The use and integration of sailor's prop (the cane) analyzed.
otis redding
13 years ago
Tuesday, September 29, 2009
Wednesday, September 23, 2009
Ignasi de Solà -Morales writes in Differences: Topographies of Contemporary Architecture :
" Architecture is not a tree but an event, resulting from the intersection of forces capable of situating an object that is partially signifying, contingent." (p.16)
"... that is to say, there is no system of objects governed by formal laws that might guarantee aesthetic efficacy. Instead, in the first instance, what exists is the subject's willingness to establish relations with a world that is to be constructed through the mediation of the body. The subject, who is a nothing, a useless passion, constructs the world by looking ahead. through openings, and through consciousness. The work of art is a gesture that emanates from the body." ( p.52)
" Architecture is not a tree but an event, resulting from the intersection of forces capable of situating an object that is partially signifying, contingent." (p.16)
"... that is to say, there is no system of objects governed by formal laws that might guarantee aesthetic efficacy. Instead, in the first instance, what exists is the subject's willingness to establish relations with a world that is to be constructed through the mediation of the body. The subject, who is a nothing, a useless passion, constructs the world by looking ahead. through openings, and through consciousness. The work of art is a gesture that emanates from the body." ( p.52)
Monday, September 21, 2009
Mike Presdee writes in ‘Cultural criminology and the carnival of crime’ :
“…The performance of carnival uses the body as the stage, claiming it back from those who wish to control it, who wish to appropriate that which it produces, to civilize it, or even imprison it. Carnival –places the body in a trance-like state where, like the carnival of rave, one can play with one’s body and carry out a state of enthusiasm … near to the happy state of mind’ (Jeanmaire 1951:58) Now Artaud’s ‘festival of the street’ takes the people not only out of their bodies but in so doing out of society into a state of ecstasy.”
“…The performance of carnival uses the body as the stage, claiming it back from those who wish to control it, who wish to appropriate that which it produces, to civilize it, or even imprison it. Carnival –places the body in a trance-like state where, like the carnival of rave, one can play with one’s body and carry out a state of enthusiasm … near to the happy state of mind’ (Jeanmaire 1951:58) Now Artaud’s ‘festival of the street’ takes the people not only out of their bodies but in so doing out of society into a state of ecstasy.”
OCCUPYING ECSTATIC FESTIVAL SPACES – The costume and the city stage
Abstract
This thesis examines the role architecture plays in the profound nature of collective human joy during festivals. It will look at human behavior during the festive hours and the events, places and actions that encompass play in festival. There are many different types of festivals but there are basic commonalities that exist in all. There is a voluntary participation, celebration in excess and its occurrences outside of ordinary life.
The Stage and Costume are vital contributors to the collective ecstatic joy experienced at festivals. This includes the spatial role of the city as a theater stage and the stage structures that exist during festivals. While some stages are permanent others are temporary and subjective. At times a stage can be a specific route or area where something symbolic has occurred. The stage creates a relationship between the performer and the audience. Another element that stresses differences from the ordinary world outside festival is the costume. Seeing the Costume as architecture for the body and as the space the human body occupies is relevant. The line between friend and stranger is diminished with the adorning of a costume. Transformations such as these lead up to the climatic joyous feelings that encompass festival.
Parades, festivals and carnivals are celebrated in many cities around the world. While the customs, religions and cultures may be different, a common thread is the profound nature of collective human joy experienced in these diverse cities. However industrialization and human obsessive drive to succeed in social rank and class has dampened our festive nature. This thesis will assist in renewing the capacity of festival particularly in Trinidad's Carnival. By examining the role of architectural space in the actions that encompass this urban festival, it will propose both new and revived forms and spaces that contribute to the festivals collective ecstasy.
This thesis examines the role architecture plays in the profound nature of collective human joy during festivals. It will look at human behavior during the festive hours and the events, places and actions that encompass play in festival. There are many different types of festivals but there are basic commonalities that exist in all. There is a voluntary participation, celebration in excess and its occurrences outside of ordinary life.
The Stage and Costume are vital contributors to the collective ecstatic joy experienced at festivals. This includes the spatial role of the city as a theater stage and the stage structures that exist during festivals. While some stages are permanent others are temporary and subjective. At times a stage can be a specific route or area where something symbolic has occurred. The stage creates a relationship between the performer and the audience. Another element that stresses differences from the ordinary world outside festival is the costume. Seeing the Costume as architecture for the body and as the space the human body occupies is relevant. The line between friend and stranger is diminished with the adorning of a costume. Transformations such as these lead up to the climatic joyous feelings that encompass festival.
Parades, festivals and carnivals are celebrated in many cities around the world. While the customs, religions and cultures may be different, a common thread is the profound nature of collective human joy experienced in these diverse cities. However industrialization and human obsessive drive to succeed in social rank and class has dampened our festive nature. This thesis will assist in renewing the capacity of festival particularly in Trinidad's Carnival. By examining the role of architectural space in the actions that encompass this urban festival, it will propose both new and revived forms and spaces that contribute to the festivals collective ecstasy.
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