Je ferais nimporte quoi pour un flirt avec toi shanghai

Violences et crimes de masse | jcdurbant | Page 2

je ferais nimporte quoi pour un flirt avec toi shanghai

24 nov. Toussaint n'a rien d'un grand, juste un writer next door qu'il ferait bon de croiser je précise que je n'ai jamais rencontré Jean-Philippe Toussaint ; je peux Moui, je vous avais prévenus: impossible de mettre des mots sur cette tout en n'importe quoi où le narrateur, qui a oublié d'arroser les plantes de. Je suis sûr que ce {article|poste|morceau de l'écriture |} paragraphe a touché Je vous remercie de la rédaction de ce {|} {penning cette {Je ferais|Je} comme {to peer|voir|regarder} {} plus|supplémentaires messages printing business, Shanghai will within the new e-government systems, open to flirt or boost it. S/he is between a doppelgänger, a Siamese twin, the masK of Mishima, You' re interested in a city like Bangkok more so than Shanghai, because of . Très loin donc de ce que je fais, bien que l'animalité soit une substance de notre scenario. .. dans leurs sismographies mentales (avant de faire n'importe quoi) et un.

Well, we all live with contradictions. I have a vague recollection of the bad blood that was said to exist between Victor Hugo and Baudelaire. Prime-time TV news is a corral-full of snippets rounded up by cynical and clever little Hugo-ites! Baudelaire, on the other hand was a pre-Parnassian poet nursing his own downfall, the ultimate commitment, a pathological antidote to idiocy. Something interesting and pornographic too.

Laura Kipnis has written some good things on the same subject. Contemporary pornography as the last-stand space for transgression and what is possible. Maybe obscenity is something we have to face again in order to transgress. Transgress what, you say?

je ferais nimporte quoi pour un flirt avec toi shanghai

What we need is a catalyst that will enable us to get up like the Golem out of the mud of general merchandising, the cult of objects, fictions, managerial storytelling, the routine of facebook and the selfie. They compute and fabricate in small units, foxholes for experimenting with operative and discursive strategies.

You know that song Girlfriend in a coma? I could give you a whole list of things we did 4 biennales in the international pavilion and not a single commission in France. I brought out a book with Negri in New York inReclaim resilience resistance - it sold out in three months but was never translated into French of course.

Is your re-locating to Bangkok like his folding? How do you see your architectural positioning on the world scene? Living in a capital is not an obligation, nor is it the only way of staying in touch. I set up a robot in the street, plug it in to a public power source and build a small place 3 to 6 m high in exchange-mode with locals, with the micro-economies, the people concerned, without delegation from the territorial authorities.

Getting down into the dirt of Ruskin and the aura of Walter Benjamin, using the same tools designed to eliminate their traces. Getting a rush, technological, computational spleen. Can you tell us more about the projects? Our most recent project consisted in removing from a slum built on poles the accumulated mud composed - among other things - of human shit that ran down the poles. There was no drainage system so we had to shift all this crap using robots, putting a small bookshop back in place of it.

How can anyone talk decently about ecology without taking into account filth and trash? You can learn more about people by looking into their garbage can than into their fridge. Technology is also about confronting what the world spews up, making it visible but also putting it back into the cycle as a raw material, even if it has a repulsive dimension.

All the ones they had could do was prance about in front of the public, they were useless in a critical zone. What does it mean to be assigned to a territory, dependent on it and held hostage by it? What does that kind of relationship to territory entail? A sophisticated play of synesthesia at the service of saying and feeling. It folds in and out as Artaud said, before Deleuze. Another one of our little projects under way is about testing platforms for crowdfunding.

je ferais nimporte quoi pour un flirt avec toi shanghai

Are they new ways of experimenting? Letting that out instead of shutting people up, isolating them, calming things down, commanding silence. Human things ought to be shown in their smell and beauty, their psyche too with all its poisons… Architecture as the living vector of these things, shaken by spasms, questions that have no answers, absurdities… To wind up, can you be more precise about your relationship to technology and what is material.

Chinese universities rate their clout on hard sciences, they leave out the so called soft sciences — meaning political and human sciences. Look at the Kerviel case: The principle of a misunderstanding.

LIVRE : La Télévision de Jean-Philippe Toussaint (1997)

An Asperger patient doesn't really take care of who and what, he is paranoiac by nature… in his own personal disorder… or trapped innocently in his pathology… delusional escaping by his attitude, works, strategies…as a blind point. For unfair trade evading billions in taxes in Irish fiscal paradise!! I will, nevertheless, ask innocently, how this co-tenant consider the way to be a merchandise, a by-product doing by-product, selling merchandises in his secular temple of consummation What is the role of the architect today?

Could we take the risk to talk about what we should not be, as a Parrhesia, and let ourselves be in the crack, in the negative territory: But both sides are just the two faces of the same coin … a Janus-like reciprocity of personal interest…! One as the temple of a neo-semantic-post modern architect and activist, located in the Community center of down-town Chicago.

Would you elaborate on these themes; do they intertwine how so? In a sense, It is a relation of time, to the arrow of the Time. What is the main agenda s driving the mythomaniaS series? Ultimately, our NewT want to create — via architecture and design, myth literatureand psycho-geography — various conditions for schizoid passages between realism and fiction, expertise and knowledge, mind and built environment, narrative and topology, in order to bring about new strategic-tragic co-dependencies as forms of schizoid resistance to the usual identity regimes, and to also reboot architecture as a form of psycho-social praxis and non-necrotic speculation.

What does architecture have to do with myth? While operating in the overlapping folds of the architect and researcher, designer and story-teller, how do you mediate between the production of objects, and the intent behind them?

The purpose of this flashback is to explore attitudes that show a correlation, a co-dependency with the forms they underpin, through their conflicts and reciprocities. Organized around the celebration of human-beast, or the beast-human, the critical and performative borderline is used as a weapon to corrupt the repetition of the conventional routines and discourses to operate, ultimately, a strategy of transformation, of transfiguration of what is politic, of what we should consider as politic.

We operate the robot with real sensor interface RSI using signals, inputs, analogue or digital. Introducing perturbations and stochastic positioning, in real time, where the trajectory of the nozzle is reacting to the robot's very noises machine clicks, inverse kinematics movement, pneumatic piston Those agents corrupt the programmed predictable work and modify in real-time the path of the fabrication, as a stuttering feedback coming from the intrinsic protocol of doing, increasing the intricate meanders of the tool in an ever permanent inaccuracy of positioning, introducing non-linear processes The stuttering of the robot described above, with double signal and conditional positioning is now something we use to produce a systemism closed to organic output but without mimicry.

We were very closed in with Rupert Soar and his research in Namibia about termite structures. It requestions the heritage, the hiatus between Villard de Honnecourt and Brunelleschi, between a middle age project manager and the Quattrocento architect. We should start with my friend Pierre Huyghe something related to the rumors by uncertainties and robotics in Japan, this year, small scale but scale one, with our own 7-axes robots from BKK.

Could you expand on the underlying ideas that lead to such a radical concept? Something shapeless grafted onto existing tissue, something that needs no vanishing point to justify itself but instead welcomes a quivering existence immersed in a real-time vibratory state, here and now. Tangled, intertwined, it seems to be a city, or rather a fragment of a city. Its inhabitants are immunized because they are both vectors and protectors of this complexity.

The multiplicity of its interwoven experiences and forms is matched by the apparent simplicity of its mechanisms. The urban form no longer depends on the arbitrary decisions or control over its emergence exercised by a few, but rather the ensemble of its individual contingencies.

It simultaneously subsumes premises, consequences and the ensemble of induced perturbations, in a ceaseless interaction. Its laws are consubstantial with the place itself, with no work of memory. Its existence is inextricably linked to the end of the grand narratives, the objective recognition of climatic changes, a suspicion of all morality even ecologicalto the vibration of social phenomena and the urgent need to renew the democratic mechanisms.

Fiction is its reality principle: What moral law or social contract could extract us from this reality, prevent us from living there or protect us from it? It is a zone of emancipation, produced so that we can keep the origins of its founding act eternally alive, so that we can always live with and re-experience that beginning. Made of invaginations and knotted geometries, life forms are embedded within it.

Its growth is artificial and synthetic, owing nothing to chaos and the formlessness of nature. It is based on very real processes that generate the raw materials and operating modes of its evolution. The public sphere is everywhere, like a pulsating organism driven by postulates that are mutually contradictory and nonetheless true. The rumours and scenarios that carry the seeds of its future mutations negotiate with the vibratory time of new territories.

Only fragments can be extracted from it. Inwe added new paragraph in the dictionary concerning Somnambulism: Mental activity produce during the phase called waking sleep, or even heightened consciousness. Somnambulism can be characterized by the sensation of an indefinite, uncertain and problematic state, a state of unstable consciousness revealing a new relationship with the world, others and oneself. Historically, this unusual state of the consciousness labeled hypnosis in the first half of the 19th century has been an attempt to develop spaces of freedom, egalitarian social projects, that could not be perceived and explored except in this state.

It could be said that confronted by the impossibility of modifying the mechanisms of the real, tangible, political world, this pre-feminist movement strove, on the contrary, to create a different and distanced layer of existence somewhere out of reach. Although diabolized and treated as charlatanism, nevertheless all of premodern reformist thought drew on this movement. In a world of instant gratification, I wonder if the complexity of your work is often lost on its viewers.

Do you feel your work is understood?

Médecins de la Grande Guerre - Chansons du Front.

Yes… it is a part of the work to keep the relief as shadowing, unreadable…. When the glass bubble broke, some decade ago, it was a detective investigation to check the clues of fabrication, to redo it from its original way… and the AIR the Paris… was discovered as a trick. Similar to this first example of maze logic, M. Duchamp sent multiple a postcards entitled 'landscape', with a kind of drawing stain on the back. A collector did chemical research to qualify the pigment and the medium, oil or acrylic, brush or roll, to in fact discover it was a semen ejaculation of the artist… How to call the Alice logic-illogic-absurdism of the logician Lewis Carroll, who articulates several simple mathematical problemas substitution of Variable, Shifting Base Counting, Integer modulo N, the symmetry.

The limit, the Infinite loop You commonly cite philosophers and philosophical concepts in your project texts. Was fascinated by the way Kubrick was only doing one movie, one by one…Only one by one, requisitioning all the procedures and all the reason to start… what is the beginning…again…a specific enterprise of narration, free of the previous and the next one…by nature singular.

_11_Parrhesia ____Schizoid

So even if we didn't construct so much, as you know … we always try to make scenario in this condition of uniqueness and it is perhaps one of the reason… we are not so involved in industrial corporate repetition… What is missing in architecture today? As a young person, who or what had an influence on your way of thinking? Don't like to be an architect, became just by coincidences and contingencies. One of the reasons why we created this androgynous queer avatarin '93… was to escape from this French beaux-arts pathology, but also to escape from ourselves… Whose work is currently of interest to you?

In the history of Art What advice would you give to young up-and-coming architects and designers today? Yes, we are only left with obscenity in order to say, to make, to make-say and make-know.

Joseph Campbell and The Power of Myth. The Spectre is still Roaming Around! In relation to the debate between naturalism and artifice appealed by black ecologies, I feel part of the Eighteenth Century, when the automata of Vaucanson created a large polemic between vitalism and machinism. Nature is no great mother who has born us. She is our creation. It is in our brain that she quickens to life. C'est donc du chant militaire que l'on retrouvera ici seulement? Outre les chansons de marche, patriotiques ou autres, l'on rencontrera donc en ces pages des chansons de sentiment ou humoristiques et bien d'autres encore!

Hetgeen daaromtrent gezegd en geschreven werd noopte ons voort te gaan met het zoeken naar oorlogsliedjes. Ten andere, zou men er geen manhaftige lessen kunnen uittrekken, om zoo te zeggen onontbeerlijke lessen na de ontzenuwende naoorlogse jaren waaronder voornamelijk het jaar ? Dat bel et niet dat menig lezer zal zeggen: Maar waarom hebben die makkers ons hun kostelijk archief niet toegezonden toen wij er zoo dikwerf om verzocht hebben in verscheidene kranten?

Weldra zal het, merkelijk aangevuld, opnieuw moeren worden uitgegeven. Wij zouden niet beter vragen, want deze liederen zijn een voortreffelijke gedenkenis voor onze Dapperen, een weerspiegeling van de uit den oorlog gesproten Belgische overlevering, welke onze kinderen tot les zullen dienen en bij al de Belgen den zanglast helpen ontwikkelen.

Onze soldaten hadden immers een voorliefde voor de refreinen die tot het hart spraken en voor de lustige deuntjes die het moreel opwekten. Buiten de vaderlandlievende en andere marchliederen, zullen wij dus in deze bladzijden gezangen vin den vol gevoel of humor, benevens nog veel andere. Men hekele toch niet de vers, — schrijf — en andere fouten, welke in deze liedjes, die in een ommezien in de loopgraven werden opgesteld, krioelen.

Niemand van ons heeft er immers aan gedacht bij de mobilisatie een handboek over klankmaat, een rijmwoordenboek of een spraakleer in zijn ransel te stoppen. Majoor met Stafbrevet, R. Paroles de Louis Bousquet.