Elles peuvent y dire ce. L avenir du couple ne va plus "de soi".
L'avenir du couple ne va plus "de soi". Ce type de raisonnement se comprend dans une logique de survie. Si l'enfant. Mais celui qui annonce la mort de l'enfant ne le fait pas au nom de l'ordre social. En bref, qu'ils favorisent une dynamique d'insertion sociale dans le pays d accueil. Moro, Parents en exil. Psychopathologie et migrations , Puf, coll.
Rabain, L'enfant du lignage. Tribalat, Faire la France. Gautier et M. Ces exercices concernent les avions de chasse et de ravitaillement, mais aussi les centres de commandement et les moyens de transmission. Elle n'est donc pas une force permanente. L'appareillage du porte-avions est un message politique et diplomatique fort. La FANu est autonome. Que serait une dissuasion par intermittence? Ainsi en va-t-il de l'accord franco-britannique conclu dans la cadre des accords de Lancaster House. La construction des installations britanniques a pris du retard. Il doit avoir les moyens de l'assumer pleinement.
R Dans ce domaine, il a, seul, pouvoir d'inspection direct et permanent. Comme l'indiquait ainsi [ Le terrorisme n'est pas un mode d'action nouveau. Sur l'objet de la dissuasion. Ceux-ci devraient porter sur l'ensemble de la triade. Elle n'en poursuit pas moins son action sur le plan diplomatique.
Elle soutient l'objectif d'une zone exempte d'armes de destruction massive et de leurs vecteurs au Moyen-Orient. La Chine, le Pakistan et l'Inde se sont abstenus. Cette initiative a fait l'objet de controverses en France. Ce risque est effectivement pris en compte techniquement et organisationnellement. Un instrument juridique contraignant permettant d'interdire les agressions depuis le sol pourrait constituer un pas de plus vers un espace pacifique et stable.
Cependant, comme pour le cyberespace, la question de l'attribution demeure cruciale. La Chine travaille aussi sur la conception d'un planeur hypersonique. La stricte suffisance ne peut se satisfaire de l'immobilisme dans un environnement qui change. But the new world knows only resistance. When I bend in order to avoid accepting the rules of their authority, I am destroying the foundations, I am insulting their legitimacy.
There is rage in the face of my madness, a ferocious rage as if they found themselves faced with an act of revolt. Timothy S. Murphy Minneapolis: University of Minnesota Press, Timothy J. Armstrong New York: Routledge, Three ingredients of the sublime: the noble, the splendid and the terrifying form a course oscillating between toxic substance and boundless form. You have to be sublime at least once a day; toxic could be the cure for it, if produced twice a day. A gravy for schmaltzy affect, effect, infects, faces, fooding facing realities and Trolls, in the childish meal of cruelty.
The grotesque as a romantic notion, framed by desires for beautiful, tasteful monsters, exquisite corpses and synthetic nature. Grotesque romanticizing cannot be cooked it can only be tested, so we can only hope for them, and them forget about the hope and we left with them. A birthday cake for the temptation of sugar-ice-comput-DIY vomiting a back tomorrow lost tasty paradise.
Who said yes-Tea-day? Chromatic pastry radiating in atmospheric hues, triggering the Geeks desire to explore the past? The present? The future? Therefore the alternative to paranoid delusion, paranoid atmospheres, so we are trading on an emergency of the now, maybe atmosphere becomes Lust, not a bad trade.
Inky FR back tatooed for Log 25 issue. It would have trapped……….. How a line of subjectivation is used as a strategy materializing in the physical world, in the tangible, touchable zone of our environment. It is an experiment, linked to the study circle existence and contents… how to extract from the multitude of books and knowledge stored in the site, a possibility of substantiation, a possibility of materialization….
A story of somebody which found the way to extract through signs and mathematical logic a shape, which passes from his mind to a cartography, from a cartography to a 3D object drifting slowly to a real construction at scale 1 by his own enlightening… he is himself becoming a fragment of this construction…. The pool was a pool, not any more…it turns into a deep, bottomless sinkhole, engraving and digging the ground to find the door to hell….
OPEN for architecture students application below. Call it madness, if you want. Two worlds face each other today: Davos and Porto Alegre. One represents business and the operative economy, both financial and managerial; the other, the multitudes and their potential for organization from the bottom up — for a productive and operative resistance against the first. LOG 25 will explore ways to navigate this antagonism, which could be negotiated in an un certain and ambiguous manner.
Like the car company producing cars, where a specific social organization has been created to manage production without diagnosing the structural and human alienation produced by that system, the discipline of architecture is going back to its own ghetto, constructing simultaneously an efficiency and legitimacy of knowledge from evaluation and expertise, which gather and target a high degree of professionalism.
Paradoxically the world is being pulled and pushed in so many directions, producing contradictory tensions, new conflicts, new nationalism, new local ideologies, even new El Dorados with flickering financial fireworks — mirages in the desert. In this context, it is not innocently that a group of philosophers requestions the foundation of democracy, the validity of its structure and the procedures of delegation of power; requestions the notion of government, of governance.
Politics and Religion in Early Bourbon France
It fills emptiness, grows between, and amongst other things. The flower is beautiful, the cabbage useful, the poppy makes us mad, but grass is overflow. The elements rage and the gods, so quick to pardon our folly, seem powerless to appease the rebellion, armed with infernal force…. This session is the occasion to rethink our relation, not in terms of moralist ecology, nor in terms of preservation, but rather in terms of transaction and of body and zone of exchanges…. The project must not hold back from crossing barriers because they are too morally predictable, from negotiating repulsions, anomalies, impulses of life and death, entanglement between Eros and Thanatos …the failure of a system is not a criteria of its devaluation and disqualification…but rather a system of knowledge….
In the past architecture has always operated as a mediator between humans and the built environment, within an anthropocentric ideological framework with a deterministic approach.
This competition seeks to escape this direct relationship and asks for submissions able to produce new socio-ecological scenarios able to reimagine our current ideas and preconceptions, in relation to notions of equilibrium and sustainability within Western Culture. Going beyond notions of moral ecology or fake sustainability, this competition asks for entries able to envision new architectural scenarios and moments of invention by looking into spaces of residual otherness to reconstitute canonical forms of thinking.
These new socioecological architectural visions will provide a new understanding and a new set of possible relations of humans with the planet. In order to avoid direct anthropocentrism [that in essence is impossible to bypass], the competition asks to have as the subjects of inhabitation of these new scenarios a minimum of two different species [including human] and two different by-products [i.
Due to nature of the competition, based on relations and processes, the site is to be understood as a space of conflict, transaction and relations. The site will be identified through its own sharing protocols, evolutionary dynamics and transitory transactions. The project might be developed within spaces that go beyond current acceptable notions of correctness including disgusting, monstrous or repulsive.
Au-delà du gène et de la culture
With a similar approach, notions of life or death, success or failure might be equally treated as value creators. From the machinistic, passing by the chemical to the visceral, some of the processes that the entrant might consider in elaboration of this new Partial-Total Ecology are: screwed, chewed, shat, sweated, swallowed, vomited, pined, secreted, woven, knitted, extruded, staggered, scattered, coagulated, aggregated, welded, pinched, braided, spidernetted, bonsaied, crystallised, calcified, excreted, expanded, branched, pulped, smeared, coagulated, excavated, assembled and disassembled, bended, blended, and their machine picked, spiked, pinched, caressed, embraced, sliced, cut, laminated and loved [list in formation].
The natural stone is on the middle of the stripe in the installation. It is a radioactive natural element at the level of 0. A Geiger counter is set to control it. Normally the average duration of after glowing mix of phosphorescence and luminescence is about hours from the intensity of sun — 50 lx.
Full text of "Renaissance and Reformation, "
Swarm intelligence is a revolutionary new theory for explaining how the world operates. It has already transformed a number of disciplines from biology to economics. But how can it contribute to the discipline of architecture? And what can architects learn from those working in swarm intelligence in other disciplines?
It showcases some of the freshest and most inspirational digital design work to have emerged in recent months. This exhibition is an attempt to chart this emerging phenomenon. To coincide with the exhibition, a major international book is being published, Neil Leach, Roland Snooks eds. Click on link — picture or here to get the 5mn speeches.
While the act of creation is not a representation of something that already exists, it is also not an irruption of the uncontrolled or undefined; it is not born of pure chaos, nor does it refer to it. Chaos is the ultimate enemy of thought. This danger is based on the misleading understanding of creation as an expression either of transgression, breaking order, or madness.
What cannot be thought is the nonrelational — those potentials or movements that fail to be actualized. Creation is danger; however it is not the danger of madness, but rather the danger of exposing an abundant sanity. Deleuze and Guattari place creation in the field in which it is destroyed and trembles. Stuttering, where it cracks and fractures, enables us to see the door to the rabbit hole that leads not to what is beyond, not to the transcendental, but inward, to the immanent. It is the act of creation, the necessary act of architecture — in its singularity — that can retain the access to this door.
Each time, with each new utterance, architecture is again required to generate a new, real state of creation, to avoid being trapped in the net of empty words. It could appear as a field of battle, where the forces present produce noise and chaos, beauty and barbarism, Eros and Thanatos, impulses of life and death. But more to the point, it is the contradictory aesthetic generated from this field of battle that matters.
The catatonia of the stutter is similar — it is an articulation or de-articulation of a psychism and the production of a new physiology accessing public territories and repressed depths of consciousness derived from zones of paranoia and permanent disequilibrium. That is the main point. To stutter is a-social not because of the non-understandability aspect, but because it perverts the appearance of socialization — a shameless pornography. We come before dimensions that deviate from language, but attempt to define how language should be considered as capable of internalizing this energy; pulling language by the tongue, and not allowing its dialectical closure.
Voids open before us, wickets through which we meet expression in its raw state. The stuttering architect is the one who acknowledges his disability and accepts his fate, his senses, and bodily intuition. This architect is like the stuttering man who knows the pain of not being able to speak eloquently, of suffering from the sense of stammering incomprehensibly, trying not to confront certain syllables — fricatives and sibilants — since he knows too well the frustration this attempt will bring upon him. Abandoning any grammatical semblance, the phrase falls apart. The body ceases to be an appendage, becoming instead that which makes it possible for us to have an immediate, pre-reflective familiarity with reality.
This points us back to the source of creation, uncovering its finiteness in aphasia, all the while showing the greatness of what is human — that which contains the consciousness of infinity. The act of architecture extends, deforms, and breaks the boundaries of language. It emphasizes and empowers the dryness and meagerness of architectural language. Creation is destruction; we must destroy language in its present form and create it in a different form, denying certain structures as we form a structure out of what other structures are not made of.
This new structure is certainly a reality; it can be seen and touched. It is certainly not nothing. Both the signifier and the signified are always present simultaneously; what is seen is a truth in presence. Therefore, for the architect, saying is doing. We need a measured intervention — a radical and eternal reassessment that seeks to give up the prophecy temptations to transcendence , while failing to stop stuttering time and time again. To fail does not mean to represent successfully existential failures or existential meaninglessness; it means to refuse to represent.
Thus, we preserve cracks through which we can feel the muted, endless infinity behind architectural things — an infinity more devious and secret, which rejects attempts at divisibility and striations, refuses the mere instrumentality of architecture. There is a need, an urgent and asymmetrical necessity, to act. Not only was the bestiality increased, but I suspect that it was also the highest point of horror and pleasure for the barbarian — the combined malefaction and jouissance of human perversity.
We reached so high a level of monstrosity in the 20th century — from Verdun to the slaughters of Pol Pot to the recent atrocities in Rwanda — that it is now difficult to hierarchically re-qualify this notion of human bestiality and the industrial dimensions of terror. But the musician playing and dancing in Hell cannot be compared to anything else.
This unnamable amoral cultural artifact elicits repulsion and vomiting that cannot be framed or clearly unfolded; vomiting in this case to be read as the ultimate expression of language. The most uncomfortable aspect is that they are not developed from voyeurism at a distance , but are intrinsically embedded in our own bestial, individual schizophrenia. These works force us to look at the devil, not in front of us, but contained in our own nervous sweat. NE : Following your multiple trajectories, shadows of the catastrophe escape from our body, screams and sparks, like an animal we had been sheltering.
I hear the other voices, the gnashing of the teeth of an animal in the agony of death. The voice is in me. We meet the spirits that haunt us, that haunt creation. Stuttering dismantles the face and we rediscover the head, the teeth, and the flesh; it emerges from beneath discourse as brute fact and takes us to the threshold.
How can architecture think the moving gap as a movement of being itself? How can we cross the threshold that lies beyond the limit beyond language, beyond the wall , which is neither virtualization nor actualization, but rather the indiscernible middle? How can architecture move from report to experience? FR : The animal is waking up after a long hibernation. The development of the collective and individual moralism of the 20th century hygienism, positivism, modernism, progressivism, ecologism could be perceived as the Siamese-twin brother of the industrial potential for erasure and destruction of humans, biotopes, and entire territories.
This permanent disequilibrium destruction and preservation versus barbarism and humanism cannot be reduced to a simple theoretical or rhetorical game; it has been and still is, here and now, the preliminary condition of any emerging discourse and practice. As a genesis, or a genetic illness, we were born out of these conditions and we have the choice, the irreducible and individual choice, to think the field of the battle, to take sides. On one side of the battlefield are those who are driven by the illusion of elegant moralism, where we might wrap ourselves with the mantle of the right consciousness and the denunciation of a system that at the same time feeds and clothes us.
But for exercer sa puissance , we have to go away, far away from these two evident and reductive symptoms, by moving simultaneously between the two sides of the battlefield, stuttering with the enemy as a permanent deforming mirror of ourselves. NE : The schizophrenic creative process of stuttering architecture that I seek to stress fundamentally resembles this indispensable failure or danger that you mention. But, like any defect, it has an advantage, a depth, which the shortcoming and the shortcoming alone may possess, losing something in order to add something else, decreasing in order to yearn.
The eloquent word, the eloquent structure the highest desire of the Modern Movement is lost in order to teach people to give birth to a new ear — to feel the stutter, the pain preceding the birth of a new word. Stuttering architecture is never disconnected from reality, but rather planted in the very heart of reality. This is architecture that does not seek to eliminate the separation by creating an identity and by abolishing the paradoxes, but rather stresses the differences and confirms them, and therefore spreads a rhizomatic complexity, which we must cross continuously, without halting.
Each of these ways coincides with a task, an experiment, a way of feeling space. In Dustyrelief, an art museum project in Bangkok, you are reflecting this schizophrenia, constantly hanging between a breakthrough toward a new model and a breakdown into an old, used, and familiar model. The city and its surfaces and atmospheres are deeply polluted by carbon monoxide particles, which wrap the tropical environment in a gray, dusty coating. The aesthetic protocol that is the genesis for the building transforms this preliminary chemical condition.
Its operation arises from a multitude of contradictions — between hygiene and dirt, topological and Euclidian geometry, panoptic and heterotopian space — and a permanent schizoid vibration between the illusion of controlling an environment and the failure — the malentendu mishearing , of its application. This disruption of logic is a stuttering tool for developing narrative relationships, lines of subjectivization and apparatuses of de-identification.
There must always be an enigma. The reality of the building may not be achieved by its physical construction, as when a subject is frozen into an object. In this case the construction will never accomplish its objective. I have to admit that this path was borrowed from a few other architects, specifically the strategy of the disruption of architectural logic. One is Adolf Loos and his raumplan , with the disjunction between the external boxy illusion and the space within.
The adventures of Alice in Wonderland proceeded from the same stuttering. But back to the Bangkok situation. The apparatus that collects the dirt and reveals the degree of pollution secreted and stored day after day, year after year , realizes its own extension from this atmospheric substance generated by the city, while becoming, simultaneously through embedding in the belly of this freak the hygiene of an art museum a refugee zone for international contemporary art.
We could complain how museums are becoming deterritorialized mausolea for art tourism Bilbao, etc. This double identity forces the museum to negotiate and articulate a strategy of stuttering, tripping over its own intrinsic contradictions. The collection of carbon monoxide particles is generated by several electrostatic machines , volts without any Ampere and intensity connected to a mesh 37 meters high. It produces a negatively charged environment that is able to attract the positive voltage of the dust. A drainage system collects the detritus after the monsoon season washes it away.
As architects, we are always confronted with strange vibrations, composed by disaster and dream, by propaganda and illusion, by hypocrisies and realities. We deeply consider architecture to be a tool that could reveal and manipulate this stuttering — to eroticize our paranoia. Daniel W. Smith and Michael A. Greco London: Verso, , Opening of satelite of Pompidou Center, Metz, 11 may Guiheux-Migayrou and Guignol-Rambert walk arm in arm, flaunting their self-satisfaction. But the most surprising thing is to see the former, who once long ago was a pioneer, so fully assuming his present role of conservator, acting like the museum equivalent of a nightclub bouncer or a cop.
In a position to write history,  he exploits it, helping make it congeal and turn to stone, with the illusion and fantasy of classification… something between a Creationist entomologist and the malicious comeback of an ambushing Alphonse Bertillon…. Anyway, here we are in this garrison city, with the carp and the rabbit strolling arm in arm, proud of their young friendship, with undisguised pleasure… or perhaps avowed obscenity. How did these two come to form such a perfect union? These two might seem an unlikely match unless you happen to know them personally.
What is the quiddity of their coitus non-interruptus? Of their wedding night? You tell me. It was the kiss of death at the eponymous institution: the grand ceremony as Claude Parent  was lowered into his coffin by the same man who helped liquidate him 20 years before, Jean Nouvel. A clever move to take the whole pot. The two accomplices not only coolly planned out the whole thing, they claimed the prize as the dowry due them for their embrace. The lip-smacking prospect of a funhouse mirror show bringing together the little water carrier and the pseudo-philosopher using radical architecture to rehabilitate the Boomers, on the backs of those they spit on and those they silence to keep their powers of postmodern creativity as the admen that they are.
No need to say another word about the Metz show, no sir.
The architecture room is as mortiferous as they are. A cadaver not so exquisite and a series of tombstones, as gray as they are… as desperately gray as death… and scale models refurbished for the occasion.
Double-dealing hypocrites and double agents. Architecture has nothing to do with what they make it. But their union is sacred and consummated. Over the canopy hovered the specters of Frei Otto and Cecil Balmond, opening their cape like Mephisto in the Murnau movie, and what that cape covered and hid was labyrinthine, heterotopic and above all designed by Hans Poelzig…. But more on that another time. Components of after glowing as UV radiation sensor. Meeting someone means facing the unknown, the strange, or even confronting your own repulsion at negotiating unfamiliar surroundings.
This involves consideration of risk and a determination of whether or not to go through with it. It means daring to risk the unknown together. The truce is unstable. Nothing can be discerned but sweat and silence, like climbers roped together, seeking to transgress the forbidden. The fence simultaneously protects those who are still there, about whom we know nothing, and those who dare venture in without knowing how to make use of what they may find there.
The meeting point is not pretending to be safety. This building is a nocturnal observatory pivoting on itself.
But at night this lab restores the light intensity of daytime by discharging UV sensor units located on all the exterior surfaces. The components afterglow as a detector, an architectural Marker of the mutation of our environment and occur as a signal of UV human pathologies. The level of UV which has crossed the Ozone layer is only revealed with a gap of time, after people are plugged into the shadows of the day, in the death of the sunset, by the after glowing ghost, inter canem et lupum …. There are two parts. Research unfolds in what we call the Process room, a pretty basic space.
You have to take your time so that the interactions between physiology, robotics and computation fully emerge in their logic and interdependence. The other part, the exhibition, is a suite of visual indices. Since these clues are neither didactic nor chronological nor pedagogical, visitors construct their own logic and subjectivities.
Furthermore, this part has an immersion area, a physiological testing station, where visitors, called prospective purchasers by analogy to a sales office, are themselves experimental subject and object. This cognitive and immersive mechanism thus articulates a thirst for knowledge and a willingness to lose oneself in that quest. That earlier piece sought to understand and write in the sense of writing code biological geometries that mimic natural ones.
The predominant figure was that of coral and its growth. We wanted to get a better handle on something already sketched out at the MAM show: the capture of body chemistry as an element able to disturb and alter linear logics, the logics of authorities, replacing a top-down approach with a bottom-up one. Until now the acquisition of information used in residence protocols has been based exclusively on visible, reductive data. In our research we want to add the corporalities and their own substances. They can provide information about the relationship between bodies and space, and especially about the social relationships of bodies, the relationships between them, of the self to the other, both inside a single housing unit and in terms of the osmosis of vicinity.
So visitors are put into a very particular psychological state. This physiological test works like an emotion detector. You are in absolutely no danger from this vapor… Your family has become a conflict zone and you can no longer calm things down. But you can negotiate the distances by negotiating the details… The area where you live can react to your desires.
It has the power… to allow you to experience this conflict without denying its existence or making up fantasies about it. Your living area can be transformed into a morphology of the moment. Consequently the formulation of desires in language is inflected by another realty, another complexity, that of the acephalous body, the animal body, so that it can tell us about its adaptation, its sympathy and empathy, in the face of specific situations and environments.
We decided to take the preliminary step of revisiting the contradictions within the very expression of these desires, both those that traverse public space because of their ability to express a choice, a desire conveyed by language, on the surface of things, and those preexisting and perhaps more disturbing but equally valid desires that reflect the body as a desiring machine as Deleuze put it , with its own chemistry, imperceptibly anterior to the consciousness those substances generate.
The concept of free will may be simultaneously the most beautiful and the most corruptible of all. The cultural media pierce us to the core; their influence penetrates us everywhere, generating a conformism that can be considered obscene. We are both its vector and instrument. What we like to do is just the opposite, to seek out the dark side, our animal side, in order to subvert the other side using reactive and emotional data.
The proposals submitted by the architects selected by the city are puerile in that regard, and the plans for Greater Paris no less so. The politicians have largely sucked the lifeblood out of the past. You introduce the possibility of contradictory relational modes into the residential units themselves. The interviews at the physiological station make it possible to collect some seldom-seen materials. I would have loved to be able to set up a sales office where people could make a purchase and concretize their bio-architecture in a collective aggregation.
The data obtained from the physiological interview tell us about:. We use formulations taken from set theory to define these relationships. This branch of math was founded by the German mathematician Georg Cantor in the late 19 th century. Its aim is to define the concepts of sets and belonging. It allows you to define all the properties of a situation as relational modes, both the relationships between the elements residential areas and those between these elements and the ensemble or ensembles they fit into. The operators of belonging, union, inclusion, intersection and disjunction describe morphologies characterized by their dimensions and position and above all by the negotiations of distance they carry out with the other parts.
This produces relational protocols, protocols of attraction, repulsion, contiguity, dependence, sharing, indifference, exclusion, etc. Mathematical formulas aid the development of these combinations and thus become the matrix for the relational structure on which an inhabitable space is based. In other words, you approach architecture as a dynamic principle, incorporating incompletion, incertitude and indetermination. Nature is basically made up of indetermination protocols. An urban structure based on these computational and robotic procedures, these vectors of variability and indetermination, makes visible the potential of these heterogeneous aggregations.
One of the subjects of this research was to consider the bearing structure of these residential units, and thus the final the final shape of the building, as a product and not the starting point. The fact that the bearing structure is not designed beforehand makes it necessary to constantly recalculate the segments and force trajectories that carry these inhabitable cells. Instead, it calculates form based on trajectories, the vectorization and intensity of forces, without that form being predetermined.
In this particular case, the unknown is the form, the hidden part revealed only by the experiment itself. Through the use of these computational, mathematical and mechanization procedures, the urban structure engenders successive, improbable and uncertain aggregations that constantly rearticulate the relationship between the individual and the collective. You emphasize the passage from an industrial era? More recently, what has science — especially math — and technological development — robotics and a biochemical understanding of raw materials — brought to the table in architecture?
What new speculative issues has it raised, particularly in France? Nothing is happening in France. The field of architecture is totally sclerotic and held on a leash by a dozen people. Regarding your question, it only takes a few years for technology to drain and absorb speculations that once seemed unreal. In five years what once was plausible has become possible. Since its opening in Le Laboratoire has sought to give visibility to research projects jointly undertaken by scientists and artists. First of all, the software is available for anyone who wants to further mutate it.
What do you expect from this stance, this renunciation of authorship and even copyleft? A script is above all a form of writing, a language. The melancholy of a fragment weeping its own substances. The pursuit of n certainties biotopes. The n certainties pursuit in Universities laboratories was the occasion to invite again Stephan Henrich at the origin of the research and some local involvement as David Benjamin in one course, Marc Fornes script rvb training in five courses, Manfred Herman and Mat Staudt in one course.
FR: NO. You asked if I had an portrait to go with the interview! FR: The avatar de-personifies the architect. I can lead my daily life without being a representation of what I am expected to be. AN: Do you see the avatar as a construction of a character, as in fiction? FR: In a way. The character allows us to construct a schizophrenic identity that constantly changes its personality. There is an American movie from the 70s, Sybil , about a girl with sixteen different personalities that offer her the possibility of being multiplied many times over.
Schizophrenia is a strategy of resistance. Resistance is a term that I am borrowing from the French philosopher Gilles Deleuze. The tactic of using the multiple identity disorder allows one to speak from somewhere unpredictable using a language that is unpredictable and with an appearance that is unpredictable. AN: So do you use this separation of the architect from his public representation as a way to create architectural narratives that escape one singular interpretation? FR: Architecture is a tool for articulating narrative. The albino buffalo labored in lieu of an engine to generate electricity that powered light bulbs and laptops.
We were interested in designing the animal into the architecture. So what was in reality a staged performance seemed traditional in this countryside setting. It looked like a ritual that blurred the boundary between the modern hygienic building and the animal that made it dirty. So the animal was constantly shitting and stinking, but it was also producing electricity.
We could have put a photovoltaic cell in place of the animal, but it was more interesting to create this uncomfortable relationship.
La nécessaire modernisation de la dissuasion nucléaire
And in the end, the juxtaposition of the animal and the building did not appear exotic; the ceremony seemed to be totally normal in the local situation. Could you talk about the scripts and whether you see them as parallel or contradictory to the narrative-based scenarios? FR: Any algorithm has a fundamentally linguistic dimension. This child problem is an algorithm, but with a non-deterministic approach, with a fuzzy logic. Badiou uses algorithms to develop a strategy that articulates subjectivities and fuzzy logic through the theory of belonging.
Bluebeard and his five wives constitute a global system that cannot be reduced to the addition of any particular relation between the monster and its five victims. The assembly of each element in this closed system is greater than the whole. The addition of indeterminacy to the choice of the next victim cannot be described by a probabilistic approach that considers the sum of its parts.