographic and perspective drawing. What remains of Evans' tetrahedral model are the transactions between representation and the realization of the actual architecture.

Digital models used in such applications as CAVE exist as three-dimensional mathematical descriptions, precisely the format required to bring computer numeric controlled (CNC) machines to life. Frank Gehry's recent Bilbao Museum is perhaps the highest profile building to be realized via such machines. Bilbao was initially conceived via a cardboard model and then, utilizing 3D digitizing techniques, an accurate computer model was generated. The outline model was supplied to engineers who devised a series of vertically stacked trusses that closely follow the curving wall profiles. Prior to construction a scale model was produced with computer controlled milling machines to allow the architect to compare the developed project with the original cardboard model. The project was then realized by transmitting the computer files to the fabricators who utilized C.N.C. machines to cut the structural steel and titanium cladding panels.

During this conception and development there was no engagement with historical methods of representation as defined by Evans. The project was conceived in a physical medium, developed utilizing digital models, appraised via a computer generated physical model and realized by transmitting digital instructions to CNC machines.

The importance of Bilbao is that it marks a fundamental shift in the relationship between representation and construction. Unlike forms of art or science where medium and object are concurrent, architecture normally operates at least twice removed from its object - the architectural project is developed in a representational medium (traditionally drawing) and then realized via the filter of scaled plans and sections. The working methods utilized for the Bilboa project enabled Gehry to in effect work directly with the final architectural object. Gehry describes this experience in terms of craft.

In the past, there were many layers between the rough sketch and the final building, and the feeling of the design could get lost before it reached the craftsman. It feels like I've been speaking a foreign language, and now, all of a sudden, the craftsman understands me. 12

The impact on Evans' diagram of such a working paradigm is substantial. Orthographic projection as the means to convey information to the construction industry is made redundant. Dimensioned plans, elevations and sections are substituted by digital information that can be used to generate scale models for evaluation purposes and to realize the project via CNC machines.

Impact of digital machines on Projection and its Analogues
The impact of emergence, immersive editing and computer aided construction on each of the transitive paths of Evans' diagram is summarized below (Fig. 1).

Transitions between designer and the designed object (7)

As discussed in the example of Latham and Todd the transition from designer to emergent form is largely outside Evans' web of projective transactions. It may be possible to visualize some of the expected outcome but emergent form is by definition unforeseeable. While highly unlikely, this 'unseen form' could be implemented via C.N.C. machines to directly produce architecture without editing via projection. In a reverse process it would be possible to take existing building and use these as the 'gene pool' for further mutations.

Transitions between designer, orthographic and perspective drawing (2, 4, 6)

It has been shown that it is possible for drawn orthographic and perspective projection to be replaced by the immersive editing of computer models. Ideas can potentially be developed by designing while 'occupying' the model. The experience would be totally immersive and interactive. Such visual systems exist, aural systems are well advanced and it is anticipated that most sensorial experience will be likewise synthetically stimulated. It is not expected to match the sophistication of human senses. It would be satisfactory to induce an augmented version of the experience induced by cinema. The digital model would function as the new work space for the editing of architectural form and space and allow the testing of program requirements, all from the point of view of inhabitation.

Transitions between orthographic and perspective drawing and designed object (3)

The existing practice of translating architecture to scaled two-dimensional drawing to enable physical construction has been removed. The designed digital model would be 're-constructed' by C.N.C. machines that translate the digital code to reproduce the model in physical form. In addition the need to produce fixed perspective views of proposed building is removed by use of the real time digital model. In a reverse direction existing or demolished buildings can be 'experienced' via the digital model.



Figure 4: Collapsing the Tetrahedron, Moloney 1999

Collapsing the Tetrahedron: Architecture with(in) Digital Machines
In summary the alternate procedures outlined above - emergence, immersive editing and computer aided construction - allow a re-evaluation of Evans' framework. The nodes of Evans diagram dissolve and the distinction between designer, digital model and realized project is blurred. Perhaps to the extent that the designer in effect works directly with the final architectural object as opposed to 'action at a distance' via drawing. Hence it can be proposed that the use of digital 'machines' allow a sense of working on the architecture as against working with representations of the architecture. The impact of the above arguments is that the tetrahedral model proposed by Evans is at the point of collapse. As suggested in Figure 4 the nodes dissolve and the distinction between designer, emergent form, immersive model and architecture are blurred.

In an extreme version it has been demonstrated that architecture can be conceived, developed and manufactured without recourse to any systems of projection, drawn or otherwise. This is not to suggest the architecture had not been designed. In this direct path between emergent and architectural form the activity of the designer is directed towards the design of parameters within which form evolves. A more likely version would involve the subjective evaluation and editing of these models generated by emergent systems. Design in this case would involve both the parameters and the intuitive manipulation of the model with(in) the digital machine. In both cases CNC machines can be utilized to construct the designs without the need for translation of the digital model to projective drawings.

As suggested by the examples various paths within this framework are being progressed in isolation in a variety of disciplines. Within architecture Bernard Cache is one who comes close to implementing the full range of possibilities.13 Cache sets form in motion as trigonometric functions, these are evaluated by clients on the internet via video images, and realized as designed objects by transferring code directly to C.N.C. machines. The output of Cache and his collaborators is modest (furniture and various machined panels) but the implications of the process are wide ranging. Not the least for historians who will document the architecture of the twenty-first century.

Notes
1 Evans, R. (1997), Translations from Drawing to Building and other essays, London, Architectural Association.

2 Evans, R. (1995), The Projective Cast: Architecture and its Three Geometries, pp.147-158, London and Cambridge, M.I.T. Press.

3 Evans, R. (1995), Ibid pp.179-202.

4 Evans, R. (1995), Ibid pp.305-314.

5 Evans, R. (1995), Ibid p.363

6 Evans, R. (1995), Ibidp.369.

7 Todd, S. and Latham, W. (1992), Evolutionary Art and Computers, p.6, London, Academic Press Ltd.

8 Todd, S. and Latham, W. (1992), Ibid, p. 98.

9 Developed by the Electronics visualisation laboratory at the University of Illinnois in 1992 CAVE are now in use for scientific research and visualisation within a number of institutions world wide. See the CAVE research network for ongoing applications. http://www.evl.uic.edu/cavern/vrserver.html.

10 As an example of such criticism see Cheng, N.Y. (1995), 'Linking the Virtual to Reality', pp.303-311 in CADD Futures 1995, Singapore: National University of Singapore.

11 Bridges, A. (1995), 'Design Precedents for Virtual Worlds', p.300 in CADD Futures 1995, Singapore: National University of Singapore.

12 Gehry, F. (1992) 'Gehry Forges New Computer Links', p.105 in Architecture V.81, Aug. 1992.

13 See Cache, B. (1995), Earth Moves: The Furnishing of Territories, London and Cambridge, M.I.T. Press for theoretical underpinning of his architecture.

CYMATIC GARDEN
WHAT : The project is to study diverse spaces as geometry and diverse temporalities as rhythms in the concrete; The body. Exploring the alignment of rhythms in repetition of everyday life. Overtime landscape changes with rhythm of everyday life; so do architectures. The alliance of space and function changes at different speed; as the result, fusion of landscape and architecture in a polyrhythmic system. The question is how rhythm of the self and the rhythm of the others oriented and distributed? In other words, revealing the beating hearts of the body to simplifying the complexity


WHY : Architecture is not a static object. - 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 it and it will get synced with these changes. Architecture does not sublimate only the functional or aesthetic rule: it has an ethical function. In its relation to body, to the time, to the work, it literally illustrates life of body.



HOW : Resembling the idea in a system; model of the idea; A Cymatic Garden; Presenting a system of combination of diverse polyrythmic object which are moving constantly under circular and linear vibration. Each performs different from the other; synced and in contrary with each other, however as a whole the texture remains constant. Exploring the result from a contradiction resistaforces



SALMA ZAVARI
TUTOR: PHIL WATSON
WEBLOGS: http://whenireadidontwrite.blogspot.com/ & http://wheniwriteidontread.blogspot.com/

Reference List

What:
Design a "Cymatic Garden" to study diverse spaces as geometry and diverse temporalities as rhythms in the concrete.


Why:
Rhythmanalisis; henri lefebvre; 2004 1992; He shows the interrelation of understanding of space and time in the comprehension of everyday life.






How:

Cymatic; Henry jenny, physical study of geometery od importing a rhythm in different frequencies to a range of diverse matters

Riemann Theory "on the hypothesis that lie at the foundation of geomagnetic" 1867..which distinguished between bordered and infinite space and divergence significantly from Euclidean principles of transformation which produced geometric figures that are "locally" and "globally" differentiated.

QUESTIONS ON RHYTHM

what is the difference between rhythm and movement?
what is the difference between rhythm and repetition?
which rhythms can be explained by the capturing of image?

Thoughts on the Common Toad

At any rate, spring is here, even in London N. 1, and they can't stop you enjoying it … So long as you are not actually ill, hungry, frightened or immured in a prison or a holiday camp, spring is still spring. The atom bombs are piling up in the factories, the police are prowling through the cities, the lies are streaming from the loudspeakers, but the earth is still going round the sun, and neither the dictators nor the bureaucrats, deeply as they disapprove of the process, are able to prevent it
(George Orwell, Thoughts on the Common Toad)

WHY---WHAT---HOW

WHY 1: The project is to discover the dynamic field between the object as an architecture and space and a location in a temporary condition; as this temporarily with no fixation on semiotics and language, any notion of a subject, subject finds realization and reconciliation with it's vibrating truth. with no fixed nature or inveterate tendency. In the space between science art and philosophy... The SCIENCE of emerging technologies describes the collective behavior of decentralized but self-organized system in a context of time... concept of rhythm of object in time concerns the repetition of a measure at a frequency that changes the geometry of location. The entropy of the system cause it to operate and it comes from .... . The ART of production of an infinite subjective series as morphic gestures through the finite means of a material subtraction. Art is the impersonal production of a truth by means of architecture that is addressed to everyone. the transformation of the sensible into an happening of the Idea.


WHY 2: In architecture we have almost all sectors of knowledge. Recently the idea of rhythm has entered to the realm of knowledge instead of remaining just the object of art. This project tries to discover the dynamic field between the object as an architecture and space in a temporary condition; increasing the speed of time and discovering the rhythm between components in a polyrythmic system to reification (thingfication) a concept which is rhythm of matter/mood/...


WHAT:

HOW:Each event leave a trace in the world full of bodies. we can record this events via their trace to an abstract body. This is what science does. Also we can trace the abstract events via their trace to a concrete object or gesture. This is what art does.The project works through the combonation of these two methods combine to translate an event to another concrete event through the geometry of an object and it's location. ie. pattern can be read to a rhythm and the rhythm make an object to perform

Rythmanalysis

To study diverse spaces and diverse temporalities - rhythms in the concrete.

Thought strengthens itself only if it enters into practice: into use

the body (and rhythm) and the everyday
Normally we only grasp the relations between rhythms, which interfere with them. However, they all have a distinct existence. Normally, none of them classifies itself; on the contrary, in suffering, in confusion, a particular rhythm surges up and imposes itself: palpitation, breathlessness, pains in the place of satiety

Everywhere where there is interaction between a place, a time and an expenditure of energy, there is rhythm

Repetition (and difference)
No rhythm without repetition in time and space, without reprises, without returns … But there is no identical absolute repetition, indefinitely. Whence the relation between repetition and difference … Not only does repetition not exclude differences, it also gives birth to them; it produces them
(Lefebvre 2004: 6-7)

the metronomic and the rhythmic

Rhythms are the music of the city, a picture that listens to itself. No camera...

struggle between a measured, imposed [tahmily] and exterior time, and a more endogenous [daruni] time.

the show the appropriation of spaces in a non-political way,

In social practice, scientific knowledge and philosophical speculation, an ancient tradition separates time and space..

Modernity curiously enlarged, deepened and dilapidated [virane] the present.

The trap of the present; the immobility of things; a moving but determinate complexity
Repetition, difference and the passage of time; Cartesian geometry, changing places and phenomenological space
The body (and rhythm) and mobility

Muscles tense. One leg a pillar, holding the body upright between the earth and sky. The other a pendulum, swinging from behind. Heel touches down. The whole weight of the body rolls forward onto the ball of the foot … The legs reverse position. It starts with a step and then another step and then another that add up like taps on a drum to a rhythm, the rhythm of walking. The most obvious and the most obscure thing in the world


Rhythmanalysis as a discipline:
Rhythmanalysis has the aim of the least possible separation of the scientific from the poetic.

Rhythms are lived (and you must have lived them) but to analyse them you have to be out of them. To listen to the rhythms require attentiveness and a certain amount of time....

study rhythm you need eyes, ears, a head, a memory and a heart

Any study of rhythms are necessarily comparative.





Forms of rhythms (in order of the texts):
Intervals,
clusters,
time broken and accented,
intense rhythms,
slower rhythms,
superimposed rhythms,
variation and non-variation,
increase and decrease,
accumulation points,
repetitive and different rhythms,
longer durations,
emptiness,
polyrhythmicality (symphonicality),
simultaneity,
synchronicity,
succession of alterations,
differential repetitions,
interactions,
hierarchy,
determinant rhythm,
order of grandeur,
humane scale,
stop/resume,
currents, streams,
flux and reflux,
the immediate in its moments and movements,
remembrance of other moments and of all the hours,
that what remains to scale,
rhythms always needs a reference,
complexity,
loops,
plurality of rhythms,
all gatherings of bodies are polyrhythmical,
an open totality,
a meta-stable equilibrium,
movements and differences in repetition.





There are two forms of repetition: cyclical and linear - inseparable even if the analyses must first distinguish and separate them and the rejoin them. Mathematicians clearly distinguish two types of movements, rotations and trajectories, [seire khaty] and have different measures for these two types.

1) Cyclical rhythms (big and simple intervals [modat/fasele] , social organisation manifesting itself, or alternating rhythms with short intervals, day and nights, hours and months, seasons and years, tides, solar rhythms and lunar rhythms). Generally of cosmic origins and numbered with duodecimals based on twelve. Each have a determined frequency or period, and also new beginnings.

2) Linear rhythms (succession, routine, perpetual, chance, encounters, predetermined encounters). Defined by consecutiveness and the reproduction of the same phenomena, identical or almost at more or less close regular intervals. The metronome. Generally emanates from human and social activities and particularly from the motions of work. The point of departure of all things mechanical. Linear rhythms have a tendency to oppose themselves to what is becoming. The linear, including lines, trajectories and repetitions is measured on a decimal base (the metric system).

The cyclical and the linear enter into a perpetual interaction and are even relative to each other, to the point that one becomes the measure of the other.

Polyrhythmy always results from a contradiction and also form a resistance to it - a struggle between to tendencies, the tendency to homogeneity and the one to diversity.




Other kinds of rhythms than cyclical and linear:

• Speech have two kinds of expression:

a) rhetorical [manaayee] and frontal

b) immediate and spontaneous


• Rhythm of the self and rhythm of the Other (BG: of the same person):

a) The rhythms of the Other are the rhythms of activities turned outward, towards the public, the rhythms of representation, more contained, more formalised (corresponding to frontal expression in speech);

b) The rhythms of the self are associated to rhythms more deeply inscribed, organising time more towards private life, more silent and intimate conscious forms, presence;

The Self and the Other are not cut off from each other.

• The rhythms and interactions of the multitude of social actors and roles


• The rhythms of groups


• Ritual have a double relationship with rhythms



What rhythms are studied more in detail:


• bodies (alive and human, walking, feet, pedestrians, alone, groups, crowds, stretching out, hurried carryings, nonchalant[sahlengarane] meanderings, encounters, see and meet each other, looking, going home, leaving home, appearance of faces in windows, also dogs);

• daily rhythms (rush hours, late evening, nights, dawn, schedules, times with prohibition, regulated time; preparing food, sleeping);

• gestures (hand-in-hand, waving hands - messages not being signs, - conventions, ways of being, chewing and eating e.g. gum, sandwich, hot-dog; mannerisms, habits);

• movement and traffic (pedestrians, cars, traffic lights, flows, comings and goings, passers-by, stopping, drifting);

• exchanges of all kinds (material and nonmaterial, objects and words, signs and products);

• sounds (tongue, speech, noises, voices, mumblings, rumours, cries, calls, words, silence, different languages);

• sudden events (accident, explosion, fire engine);

• festivity (opening, adventure, games, agitation); The extra-daily (dancing, singing, making music)

• ritual;

• rhythm of moods (calm, melancholic, sadness);

• seasons (trees, flowers, lawns, plantations, leaves, seeds, fruit; spring, autumn, winter; the time of each being);

• weather (downpour);

• built environment and urban functions (streets, junctions, avenues, houses, facades, monuments, places, squares, courtyards, gardens - including their ageing; doors, windows, balconies, terraces, fountains, (little) bistros and shops, shop windows, workshops, markets, attics; meeting places, scene settings, spontaneous popular theatre; closed and enclosed; public and private, outside/intimate; room, apartment; areas; palaces, churches; steps and stairs);

• light and darkness:

• colours (grey, multicoloured, white, green);

• smells (stink of fumes);

• the present-absent (money and its circuits, the omnipresent State, logic, division of labour, leisure as product, opacity and horizons, obstacles and perspectives);

• what one hides /shows/goes to see outside,

• the tide, and waves;

• Americanisation.