Comments on: Genesis http://www.3six0.com/blog/2010/07/02/genesis/ A Public Sketchbook Wed, 08 Feb 2012 00:44:49 -0500 http://wordpress.org/?v=2.8.5 hourly 1 By: Tempo http://www.3six0.com/blog/2010/07/02/genesis/comment-page-1/#comment-874 Tempo Fri, 15 Oct 2010 14:04:31 +0000 http://www.3six0.com/blog/?p=1225#comment-874 Your article appears rattling interesting but, as earlier, i've some troubles with your rss feeds : (Have got you run into troubles using Google Chrome in order to subscribe to feed? Chrome doesn't redirect to any page after i click rss button. Your article appears rattling interesting but, as earlier, i’ve some troubles with your rss feeds : (Have got you run into troubles using Google Chrome in order to subscribe to feed? Chrome doesn’t redirect to any page after i click rss button.

]]> By: Stuart Blazer http://www.3six0.com/blog/2010/07/02/genesis/comment-page-1/#comment-102 Stuart Blazer Mon, 26 Jul 2010 16:06:55 +0000 http://www.3six0.com/blog/?p=1225#comment-102 Postscript offered as proof of after thought living on as present tense. Quite taken with implicit force made explicit by that mix of rigor & grace we recognize as beauty. That those chandeliers behave like stars, ascending while their light falls, allowing us to focus attention elsewhere--again that figure of the fountain pen drinking ink, feeling it rise as blood through hand then head, its attended surface not external only but (a made place) between stage--page--& mind. The Maoist barrel of the gun brought down by its Daoist antidote; cartridge of the pen. Somehow a return to willed origins a la Bachelard. Postscript offered as proof of after thought living on as present tense. Quite taken with implicit force made explicit by that mix of rigor & grace we recognize as beauty. That those chandeliers behave like stars, ascending while their light falls, allowing us to focus attention elsewhere–again that figure of the fountain pen drinking ink, feeling it rise as blood through hand then head, its attended surface not external only but (a made place) between stage–page–& mind. The Maoist barrel of the gun brought down by its Daoist antidote; cartridge of the pen.
Somehow a return to willed origins a la Bachelard.

]]> By: brgstudio - Arch. Enrico Bergonzoni http://www.3six0.com/blog/2010/07/02/genesis/comment-page-1/#comment-97 brgstudio - Arch. Enrico Bergonzoni Mon, 26 Jul 2010 13:15:57 +0000 http://www.3six0.com/blog/?p=1225#comment-97 Le argomentazioni trattate in questo artticolo sono di assoluto interesse storico oltre che di interesse architettonico. L'auto re dell'articolo evidenzia assai bene le problematiche del cantiere per la costruzione dell'opera architettonica finale. Le argomentazioni trattate in questo artticolo sono di assoluto interesse storico oltre che di interesse architettonico. L’auto re dell’articolo evidenzia assai bene le problematiche del cantiere per la costruzione dell’opera architettonica finale.

]]> By: Friedrich St. Florian http://www.3six0.com/blog/2010/07/02/genesis/comment-page-1/#comment-100 Friedrich St. Florian Mon, 26 Jul 2010 08:17:02 +0000 http://www.3six0.com/blog/?p=1225#comment-100 In the serenity of precious moments of relaxation and silence I finally read your essay "Genesis". It is a very special, moving and telling story. I think it is a proven fact that accidents, or rather fortunate incidents, abound in the forthcoming of creative invention. What is so fascinating about your story is the likely fact that your father was very conscious about the mishap of his painting brush and thus caught between seeing the suggestive brilliance of the scattered ink on paper and the awareness of the accidental act. On the other hand, Mr. Harrison was not compromised by the accident since it was not his.Thus he could immediately see the beauty and glamour of your father's design. Still accidents are uncommon. Genesis is more often born from thoughtful (critical) analysis and speculation. In "Adam's House in Paradise", Rykwert speculates that Le Corbusier's sketches of a primitive hut is an attempt to get close to Adam's habitat in paradise in order to comprehend the essence of home. Louis Kahn's theory of "Wanting to be" is in the same mode of speculation. Searching for the beginnings is again an attempt to come close to the essence of the Gestalt of something. Regardless, I think accidents can be beautiful because they are mysterious and inexplicable. Very kindly, Friedrich In the serenity of precious moments of relaxation and silence I finally read your essay “Genesis”. It is a very special, moving and telling story. I think it is a proven fact that accidents, or rather fortunate incidents, abound in the forthcoming of creative invention. What is so fascinating about your story is the likely fact that your father was very conscious about the mishap of his painting brush and thus caught between seeing the suggestive brilliance of the scattered ink on paper and the awareness of the accidental act. On the other hand, Mr. Harrison was not compromised by the accident since it was not his.Thus he could immediately see the beauty and glamour of your father’s design.

Still accidents are uncommon. Genesis is more often born from thoughtful (critical) analysis and speculation. In “Adam’s House in Paradise”, Rykwert speculates that Le Corbusier’s sketches of a primitive hut is an attempt to get close to Adam’s habitat in paradise in order to comprehend the essence of home. Louis Kahn’s theory of “Wanting to be” is in the same mode of speculation. Searching for the beginnings is again an attempt to come close to the essence of the Gestalt of something.

Regardless, I think accidents can be beautiful because they are mysterious and inexplicable.

Very kindly, Friedrich

]]> By: Stuart Blazer http://www.3six0.com/blog/2010/07/02/genesis/comment-page-1/#comment-101 Stuart Blazer Wed, 21 Jul 2010 21:01:50 +0000 http://www.3six0.com/blog/?p=1225#comment-101 A pleasure to cloud your clear words. Reminded each sentence of Authority sought and found. The story offers such pleasure as noun & verb, personal & impersonal. I love the narrative, its luminous details. Galaxy (domesticated stars) registered as implosion radiated. Thinkblots. Hope to see more of your father's drawings. This one resounds Chopin-- David's complex response also a treat. Image I'm left with as attention (mind's chandelier) lifts from the page is of ink rising through pen then forehead (screen) shooting stars. A pleasure to cloud your clear words.
Reminded each sentence of Authority sought and found. The story offers such pleasure as noun & verb, personal & impersonal. I love the narrative, its luminous details. Galaxy (domesticated stars) registered as implosion radiated.
Thinkblots.
Hope to see more of your father’s drawings. This one resounds Chopin–
David’s complex response also a treat. Image I’m left with as attention (mind’s chandelier) lifts from the page is of ink rising through pen then forehead (screen) shooting stars.

]]> By: kynaleski http://www.3six0.com/blog/2010/07/02/genesis/comment-page-1/#comment-55 kynaleski Mon, 12 Jul 2010 12:54:51 +0000 http://www.3six0.com/blog/?p=1225#comment-55 I didn't know what to think of my father's expression in that photo; but now I do. Since you pointed out that he was looking at how his "arrows up there landed," it seems so self evident. I didn’t know what to think of my father’s expression in that photo; but now I do. Since you pointed out that he was looking at how his “arrows up there landed,” it seems so self evident.

]]> By: Jose-Joaquin With Love http://www.3six0.com/blog/2010/07/02/genesis/comment-page-1/#comment-44 Jose-Joaquin With Love Fri, 09 Jul 2010 02:41:30 +0000 http://www.3six0.com/blog/?p=1225#comment-44 Kyna, Bellota's hunter story comes to mind..."simultaneously habilis and sapien the creature -the man- fought the space first, before the beast...allotment to his prosperity as a nimble hunter." This passage is most telling with regard to the job site image. Your father concealing the bow, revealing the fact (with his expression). The arrows up there landed. They watch. The nimble hunter completed his dirty work. We watch and thank him. Kyna,

Bellota’s hunter story comes to mind…”simultaneously habilis and sapien the creature -the man- fought the space first, before the beast…allotment to his prosperity as a nimble hunter.” This passage is most telling with regard to the job site image. Your father concealing the bow, revealing the fact (with his expression). The arrows up there landed. They watch. The nimble hunter completed his dirty work. We watch and thank him.

]]> By: kynaleski http://www.3six0.com/blog/2010/07/02/genesis/comment-page-1/#comment-39 kynaleski Tue, 06 Jul 2010 19:05:20 +0000 http://www.3six0.com/blog/?p=1225#comment-39 The person who directs a shell in sweep rowing is the coxswain. The lead rower while sculling is a stroke. I never thought of the rowing stroke (the action or the person) in terms of drawing...but it makes so much sense to. All the technique is in service of this gesture...just above the water (it shouldn't touch)...and the mark it makes in the water: "puddles" are vortexes that tell all: who is pulling and who is not. This is all so interesting: "The force line (instant of the drop) is suspended in time by the line he drew, (same line as drop) hanging both in the space of the drawn concert hall and suspended in a continuous present with relation to the dropping ink." My father also told us of how the idea of the chandeliers in the concert space was problematic acoustically and visually...until my father suggested the lifting by pulley. It is beautiful that the origin of the "Opera" (<em>opera</em> is Italian for<em> work</em>) is the return to the top of the line...back to the location of where the drop of ink was released from intention. It is wonderful for me to think that a reversal of the ink dropping is the ceremony that announces the beginning of each performance. This must make my father smile. The person who directs a shell in sweep rowing is the coxswain. The lead rower while sculling is a stroke. I never thought of the rowing stroke (the action or the person) in terms of drawing…but it makes so much sense to. All the technique is in service of this gesture…just above the water (it shouldn’t touch)…and the mark it makes in the water: “puddles” are vortexes that tell all: who is pulling and who is not.
This is all so interesting: “The force line (instant of the drop) is suspended in time by the line he drew, (same line as drop) hanging both in the space of the drawn concert hall and suspended in a continuous present with relation to the dropping ink.” My father also told us of how the idea of the chandeliers in the concert space was problematic acoustically and visually…until my father suggested the lifting by pulley. It is beautiful that the origin of the “Opera” (opera is Italian for work) is the return to the top of the line…back to the location of where the drop of ink was released from intention. It is wonderful for me to think that a reversal of the ink dropping is the ceremony that announces the beginning of each performance. This must make my father smile.

]]> By: David Gersten http://www.3six0.com/blog/2010/07/02/genesis/comment-page-1/#comment-37 David Gersten Mon, 05 Jul 2010 14:47:49 +0000 http://www.3six0.com/blog/?p=1225#comment-37 Dear Kyna, What a great story, wonderful, beautiful and crafted with true precision. Inspiring, like a spire (to use your formulation) the spiral that locates (navigation). The story itself, a lighthouse ink drop, hanging into this world (sac; sacred). Linking: evolution, the cosmos, history, personal memories (history), individual creativity (both your fathers and yours);; your story, due to its precision, locates others (me for one!). The capacity to situate us in time and space (relational), is the gift of language and memory, your story accepts/manifests this gift. In this sense it is a construct / contract (in time). The ink drop and the stars, I will not see tonight’s fire works the same, also because of your reverse fire works image from your “light talk”, points of light all returning to a point of origin (we can imagine it, but it is now gone…perhaps that image is linked to this ink drop...). I love the line "His disgust with the work because of the one too many changes, would make him abandon it; and only then it was done." this opens a powerful (emotive) crack (disgust) within 'evolution' and 'creation'.... ECLIPSE… "Always never done".... which is another way of saying: TRANSFORMATION. Creation: is always new; recurring occurrence. Evolution: complete in its incompletude: ECLIPSE, abandon, eclipse, abandon (transformation)..... Bergson’s 'creative evolution' speaks to this; many durations, occasional alignments (elan vital). The ink drop falls leaving a vertical line (traced ineffably in our mind, gone like the fireworks). Your father in ‘drawing out/in’ the vertical line (‘drawn ‘in’ the drawing’ ‘drawn ‘out’ of time’) situates (suspends) the drop in its present field: the drawing. The drawn line transforms the drop into the new light, (chandelier). The force line (instant of the drop) is suspended in time by the line he drew, (same line as drop) hanging both in the space of the drawn concert hall and suspended in a continuous present with relation to the dropping ink. Perhaps your story itself is a kind of ink drop that contains a drawn line and a new light, if you draw the vertical line that locates it as such. One vertical line I imagine: Yes, perhaps a high jacking, (stolen legacy)…but a heist that ended with a bag of faux diamonds, the real diamonds lie in the experience of the ink drop and the capacity to suspend it (your fathers). This true diamond then placed (drawn) into the eye of a daughters love, is re-manifest in this, the story that you have constructed. In this sense you’re ‘telling’ is at once the ink drop and the drawn line that locates it as new light (exposure, exposing legacy)…itself the chandelier that your father found. ECLIPSE:ECLIPSE. It is not only that you take the 'authorship' back by correcting history (that too!) but more your chandelier (story hanging into this world, suspending time, SAC), exposes the faux (social) diamonds taken (for real) so long ago. As your fathers drawn line manifests the drop, your story manifests your fathers drawn line. This drawing of the line (your story) locates the fact that the real light / diamonds are in you. In you’re loving memory of (father) the moment of drop (emotive crack). Held ‘IN’ for 40 years, now manifest in the drawn vertical line of your story. An alignment in space and time: 40 acres and an M (stolen legacy)::: 40 years and a Moment (a driving moment). As such your story exposes our lives as ink drops falling through sheets of time as we draw our vertical lines locating our light, our time, our stories. THANK YOU KYNA. Not sure the name of the person who helps direct the scull? (while rowing) but this story has given me a very welcome ‘call out’ and adjustment in direction.... Best, David Dear Kyna,

What a great story, wonderful, beautiful and crafted with true precision. Inspiring, like a spire (to use your formulation) the spiral that locates (navigation). The story itself, a lighthouse ink drop, hanging into this world (sac; sacred). Linking: evolution, the cosmos, history, personal memories (history), individual creativity (both your fathers and yours);; your story, due to its precision, locates others (me for one!). The capacity to situate us in time and space (relational), is the gift of language and memory, your story accepts/manifests this gift. In this sense it is a construct / contract (in time). The ink drop and the stars, I will not see tonight’s fire works the same, also because of your reverse fire works image from your “light talk”, points of light all returning to a point of origin (we can imagine it, but it is now gone…perhaps that image is linked to this ink drop…).
I love the line “His disgust with the work because of the one too many changes, would make him abandon it; and only then it was done.” this opens a powerful (emotive) crack (disgust) within ‘evolution’ and ‘creation’…. ECLIPSE… “Always never done”…. which is another way of saying: TRANSFORMATION. Creation: is always new; recurring occurrence. Evolution: complete in its incompletude: ECLIPSE, abandon, eclipse, abandon (transformation)….. Bergson’s ‘creative evolution’ speaks to this; many durations, occasional alignments (elan vital).
The ink drop falls leaving a vertical line (traced ineffably in our mind, gone like the fireworks). Your father in ‘drawing out/in’ the vertical line (‘drawn ‘in’ the drawing’ ‘drawn ‘out’ of time’) situates (suspends) the drop in its present field: the drawing. The drawn line transforms the drop into the new light, (chandelier). The force line (instant of the drop) is suspended in time by the line he drew, (same line as drop) hanging both in the space of the drawn concert hall and suspended in a continuous present with relation to the dropping ink. Perhaps your story itself is a kind of ink drop that contains a drawn line and a new light, if you draw the vertical line that locates it as such. One vertical line I imagine: Yes, perhaps a high jacking, (stolen legacy)…but a heist that ended with a bag of faux diamonds, the real diamonds lie in the experience of the ink drop and the capacity to suspend it (your fathers). This true diamond then placed (drawn) into the eye of a daughters love, is re-manifest in this, the story that you have constructed. In this sense you’re ‘telling’ is at once the ink drop and the drawn line that locates it as new light (exposure, exposing legacy)…itself the chandelier that your father found. ECLIPSE:ECLIPSE. It is not only that you take the ‘authorship’ back by correcting history (that too!) but more your chandelier (story hanging into this world, suspending time, SAC), exposes the faux (social) diamonds taken (for real) so long ago. As your fathers drawn line manifests the drop, your story manifests your fathers drawn line. This drawing of the line (your story) locates the fact that the real light / diamonds are in you. In you’re loving memory of (father) the moment of drop (emotive crack). Held ‘IN’ for 40 years, now manifest in the drawn vertical line of your story. An alignment in space and time: 40 acres and an M (stolen legacy)::: 40 years and a Moment (a driving moment). As such your story exposes our lives as ink drops falling through sheets of time as we draw our vertical lines locating our light, our time, our stories.
THANK YOU KYNA. Not sure the name of the person who helps direct the scull? (while rowing) but this story has given me a very welcome ‘call out’ and adjustment in direction….
Best,
David

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