1. simply sampling

    February 16, 2013 by hot tuNa

    yesterday I had a nice encounter with sampled music at a performance at Lasalle college of Arts.

    hay1

    Bani Haykal built himself some mound machines from objects, very interesting and nice show, I would just suggest a bit more of rithm and groove…he he…

    therefore I suggest to listen again to our dear friend Matthew and his wonderful “Around the House” album

    matthew-herbert

    …click here for Matthew Herbert’s manifesto…
    and below for “We still Have (the music)”


  2. kwinter’s new evolutionary organon

    March 30, 2010 by hot tuNa

    Following with manifestos….after Bruce Mau’s let’s enjoy Kwinter’s one pronounced for one of the first conferences of ANY in Europe in 1997:

    (in fact we are not going far because they’re both NY-based canadians and were associates with J. Crary in the editorial ZONE books since mid 80s)

    I quote here just some relevant parts, but the whole “manifesto” is very interesting, you can find it complete here (link):

    SANFORD KWINTER : leap in the void. a new organon? (1997)

    …it is an incomplete one, an aborted manifesto. When I first began thinking about it, I called it ‘A New Organon’
    (after Aristotle, Bacon and Brecht). Manifestos, after all, even aborted ones,
    need to be about a ‘new’
    something.

    Architecture is already no longer the familiar
    cult of objects. It is becoming an organon, that is, a system of investigation,
    invention and technique.

    We are no longer interested in what the last
    two decades of pedagogy and advanced practice has referred to as ‘process’. For
    process
    has become little more than a poor man’s Game of Life
    ,
    a parlor game for those short on intuition, a ruse with which to cloak the deep
    fear of matter that has characterized architectural enterprise since its
    mathematization and routinization by medieval template stonecutting and Renaissance
    perspectivalism.

    The ideology of process … is a postmodern crypto-transcendentalism that does little more than impose arbitrary routines onto the logic of formation.

    For a period of time, design process ideology, in schools and in so-called advanced offices, permitted necessary opening of architectural practice away from the parochialisms of aesthetics, styles and manners.

    This is because process almost always meant “automatic process” for it was naively believed that removing the human factor from the design loop would both free the resultant work from regressive forms of subjectivity while preserving all the potential and rich endowment of the mind.

    The ensuring stylistic cults of complication did little to hide from the historical record the fact that what one had to do with here was just a new logico-mechanical reductionism.

    The new poverty was mistaken for radical anti-humanism.

    we think of what we do as design, and like the generations before us, we feel the need for an escape velocity that might carry us beyond the sclerosis of inherited boundaries.

    For us the new design envelope is an organon-in-the-making, it comprises a will to technique and an ethos of research in real domains.

    Technique … is the authentic and ‘immanent’ version of what 1980s and 1990s process ideology could only simulate. Technique is the engagement of real logics present in the human and non-human environment and their conversion into potential -specifically, into apprehensive, ‘formative’ potential. Technique is design from within.

    We do not believe in models and we do not seek to ‘apply’ anything external to architectural or design practice.

    …we all seem to specialize in what might be understood as monstrous evolutionary deviations from common or standard types. The crux here may be found in the word ‘evolutionary’.

    The ultrahybridity, the teratological, in relation to a norm, is commonly said to present a ‘pathological’ phenomenon.

    Herein lies the key to a successful escape velocity: let research follow the real, let it be encumbered by no moral and aesthetic preconception

    and design follow as an integrated process.

    The late twentieth century may one day be known as the dawn of the age of the algorithm.

    Ours is a transactional world, not a deterministic one, though we do not deny the efficacy, the economy and the beauty of the mechanist, and ultimately classical methods that have brought us to where we are.

    Evolution is nothing but the gradual insertion of more and more freedom into matter. In that sense, we humans, custodians of the most advanced form of Mind, are simply the most free material entities in the universe.

    The computational paradigm that is overtaking us -and this paradigm has nothing to do with computers- has extended our concept of materialism to regions of reality.


  3. BRUCE MAU : an incomplete manifesto for growth

    March 7, 2010 by hot tuNa

    in this “MANIFESTO” Bruce Mau, the well-known canadian-born but NY-based designer, shows 43 rapid (but very useful) tips to face XXI century as FREE designers……

    A good prof. of mine gave me photocopies of these years ago, but they didn’t seem to have much success in the italian context…

    I transcript the most interesting tips, but you can see it complete on his web page (link here and below):

    2. Forget about good.
    Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth.

    3. Process is more important than outcome.
    When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to
    be there.

    5. Go deep.
    The deeper you go the more likely you will discover something of value.

    7. Study.
    A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.

    9. Begin anywhere.
    John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.

    12. Keep moving.
    The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.

    13. Slow down.
    Desynchronize from standard time frames and surprising opportunities may present themselves.

    14. Don’t be cool.
    Cool is conservative fear dressed in black. Free yourself from limits of this sort.

    15. Ask stupid questions.
    Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.

    16. Collaborate.
    The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.

    18. Stay up late.
    Strange things happen when you’ve gone too far, been up too long, worked too hard, and you’re separated from the rest of the world

    21. Repeat yourself.
    If you like it, do it again. If you don’t like it, do it again.

    22. Make your own tools.
    Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.

    25. Don’t clean your desk.
    You might find something in the morning that you can’t see tonight.

    (editor’s note : …I could argue this theme a lot with my father…)

    34. Make mistakes faster.
    This isn’t my idea – I borrowed it. I think it belongs to Andy Grove.

    36. Scat.
    When you forget the words, do what Ella did: make up something else … but not words.

    37. Break it, stretch it, bend it, crush it, crack it, fold it.

    39. Coffee breaks, cab rides, green rooms.
    Real growth often happens outside of where we intend it to, in the interstitial spaces – what Dr. Seuss calls “the waiting place.” Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference – the parties, chats, lunches, airport arrivals – but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.

    40. Avoid fields.
    Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.

    41. Laugh.
    People visiting the studio often comment on how much we laugh. Since I’ve become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.”

    Bruce Mau

    http://www.brucemaudesign.com/112942/