vollandj
The Hotel, Lucerne
turned-on
1: “Concern with effect rather than meaning is a basic change of our electric time, for effect involves the total situation, and not a single level of information movement.” (McLuhan, 43)
2: “Architecture (“a most non-discontinuous art”) was seen as both the ultimate model for discontinuity and where the new technologies should be implemented.” (Colomina, 16)
3: “The multimedia imagery aimed to free the space from its physical solidness as well as free the mind and the body. … Cerebrum was on the way to turning spectator passivity into participatory activity.” (Smith, 302-303)
4: “But if the event is something the television screen likes to monitor, so, it appears, is the opposite, the uneventful, the repeated, the repetitive, the utterly familiar.” (Cavell, 209)
5: “Like Freud’s germ cells, [buildings] persist by serving as instigators of repetition; every realized building is a consolidation of the repetitions by which it negotiated its existence.” (Phelan, 293)
The Hotel, Lucerne
turned-on
1: “Concern with effect rather than meaning is a basic change of our electric time, for effect involves the total situation, and not a single level of information movement.” (McLuhan, 43)
2: “Architecture (“a most non-discontinuous art”) was seen as both the ultimate model for discontinuity and where the new technologies should be implemented.” (Colomina, 16)
3: “The multimedia imagery aimed to free the space from its physical solidness as well as free the mind and the body. … Cerebrum was on the way to turning spectator passivity into participatory activity.” (Smith, 302-303)
4: “But if the event is something the television screen likes to monitor, so, it appears, is the opposite, the uneventful, the repeated, the repetitive, the utterly familiar.” (Cavell, 209)
5: “Like Freud’s germ cells, [buildings] persist by serving as instigators of repetition; every realized building is a consolidation of the repetitions by which it negotiated its existence.” (Phelan, 293)