The Library of Babel by Jorge Luis Borges in The Garden of Forking Paths# Jorge Luis Borges' Library of Babel
The Library of Babel by Jorge Luis Borges in The Garden of Forking Paths# 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

# 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
# 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."# 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.

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

# 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
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."# Eyal Weizman's books

# 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
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
# 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

