Untitled @carlygertler - Tumblr Blog

Nazca Lines

“Just as size and scale have been important in human efforts to mark cosmic and geological time, they are used by artists to invoke the monument and locate meaning” Frances Terpak exhibition co-curator and curator of photography at the Getty Research Institute

Edward Ranney, Nazca Valley, 2009

Despite its widespread use in architectural discourse, the term “representation” is not often sufficiently understood to operate simultaneously on two different semantic regimes. The first alludes to a graphic or physical depiction (a floor plan, a model, etc.) that stands for an outside referent (a work of architecture) on which it is dependent, and therefore subordinate to. The second arises when a work of architecture, formerly a primary referent, becomes that which stands for another, whether internal or external to the work itself. In this case, the work represents values pertaining to a particular realm (e.g. political, social, vernacular, ethical, religious, etc.), and by embodying these values it acquires a certain meaning. Symbolism, ornament, adornment, and related notions around the question of signification typically fall into this register.

José Aragüez - Critical Imageability - eFlux Positions

https://www.e-flux.com/architecture/positions/222387/critical-imageability/

All in all, the position articulated here suggests turning the structures underpinning today’s image architecture into something of a critical construct by fostering a particular kind of formal thinking less keen on accidental metaphors than on solid theories of spatial organization based upon protocols of imageability. And it does so by reconciling the two dimensions of building that Frampton considered at odds with one another: “the representational” and “the ontological.” For critical imageability rests on the possibility that the former may be instrumentalized in order to make substantial contributions in the realm of the latter (insofar as spatial organization determines the very being of a building; its kernel, its ontological matrix).

José Aragüez - Critical Imageability - eFlux Positions

https://www.e-flux.com/architecture/positions/222387/critical-imageability/

By looking at both art and nature with an eye educated by paintings, the aspiring improver could compile a set of examples, and then (deploying a procedure analogous to the use of a commonplace book in literary composition), judiciously select and compile particular elements in order to generate new landscape designs

Vittoria di Palma, Landscape as Painting? (on the subject of the picturesque)

there is no possibility of looking at landscape free from a cultural framing or a subjective lens, for there is no landscape "out there," landscape is always and already "in here."

Vittoria di Palma, Landscape as painting?

Yet after the triumph of the neo-Kantian position in the early 20th century, after the positivism controversy at mid century, after postmodernism, science wars, and the post-critical debate, it now seems that not only academic design but also several well-establish humanities disciplines are turning toward the empirical results of the natural sciences in settling the epistemological questions in their fields. Even for a humanist who speaks primarily to other humanists, the arrival of neo-naturalism signals not only a turn to different subject matter but ultimately also to a different epistemological and ethical program. (27) Enlightenment discourses, of course, abounded with naturalisms... with faith in the 'moral authority of nature,' but contemporary neo naturalism is different from its Enlightenment cousin. (27) ... the art historian Norman Bryson's argument that the 'linguistic turn' has now been overshadowed by the 'neural turn' is indicative of neo-naturalism at large. (27) The nature portrayed by contemporary neo-naturalists... is dynamic and self-generating - hence neuroplasticity - so as to accommodate 'emancipatory and creative politics.' Nature offers the model to be followed here, not because it is the realm of order and necessity (as in Enlightenment naturalisms), but because it is the realm of emergence and complexity... If the Enlightenment's naturalizing attitude historically served the role of border patrol, monitoring the boundaries between the natural and man-made and returning things to their rightful places, neo-naturalism is for free trade across the same boundary it consists of replacing the signifier with data.... the world as a field of information... Contemporary architecture has literalized this preference by prioritizing the field over the object and the ground over the figure. (29) If ethics and politics are not to evaporate completely from architectural discourses, recognizing the change brought on by neo-naturalism is only the first step.... (30)

Zeynep Celik Alexander, “Neo-Naturalism” in Log 31

... With Gilpin and Whately's understanding of the picturesque, the traditional configuration of the relationship between original and copy, nature and its representation is reversed: here art comes before nature, conditioning and shaping how nature is viewed. The essence of the picturesque is thus an acknowledgment that there is no :innocent eye," no apprehension of nature free from an artificial frame: for the seeker of landscape, culture is always already there.

Vittoria Di Palma, “Is Landscape Painting?” Is Landscape? edited by Charles Waldheim and Gareth Doherty, 2015

There is no possibility of looking at landscape free from a cultural framing or a subjective lens, for there is no landscape 'out there,' landscape is always and already 'in here'

Vittoria Di Palma, “Is Landscape Painting?” Is Landscape? edited by Charles Waldheim and Gareth Doherty, 2015

Palazzo del Te (1526) Grotto Interior

#Grotto #Ornament

Palazzo del Te (1526) Exterior Entrance to Grotto

#Grotto #Entrance

Trending Blogs

Recently Viewed Blogs

Untitled