Showing posts with label book. Show all posts
Showing posts with label book. Show all posts

# Jorge Luis Borges' Library of Babel

The Library of Babel by Jorge Luis Borges in The Garden of Forking Paths
The universe (which others call the Library) is composed of an indefinite and perhaps infinite number of hexagonal galleries, with vast air shafts between, surrounded by very low railings. From any of the hexagons one can see, interminably, the upper and lower floors. The distribution of the galleries is invariable. Twenty shelves, five long shelves per side, cover all the sides except two; their height, which is the distance from floor to ceiling, scarcely exceeds that of a normal bookcase. One of the free sides leads to a narrow hallway which opens onto another gallery, identical to the first and to all the rest. To the left and right of the hallway there are two very small closets. In the first, one may sleep standing up; in the other, satisfy one's fecal necessities. Also through here passes a spiral stairway, which sinks abysmally and soars upwards to remote distances. In the hallway there is a mirror which faithfully duplicates all appearances. Men usually infer from this mirror that the Library is not infinite (if it were, why this illusory duplication?); I prefer to dream that its polished surfaces represent and promise the infinite ... Light is provided by some spherical fruit which bear the name of lamps. There are two, transversally placed, in each hexagon. The light they emit is insufficient, incessant. Like all men of the Library, I have traveled in my youth; I have wandered in search of a book, perhaps the catalogue of catalogues; now that my eyes can hardly decipher what I write, I am preparing to die just a few leagues from the hexagon in which I was born. Once I am dead, there will be no lack of pious hands to throw me over the railing; my grave will be the fathomless air; my body will sink endlessly and decay and dissolve in the wind generated by the fall, which is infinite. I say that the Library is unending. The idealists argue that the hexagonal rooms are a necessary form of absolute space or, at least, of our intuition of space. They reason that a triangular or pentagonal room is inconceivable. (The mystics claim that their ecstasy reveals to them a circular chamber containing a great circular book, whose spine is continuous and which follows the complete circle of the walls; but their testimony is suspect; their words, obscure. This cyclical book is God.) Let it suffice now for me to repeat the classic dictum: The Library is a sphere whose exact center is any one of its hexagons and whose circumference is inaccessible. There are five shelves for each of the hexagon's walls; each shelf contains thirty-five books of uniform format; each book is of four hundred and ten pages; each page, of forty lines, each line, of some eighty letters which are black in color. There are also letters on the spine of each book; these letters do not indicate or prefigure what the pages will say. I know that this incoherence at one time seemed mysterious. Before summarizing the solution (whose discovery, in spite of its tragic projections, is perhaps the capital fact in history) I wish to recall a few axioms. First: The Library exists ab aeterno. This truth, whose immediate corollary is the future eternity of the world, cannot be placed in doubt by any reasonable mind. Man, the imperfect librarian, may be the product of chance or of malevolent demiurgi; the universe, with its elegant endowment of shelves, of enigmatical volumes, of inexhaustible stairways for the traveler and latrines for the seated librarian, can only be the work of a god. To perceive the distance between the divine and the human, it is enough to compare these crude wavering symbols which my fallible hand scrawls on the cover of a book, with the organic letters inside: punctual, delicate, perfectly black, inimitably symmetrical. Second: The orthographical symbols are twenty-five in number. (1) This finding made it possible, three hundred years ago, to formulate a general theory of the Library and solve satisfactorily the problem which no conjecture had deciphered: the formless and chaotic nature of almost all the books. One which my father saw in a hexagon on circuit fifteen ninety-four was made up of the letters MCV, perversely repeated from the first line to the last. Another (very much consulted in this area) is a mere labyrinth of letters, but the next-to-last page says Oh time thy pyramids. This much is already known: for every sensible line of straightforward statement, there are leagues of senseless cacophonies, verbal jumbles and incoherences. (I know of an uncouth region whose librarians repudiate the vain and superstitious custom of finding a meaning in books and equate it with that of finding a meaning in dreams or in the chaotic lines of one's palm ... They admit that the inventors of this writing imitated the twenty-five natural symbols, but maintain that this application is accidental and that the books signify nothing in themselves. This dictum, we shall see, is not entirely fallacious.) For a long time it was believed that these impenetrable books corresponded to past or remote languages. It is true that the most ancient men, the first librarians, used a language quite different from the one we now speak; it is true that a few miles to the right the tongue is dialectical and that ninety floors farther up, it is incomprehensible. All this, I repeat, is true, but four hundred and ten pages of inalterable MCV's cannot correspond to any language, no matter how dialectical or rudimentary it may be. Some insinuated that each letter could influence the following one and that the value of MCV in the third line of page 71 was not the one the same series may have in another position on another page, but this vague thesis did not prevail. Others thought of cryptographs; generally, this conjecture has been accepted, though not in the sense in which it was formulated by its originators. Five hundred years ago, the chief of an upper hexagon (2) came upon a book as confusing as the others, but which had nearly two pages of homogeneous lines. He showed his find to a wandering decoder who told him the lines were written in Portuguese; others said they were Yiddish. Within a century, the language was established: a Samoyedic Lithuanian dialect of Guarani, with classical Arabian inflections. The content was also deciphered: some notions of combinative analysis, illustrated with examples of variations with unlimited repetition. These examples made it possible for a librarian of genius to discover the fundamental law of the Library. This thinker observed that all the books, no matter how diverse they might be, are made up of the same elements: the space, the period, the comma, the twenty-two letters of the alphabet. He also alleged a fact which travelers have confirmed: In the vast Library there are no two identical books. From these two incontrovertible premises he deduced that the Library is total and that its shelves register all the possible combinations of the twenty-odd orthographical symbols (a number which, though extremely vast, is not infinite): Everything: the minutely detailed history of the future, the archangels' autobiographies, the faithful catalogues of the Library, thousands and thousands of false catalogues, the demonstration of the fallacy of those catalogues, the demonstration of the fallacy of the true catalogue, the Gnostic gospel of Basilides, the commentary on that gospel, the commentary on the commentary on that gospel, the true story of your death, the translation of every book in all languages, the interpolations of every book in all books. When it was proclaimed that the Library contained all books, the first impression was one of extravagant happiness. All men felt themselves to be the masters of an intact and secret treasure. There was no personal or world problem whose eloquent solution did not exist in some hexagon. The universe was justified, the universe suddenly usurped the unlimited dimensions of hope. At that time a great deal was said about the Vindications: books of apology and prophecy which vindicated for all time the acts of every man in the universe and retained prodigious arcana for his future. Thousands of the greedy abandoned their sweet native hexagons and rushed up the stairways, urged on by the vain intention of finding their Vindication. These pilgrims disputed in the narrow corridors, proferred dark curses, strangled each other on the divine stairways, flung the deceptive books into the air shafts, met their death cast down in a similar fashion by the inhabitants of remote regions. Others went mad ... The Vindications exist (I have seen two which refer to persons of the future, to persons who are perhaps not imaginary) but the searchers did not remember that the possibility of a man's finding his Vindication, or some treacherous variation thereof, can be computed as zero. At that time it was also hoped that a clarification of humanity's basic mysteries -- the origin of the Library and of time -- might be found. It is verisimilar that these grave mysteries could be explained in words: if the language of philosophers is not sufficient, the multiform Library will have produced the unprecedented language required, with its vocabularies and grammars. For four centuries now men have exhausted the hexagons ... There are official searchers, inquisitors. I have seen them in the performance of their function: they always arrive extremely tired from their journeys; they speak of a broken stairway which almost killed them; they talk with the librarian of galleries and stairs; sometimes they pick up the nearest volume and leaf through it, looking for infamous words. Obviously, no one expects to discover anything. As was natural, this inordinate hope was followed by an excessive depression. The certitude that some shelf in some hexagon held precious books and that these precious books were inaccessible, seemed almost intolerable. A blasphemous sect suggested that the searches should cease and that all men should juggle letters and symbols until they constructed, by an improbable gift of chance, these canonical books. The authorities were obliged to issue severe orders. The sect disappeared, but in my childhood I have seen old men who, for long periods of time, would hide in the latrines with some metal disks in a forbidden dice cup and feebly mimic the divine disorder. Others, inversely, believed that it was fundamental to eliminate useless works. They invaded the hexagons, showed credentials which were not always false, leafed through a volume with displeasure and condemned whole shelves: their hygienic, ascetic furor caused the senseless perdition of millions of books. Their name is execrated, but those who deplore the ``treasures'' destroyed by this frenzy neglect two notable facts. One: the Library is so enormous that any reduction of human origin is infinitesimal. The other: every copy is unique, irreplaceable, but (since the Library is total) there are always several hundred thousand imperfect facsimiles: works which differ only in a letter or a comma. Counter to general opinion, I venture to suppose that the consequences of the Purifiers' depredations have been exaggerated by the horror these fanatics produced. They were urged on by the delirium of trying to reach the books in the Crimson Hexagon: books whose format is smaller than usual, all-powerful, illustrated and magical. We also know of another superstition of that time: that of the Man of the Book. On some shelf in some hexagon (men reasoned) there must exist a book which is the formula and perfect compendium of all the rest: some librarian has gone through it and he is analogous to a god. In the language of this zone vestiges of this remote functionary's cult still persist. Many wandered in search of Him. For a century they have exhausted in vain the most varied areas. How could one locate the venerated and secret hexagon which housed Him? Someone proposed a regressive method: To locate book A, consult first book B which indicates A's position; to locate book B, consult first a book C, and so on to infinity ... In adventures such as these, I have squandered and wasted my years. It does not seem unlikely to me that there is a total book on some shelf of the universe; (3) I pray to the unknown gods that a man -- just one, even though it were thousands of years ago! -- may have examined and read it. If honor and wisdom and happiness are not for me, let them be for others. Let heaven exist, though my place be in hell. Let me be outraged and annihilated, but for one instant, in one being, let Your enormous Library be justified. The impious maintain that nonsense is normal in the Library and that the reasonable (and even humble and pure coherence) is an almost miraculous exception. They speak (I know) of the ``feverish Library whose chance volumes are constantly in danger of changing into others and affirm, negate and confuse everything like a delirious divinity.'' These words, which not only denounce the disorder but exemplify it as well, notoriously prove their authors' abominable taste and desperate ignorance. In truth, the Library includes all verbal structures, all variations permitted by the twenty-five orthographical symbols, but not a single example of absolute nonsense. It is useless to observe that the best volume of the many hexagons under my administration is entitled The Combed Thunderclap and another The Plaster Cramp and another Axaxaxas mlö. These phrases, at first glance incoherent, can no doubt be justified in a cryptographical or allegorical manner; such a justification is verbal and, ex hypothesi, already figures in the Library. I cannot combine some characters
dhcmrlchtdj
which the divine Library has not foreseen and which in one of its secret tongues do not contain a terrible meaning. No one can articulate a syllable which is not filled with tenderness and fear, which is not, in one of these languages, the powerful name of a god. To speak is to fall into tautology. This wordy and useless epistle already exists in one of the thirty volumes of the five shelves of one of the innumerable hexagons -- and its refutation as well. (An n number of possible languages use the same vocabulary; in some of them, the symbol library allows the correct definition a ubiquitous and lasting system of hexagonal galleries, but library is bread or pyramid or anything else, and these seven words which define it have another value. You who read me, are You sure of understanding my language?) The methodical task of writing distracts me from the present state of men. The certitude that everything has been written negates us or turns us into phantoms. I know of districts in which the young men prostrate themselves before books and kiss their pages in a barbarous manner, but they do not know how to decipher a single letter. Epidemics, heretical conflicts, peregrinations which inevitably degenerate into banditry, have decimated the population. I believe I have mentioned suicides, more and more frequent with the years. Perhaps my old age and fearfulness deceive me, but I suspect that the human species -- the unique species -- is about to be extinguished, but the Library will endure: illuminated, solitary, infinite, perfectly motionless, equipped with precious volumes, useless, incorruptible, secret. I have just written the word ``infinite.'' I have not interpolated this adjective out of rhetorical habit; I say that it is not illogical to think that the world is infinite. Those who judge it to be limited postulate that in remote places the corridors and stairways and hexagons can conceivably come to an end -- which is absurd. Those who imagine it to be without limit forget that the possible number of books does have such a limit. I venture to suggest this solution to the ancient problem: The Library is unlimited and cyclical. If an eternal traveler were to cross it in any direction, after centuries he would see that the same volumes were repeated in the same disorder (which, thus repeated, would be an order: the Order). My solitude is gladdened by this elegant hope. (4) Translated by J. E. I.
Notes
1 The original manuscript does not contain digits or capital letters. The punctuation has been limited to the comma and the period. These two signs, the space and the twenty-two letters of the alphabet are the twenty-five symbols considered sufficient by this unknown author. (Editor's note.) 2 Before, there was a man for every three hexagons. Suicide and pulmonary diseases have destroyed that proportion. A memory of unspeakable melancholy: at times I have traveled for many nights through corridors and along polished stairways without finding a single librarian. 3 I repeat: it suffices that a book be possible for it to exist. Only the impossible is excluded. For example: no book can be a ladder, although no doubt there are books which discuss and negate and demonstrate this possibility and others whose structure corresponds to that of a ladder. 4 Letizia Álvarez de Toledo has observed that this vast Library is useless: rigorously speaking, a single volume would be sufficient, a volume of ordinary format, printed in nine or ten point type, containing an infinite number if infinitely thin leaves. (In the early seventeenth century, Cavalieri said that all solid bodies are the superimposition of an infinite number of planes.) The handling of this silky vade mecum would not be convenient: each apparent page would unfold into other analogous ones; the inconceivable middle page would have no reverse.

# Antonio Negri & Michael Hardt's Multitude

Democracy at a global scale is becoming for the first time, a real possibility that we call the multitude’s project. Multitude’s project is not only expressing the desire of a world of equality and liberty, it does not only claim for a global democratic society open and inclusive: it actually demonstrate the means of releasing this desire.

# Radical ecology

I wanted to destroy everything beautiful I'd never have. Burn the Amazon rain forests. Pump chlorofluorocarbons straight up to gobble the ozone. Open the dump valves on supertankers and uncap offshore oil wells. I wanted to kill all the fish I couldn't afford to eat, and smother the French beaches I'd never see.I wanted the whole world to hit bottom.
Pounding that kid, I really wanted o put a bullet between the eyes of every endangered panda that wouldn't screw to save it species and every whale or dolphin that gave up and ran itself aground.
Don't think of this as extinction. Think of this as downsizing.
For thousand of years, human beings had screwed up and trashed and capped on this planet, and now history expected me to clean up after everyone. I have to wash out and flatten my soup cans. And account for every drop of used motor oil.And I have to foot the bill for nuclear waste and buried gasoline tanks and landfilled toxic sludge dumped a generation before I was born.I held the face of mister angel like a baby or a football in the crook of my arm and bashed him with my knuckles, bashed him until his teeth broke through his lips. Bashed him with my elbow after that until he fell through my arms into a heap at my feet. Until the skin was pounded thin across his cheekbones and turned back.I wanted to breathe smoke.Birds and deer are a silly luxury, and all the fish should be floating.I wanted to burn the Louvre. I'd do the Elgin Marbles with a sledgehammer and wipe my ass with the Mona Lisa. This is my world, now.This is my world, and those ancient people are dead.It was at breakfast this morning that Tyler invented Project Mayhem.We wanted to blast the world free of history.We were eating breakfast in the house on Paper Street, and Tyler said, picture yourself planting radishes and seed potatoes on the fifteenth green of a forgotten golf course.You'll hunt elk through the damp canyon forests around the ruins of Rockefeller Center, and dig clams next to the skeleton of the Space Needle leaning at a forty-five-degree angle. We'll paint the skyscrapers with huge totem faces and goblin tikis, and every evening what's left of mankind will retreat to empty zoos and lock itself in cages as protection against bears and big cats and wolves that pace and watch us from outside the cage bars at night.
Chuck Palahniuk. Fight Club. Vintage books 2006
picture: Francis Lawrence's I am legend

# Discipline and Punish by Michel Foucault

When we, architects, speak of Discipline and Punish by Michel Foucault, we usually focus on Bentham's panopticon because it is definitely the most architectonic concept of this book. However we could also think about those pages, mostly about Jean Baptiste de la Salle's system of christian education which contemplate time and space in the same way that Charles Eames did with his powers of ten (see previous post); those time and space are not only controlable in the scale we experience but the real control can be reachable by exploring this infinite dimension of the "smallness".Nowadays, this disciplinary society could seem not to exist anymore, in favor of Virilio's society of control. Nevertheless, principles remain and their application become even more subtle as long as materiality is often not visible anymore.

# Fight Club and the moment theory

Tyler was pulling driftwood logs out of the surf and dragging them up the beach. In the wet sand, he'd already planted a half circle of logs so they stood a few inches apart ans as tall as his eyes. There were four logs, and when I woke up, I watched Tyler pull a fifth log up the beach. Tyler dug a hole under one end of the log, then lifted the other end until the log slid into the hole and stood there at a slight angle.You wake up at the beach.We were the only people on the beach.With a stick Tyler drew a straight line in the sand several feet away. Tyler went back to straighten the log by stamping sand around its base.I was the only person watching this.[...]I asked if Tyler was an artist.Tyler shrugged and showed me how the five standing logs were wider at the base. Tyler showed me the line he'd drawn in the sand, and how he'd use the line to gauge the shadow cast by each log.Sometimes you wake up and have to ask where you are.What Tyler had created was the shadow of a giant hand. Only now the fingers were Nosferatu-long and the thumb was too short, but he said how at exactly four-thirty the hand was perfect. The giant shadow hand was perfect for one minute, and for one perfect minute Tyler had sat in the palm of perfection he'd created himself.You wake up and you're nowhere.One minute was enough, Tyler said, a person had to work had for it, but a minute of perfection was worth the effort. A moment was the most you could ever expect from perfection.
Fight Club. Chuck Palahniuk. Vintage books 2006

# Beyond no.1 Scenarios and Speculations

"Architecture is a fiction... Some of the most powerful pieces of architecture does not exist in buildings. We inhabit them through stories whether they are myths, fiction or poetry... Fictionnal architecture moves us beyond buildings in time and space, as well as in the possibilities non built building can offer. It shows use a wider range of possibilities and evokes spaces impossible (for now) to inhabit."
Aaron Betsky, The Alpha and the Omega
Pedro Gadanho has sent me a sample of a new bookazine's first issue that he edited. It is called Beyond. Short stories on the post-contemporary No.1 Scenarios and Speculations and thanks to its very interesting authors it explores how fictitious cities are influencing real cities and the other way around. It is also a stylish exercise which tries to design architecture by writing.Authors are Bruce Sterling, Lara Schrijver, Kobas Laksa, Shumon Basar, Wes Jones, Superstudio, Aaron Betsky, Pedro GadanhoShortstories are written by Gilles Delalex (Studio Muoto), Michelle Provoost (Crimson), Knut Birkholz, Srdjan Jovanovic Weiss, Boris Jensen, Silvia Banchini and Luis Falcon, Antonio Scarpati

# BLDG BLOG BOOK

BLDG BLOG BOOK is in pre-order on amazon ! It is rare that I write about a book I did not read yet but as a lot of you might also do, I appreciate Manaugh's editorial line and his investment into this blog, therefore it is not too risky for me to advice you to read it !You can also read this interview of Manaugh by Simon Sellars, webmaster of Ballardian

# What can a body do ? a Spinozist issue.

However, no one has hitherto laid down the limits to the powers of the body, that is, no one has as yet been taught by experience what the body can accomplish solely by the laws of nature, in so far as she is regarded as extension. No one hitherto has gained such an accurate knowledge of the bodily mechanism, that he can explain all its functions; nor need I call attention to the fact that many actions are observed in the lower animals, which far transcend human sagacity, and that somnambulists do many things in their sleep, which they would not venture to do when awake: these instances are enough to show, that the body can by the sole laws of its nature do many things which the mind wonders at.Again, no one knows how or by what means the mind moves the body, nor how many various degrees of motion it can impart to the body, nor how quickly it can move it.
Spinoza, Ethics, Note of the Proposition II of the Part IIItrad: R.H.M. Elwes
Personne, il est vrai, n’a jusqu’à présent déterminé ce que peut le Corps, c'est-à-dire l’expérience n’a enseigné à personne jusqu’à présent ce que, par les seules lois de la Nature considérée en tant seulement que corporelle, le Corps ne peut faire et ce qu’il ne peut pas faire à moins d’être déterminé par l’Ame. Personne en effet ne connaît si exactement la structure du Corps qu’il ait pu en expliquer toutes les fonctions, pour ne rien dire ici de ce que l’on observe maintes fois dans les Bêtes qui dépasse de beaucoup la sagacité humaine, et de ce que font souvent les somnambules pendant le sommeil, qu’ils n’oseraient pas pendant la veille, et ce la montre assez que le Corps peut, par les seules lois de sa nature, beaucoup de choses qui causent à son Ame de l’étonnement. Nul ne sait, en outre, en quelle condition ou par quels moyens l’Ame meut le Corps, ni combien de degrés de mouvement elle peut lui imprime et avec quelle vitesse elle peut le mouvoir.
Spinoza, Ethique, Scolie de la Proposition II de la Troisième partieFlammarion 1965, trad :Charles Appuhn
picture: Exhibition Our body just arrived in Paris

# FIGHT WITH TOOLS /// Temporary Autonomous Zone

The TAZ is an art of life in continual rising up, wild but gentle--a seducer not a rapist, a smuggler rather than a bloody pirate, a dancer not an eschatologist.
TAZ or Temporary Autonomous Zone is an essay written by Peter Lamborn Wilson aka Hakim Bey about the creation of small territories free of any structure of control for a moment. This time issue is a very important point of the TAZ, because it advocates a non-revolutionnary way of acting which would imply that it should be perrenial. Instead of that, the TAZ takes advantage of the system's folds to exist for a short while.You can read it online here

# FIGHT WITH TOOLS /// Thoreau's civil disobedience

Henry David Thoreau wrote Civil disobedience in 1849 principally against war between the United States and Mexico, and slavery which was still running at this time in America. However it became an a-temporal essay about resistance against a government. Some extract being more explicit that anything I could write, here are two of them:If the injustice is part of the necessary friction of the machine of government, let it go, let it go: perchance it will wear smooth—certainly the machine will wear out. If the injustice has a spring, or a pulley, or a rope, or a crank, exclusively for itself, then perhaps you may consider whether the remedy will not be worse than the evil; but if it is of such a nature that it requires you to be the agent of injustice to another, then I say, break the law. Let your life be a counter-friction to stop the machine. What I have to do is to see, at any rate, that I do not lend myself to the wrong which I condemn. [...]I meet this American government, or its representative, the State government, directly, and face to face, once a year—no more—in the person of its tax-gatherer; this is the only mode in which a man situated as I am necessarily meets it; and it then says distinctly, Recognize me; and the simplest, the most effectual, and, in the present posture of affairs, the indispensablest mode of treating with it on this head, of expressing your little satisfaction with and love for it, is to deny it then. My civil neighbor, the tax-gatherer, is the very man I have to deal with—for it is, after all, with men and not with parchment that I quarrel—and he has voluntarily chosen to be an agent of the government. How shall he ever know well that he is and does as an officer of the government, or as a man, until he is obliged to consider whether he will treat me, his neighbor, for whom he has respect, as a neighbor and well-disposed man, or as a maniac and disturber of the peace, and see if he can get over this obstruction to his neighborlines without a ruder and more impetuous thought or speech corresponding with his action. I know this well, that if one thousand, if one hundred, if ten men whom I could name—if ten honest men only—ay, if one HONEST man, in this State of Massachusetts, ceasing to hold slaves, were actually to withdraw from this co-partnership, and be locked up in the county jail therefor, it would be the abolition of slavery in America. For it matters not how small the beginning may seem to be: what is once well done is done forever. But we love better to talk about it: that we say is our mission. Reform keeps many scores of newspapers in its service, but not one man. If my esteemed neighbor, the State's ambassador, who will devote his days to the settlement of the question of human rights in the Council Chamber, instead of being threatened with the prisons of Carolina, were to sit down the prisoner of Massachusetts, that State which is so anxious to foist the sin of slavery upon her sister—though at present she can discover only an act of inhospitality to be the ground of a quarrel with her—the Legislature would not wholly waive the subject of the following winter.picture found on zazzle

# Zarathoustra returns

I eventually found Zarathoustra's extract I published earlier in English ! Here it is:

Then, however, something happened which made every mouth mute and every eye fixed. In the meantime, of course, the rope-dancer had commenced his performance: he had come out at a little door, and was going along the rope which was stretched between two towers, so that it hung above the market-place and the people. When he was just midway across, the little door opened once more, and a gaudily-dressed fellow like a buffoon sprang out, and went rapidly after the first one. "Go on, halt-foot," cried his frightful voice, "go on, lazy-bones, interloper, sallow-face!—lest I tickle thee with my heel! What dost thou here between the towers? In the tower is the place for thee, thou shouldst be locked up; to one better than thyself thou blockest the way!"—And with every word he came nearer and nearer the first one. When, however, he was but a step behind, there happened the frightful thing which made every mouth mute and every eye fixed—he uttered a yell like a devil, and jumped over the other who was in his way. The latter, however, when he thus saw his rival triumph, lost at the same time his head and his footing on the rope; he threw his pole away, and shot downwards faster than it, like an eddy of arms and legs, into the depth. The market-place and the people were like the sea when the storm cometh on: they all flew apart and in disorder, especially where the body was about to fall.

Zarathustra, however, remained standing, and just beside him fell the body, badly injured and disfigured, but not yet dead. After a while consciousness returned to the shattered man, and he saw Zarathustra kneeling beside him. "What art thou doing there?" said he at last, "I knew long ago that the devil would trip me up. Now he draggeth me to hell: wilt thou prevent him?"

"On mine honour, my friend," answered Zarathustra, "there is nothing of all that whereof thou speakest: there is no devil and no hell. Thy soul will be dead even sooner than thy body: fear, therefore, nothing any more!"

The man looked up distrustfully. "If thou speakest the truth," said he, "I lose nothing when I lose my life. I am not much more than an animal which hath been taught to dance by blows and scanty fare."

"Not at all," said Zarathustra, "thou hast made danger thy calling; therein there is nothing contemptible. Now thou perishest by thy calling: therefore will I bury thee with mine own hands."

When Zarathustra had said this the dying one did not reply further; but he moved his hand as if he sought the hand of Zarathustra in gratitude.

Friedrich Nietzsche. Thus spoke Zarathoustra (translator: Thomas Common)

# Albert Camus' revolt

Once again, Camus is speaking about the creative act. Here is an extract of the Rebel (L'homme révolté) which, once again, make me being sorry I don't have it in English...En attendant, la révolution conquérante, dans l’égarement de son nihilisme, menace ceux qui, contre elle prétendent maintenir l’unité dans la totalité. Un des sens de l’histoire aujourd’hui, et plus encore de demain, est la lutte entre les artistes et les nouveaux conquérants entre les témoins de la révolution créatrice et les bâtisseurs de la révolution nihiliste. Sur l’issue de la lutte, on ne peut se faire que des illusions raisonnables. Du moins, nous savons désormais qu’elle doit être menée. Les conquérants modernes peuvent tuer, mais semblent ne pouvoir créer. Les artistes savent créer, mais ne peuvent réellement tuer. On ne trouve de meurtriers que par exception parmi les artistes. A la longue, l’art dans nos sociétés révolutionnaires devrait donc mourir. Mais alors la révolution aura vécu. Chaque fois que, dans un homme, elle tue l’artiste qu’il aurait pu être, la révolution s’exténue un peu plus. Si, enfin, les conquérants pliaient le monde à leur loi, ils ne prouveraient pas que la quantité est reine, mais que ce monde est enfer. Dans cet enfer même, la place de l’art coïnciderait encore avec celle de la révolte vaincue, espoir aveugle et vide au creux des jours désespérés. Ernst Dwinger, dans son Journal de Sibérie, parle de ce lieutenant allemand qui, prisonnier depuis des années dans un camp où régnaient le froid et la faim, s’était construit, avec des touches de bois, un piano silencieux. Là, dans l’entassement de la misère, au milieu d’une cohue en haillons, il composait une étrange musique qu’il était seul à entendre. Ainsi, jetés dans l’enfer, de mystérieuses mélodies et les images cruelles de la beauté enfuie nous apporteraient toujours, au milieu du crime et de la folie, l’écho de cette insurrection harmonieuse qui témoigne au long des siècles pour la grandeur humaine.

Albert Camus, L’homme révolté 1951. Folio 1985

# Nietzsche's tightrope walker

Here is an extract of Nietzsche's Zarathoustra. If anybody can transmit it to me in English, I'd be glad to publish it as well !story of a tightrope walker...
[…] Mais il advint alors une chose qui rendit toutes les bouches muettes et fixes tous les regards. Dans l’entre-temps, le saltimbanque avait commencé son ouvrage ; il était sorti d’une petite porte et marchait sur la corde tendue entre deux tours au-dessus de la foule ; mais il avait fait juste la moitié du chemin, la petite porte s’ouvrit de nouveau et un gars bariolé qui avait l’air d’un paillasse en sorti d’un bond et courut à grand pas vers le premier. « Avance donc, boiteux, criait-il de son horrible voix, avance, traînard, sournois, face de carême ! Et prends garde que je ne te chatouille de mon talon ! Que fais-tu là entre ces deux tours ? C’est dans la tour qu’est ta place, on devrait t’enfermer, tu barres la route à un meilleur que toi. » Et à chaque mot il approchait davantage ; mais comme il n’était plus qu’à un pas derrière le premier, il arriva cette chose épouvantable qui rendit toutes les bouches muettes et fixes tous les regards : le nouveau venu poussa un cri diabolique et sauta par-dessus celui qui lui barrait la route. Or, celui-ci, voyant la victoire son rival, perdit la tête et lâcha la corde ; il jeta aussitôt son balancier et tomba plus vite encore dans le vide en un tourbillon de bras et de jambes. La place et la foule ressemblaient à la mer quand la tempête s’élève ; tous s’enfuirent en tous sens, pêle-mêle, surtout à l’endroit où le corps allait s’abattre.

Mais Zarathoustra ne bougea pas, et le corps tomba tout près de lui, meurtri et brisé, mais vivant encore. Au bout d’un instant le blessé reprit conscience et vit Zarathoustra s’agenouiller à ses côtés : « Que fais-tu là ? dit-il enfin, je le savais depuis longtemps que le Diable me ferait un croc-en-jambe. A présent il va m’entraîner en enfer ; vas-tu l’en empêcher ? »

-« Sur mon honneur, ami, répondit Zarathoustra, tout ce dont tu parles n’existe pas ; il n’y a ni Diable ni enfer. Ton âme va mourir plus vite encore que ton corps ; n’aie donc plus de crainte. »

L’homme leva un regard méfiant. « Si tu dis vrai, dit-il, je ne perdrai rien en perdant la vie. Je ne suis guère plus qu’un animal qu’on a dressé à danser, à force de coups et de maigre pitance. »

- Non pas, dit Zarathoustra. Tu as fait du danger ton métier, il n’y a rien là de méprisable. A présent tu vas mourir de ton métier, aussi vais-je t’enterrer de mes mains. »

A ces paroles, le mourant ne répondit plus ; mais il agita la main comme s’il cherchait la main de Zarathoustra pour le remercier.

Friedrich Nietzsche. Ainsi parlait Zarathoustra (Also sprach Zarathustra). 1885. Flammarion 1996 p55

# FIGHT WITH TOOLS /// Fight Club

...When we invented fight club, Tyler and I, neither of us had ever been in a fight before. If you’ve never been in a fight, you wonder. About getting hurt, about what you’re capable of doing against another man. I was the first guy Tyler ever felt safe enough to ask, and we were both drunk in a bar where no one would care so Tyler said, “I want you to do me a favor. I want you to hit me as hard as you can.I didn’t want to, but Tyler explained it all, about not wanting to die without any scars, about being tired of watching only professionals fight, and wanting to know more about himself.About self-destruction.At the time, my life just seemed too complete, and maybe we have to break everything down to make something better out of ourselves. I looked around and said, okay. Okay, I say, but outside in the parking lot. So we went outside, and I asked if Tyler wanted it in the face or in the stomach.Tyler said, “Surprise me.”I said I had never hit anybody.Tyler said, “So go crazy, man.”I said, close your eyes.Tyler said, “No.”Like every guy on his first night in fight club, I breathed in and swung my fist in a roundhouse at Tyler’s jaw like in every cowboy movie we’d ever seen, and me, my fist connected with the side of Tyler’s neck.Shit, I said, that didn’t count. I want to try again.Tyler said, “Yeah it counted,” and hit me, straight on, pow, just like a cartoon boxing glove on a spring on Saturday morning cartoons, right there in the middle of my chest and I fell back against a car. We both stood there, Tyler rubbing the side of his neck and me holding a hand on my chest, both of us knowing we’d gotten somewhere we’d never been and like the cat and mouse in cartoons, we were still alive and wanted to see how far we could take this thing and still be alive.Tyler said, “Cool.”I said, hit me again.Tyler said, “No, you hit me.”So I hit him, a girl’s wide roundhouse to right under his ear, and Tyler shoved me back and stomped the heel of his shoe in my stomach. What happened next and after that didn’t happen in words, but the bar closed and people came out and shouted around us in the parking lot.Instead of Tyler, I felt finally I could get my hands on everything in the world that didn’t work, my cleaning that came back with the collar buttons broken, the bank that says I’m hundred of dollars overdrawn. My job where my boss got on my computer and fiddled with my DOS execute commands. And Marla Singer, who stole the support groups from me.

Nothing was solved when the fight was over, but nothing mattered..."

Chuck Palahniuk's novel and David Fincher's movie presents an amazing "club" rejecting any from of social contract. In fact, acting against every artefacts decoy-ing humans from their ability to feel life and death, what Tyler Durden tends forward is a return to natural state for humanity. He imagine a city invaded by jungle and the way of life it implies. Far away from gently and politicaly correct sustainibility, he gives himself all means to succeed.

And to prove you, Durden is not just a novel/movie character, here is a video of a live hijacking of last week end's super bowl, by a 30 seconds porn video !

# Quand les murs tombent d'Edouard Glissant & Patrick Chamoiseau

sorry for those who do not read French, but the sentence I'm about to write would be terribly destroyed if it was translated by me..."La haute conception des choses du Monde n'est jamais béate, orgueilleuse, fermée. Elle est d'abord faite de tremblements, et c'est de tremblement en tremblement qu'elle s'élève sur les degrés d'un éclairant retour de conscience."
This little book, Quand les murs tombent. L'identité nationale hors-la-loi ? (When the walls fall apart. National identity being outlaw ?) was published when Nicolas Sarkozy decided to establish a ministry of National identity within the same ministry (Ministry of immigration) which is gladly annoucing 30 000 expellations of more or less clandestine immigrants these days. This manifest protest again the concept of a national identity itself and questions nowadays' societal context.I will probably write a new post when I read Glissant and Chamoiseau's new book: L'intraitable beauté du Monde.

# Eyal Weizman's books

Currently, more than ever, architects should take time to read Eyal Weizman, as a complement of what we are observing everyday in mass media about Gaza's conflict. News has a rythm, research has an other one. What is currently happening in Israel/Palestine is crucial and depending on the country we are living in, we are not informed in the same way.Let's recall that Eyal Weizman is a isreali architect based in Tel Aviv and London, and for several years now, he has been studying how architecture was used as a weapon by Isreali governement and army against Palestinians.A civilian occupation: The politics of Israeli architecture, I already wrote about in a past post, tackles the problem of Israeli settlements in the West bank as a sneaky civil then military expansion of the Israeli territory.Hollow Land updates this same issue, and you can find in it this incredible article called Walking through walls (it was pubished in French as A travers les murs. L'architecture de la nouvelle guerre urbaine) I also already posted in the past.I did not read Chicago and Weizman is not exactly its author (it's actually a photographic book by Adam Broomberg & Olivier Chanarin) but he participated to its redaction. This book observe this fake Arab village, Israeli and American soldiers built to train themselves for Middle East conflicts.I hope that anybody would understand this is not some crapy propaganda, I'm trying to make, but an emphasis on real precise issues which needs to be solved for an aggreement of peace between two legimitate states.

# SELF-CONSTRUCTION /// Robert Neuwirth's shadow cities

One of self-construction's motivation comes from the fact that it is difficult for the authority to control and thus, sometimes its illegal existence for a more or less important time. That is one of the topics tackled by Robert Neuwirth in his book, Shadow cities. A billion squatters, a new urban world. In fact, for his research, this author lived for a while in one of Rio's favelas and other illegal district in Nairobi (Kenya), Mumbai (India) and Istanbul (Turkey). For each city, he is interested in observing how these districts' inhabitants manage to negociate with their environment's illegal existence thanks to a bypass or an interpretation of the law, which allow their juridical eviction to be more difficult. That is how we learn that, a Turkish law affirms that an illegal building in construction can be destroyed immediately whereas, an achieved building could only be demolished after judiciary proceedings. Therefore a lot of buildings are built very quickly during the night, to limitate as possible the vulnerability period. It is then interesting to observe how the bypass of law influence architecture and become a collective tacit knowledge which rules the district organisation.

# SELF-CONSTRUCTION /// "Shelter" edited By Lloyd Kahn

After Rudofski's "architecture without architects", If there one book about self-construction, for sure it's Shelter! Its a collection of buildings technics, uses and tricks from all over the world. More over it's a best seller, First published in 1973, it already have been published 3 or 4 times! for me that book is the manisfesto of self-construction and it's a reference for anyone that try one day to build a small shelter, treehouse or whatever : It's a must have in your own library!In times past people built their own homes, grew their own food, made their own clothes. Knowledge of the building crafts and other skills of providing life's basic needs were generally passed along from father to son, mother to daughter, master to apprentice.

Then with industrialization and the population shift from country to cities, this knowledge was put aside and much of it has now been lost. We have seen an era of unprecedented prosperity in America based upon huge amounts of foreign and domestic resources and fueled by finite reserves of stored energy.

And as we have come to realize in recent years, we are running out. Materials are scarce, fuel is in short supply, and prices are escalating. To survive, one is going to have to be either rich or resourceful. Either more dependent upon, or freer from centralized production and controls. The choices arc not clear-cut, for these are complex times. But it is obvious that the more we can do for ourselves, the greater will our individual freedom and independence be.

This book is not about going off to live in a cave and growing all one's own food. It is not based on the idea that everyone can find an acre in the country, or upon a sentimental attachment to the past. It is rather about finding a new and necessary balance in our lives between what can he done by hand and what still must be done by machine.

For in times to come, we will have to find a responsive and sensitive balance between the still-usable skills and wisdom of the past and the sustainable products and inventions of the 20th century.

Of necessity or by choice, there may be a revival of handwork in America. We are certainly capable, and these inherent, dormant talents may prove to be some of our most valuable resources in the future.

This book is about simple homes, natural materials, and human resourcefulness. It is about discovery, hard work, the joys of self-sufficiency, and freedom. It is about shelter, which is more than a root overhead.

– Lloyd Kahn, 1973

the blog of Lloyd KAHN : hereby the same guys you got "home made", "the Dome book" and other 70's goodies! : here

# Greg Lynn Form's new book

Here is Greg Lynn's last book, published this year by Rizzoli International Publications. It is a very dense and beautiful work which takes risks not to appear like unnumerous other architecture books. In fact, instead of presenting each project in order, specific parts of each project are organised by thematics: Structure / Massing / Apertures / Color / Geometries / Families / Medium / Robots / Fictions (this last thematic host Bruce Sterling and James Graham Ballard's texts)It could appear clumsy to break the project's coherency this way - and sometimes it actually is - but as far as I am concerned, I tend to appreciate very much this deconstruction of projects which offer them even more to the reader's judgement.Comments are obviouly open here for different opinions...

# From computation to construction

This book is co-writted by a lot of really intresting engineers or architects (cf. the back cover) who are working with parametric design to actually build architecture and not only doing nice pictures...
More over the final discussion between Sanford KWINTER & Jason PAYNE (GNUFORMS)
is really interesting, they are making an analysis of what's happening (and why) in the computational architecture movement/trend.
Good reading!