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A black and white version of a piece of urban art that can be found in painted in the walls of football field's changing room.
It may have been inspired by the 17th century Bernini sculpture entitled 'The ecstasy of St Teresa', which is housed in a church in Rome.
Location: near Avenham Park, Preston.
Captured on: Canon 7d
*Provocation Through Shock*
Las Hurdes bluntly presents the inhabitants of poor villages in Spain as primitives, using shots that remind us of brutal colonial behaviour. For instance, the camera makes a close-up of the teeth and throat of a sick girl. The camera is examining her from a superior position, suggesting we the viewers are more civilised than she is. We also see the image of a mosquito in a medical book followed by a man shivering of fever, suggesting that we have the knowledge to prevent his malaria, but he doesn’t. These images are shocking from the perspective of ethnographic cinema which, now and in the 1930s, aims for a humanistic, emphatic perspective. But to shock was of course at the core of the methods used by the Surrealists to provoke change in society.
Buñuel insisted on showing things rather than just telling them. He went as far as to shoot a climbing goat to show those goats sometimes fall from the cliffs. He could not wait for such an occasion to happen so he took out his revolver and shot a goat. This was clearly not consistent with the observational method used in the film, but this did not bother Buñuel. He left the shot in the film, even though the smoke of his gun was visible in the frame.
Shocking Music
The shock of the images is exacerbated by the music and voice-over that Buñuel uses. He puts the Fourth Symphony of Brahms under the images, creating again an enormous contrast. The sophisticated musical style combined with the dire circumstances of the Las Hurdes people force the viewer to see ‘them’ as very different from ‘us’, as primitives who do not take part in our civilisation.
Shocking Commentary
The voice-over makes this even worse. It is condescending and sarcastic, and shows indifference that could easily be mistaken for objectivity. To the contemporary viewer this suggests an ironic reading. For instance, when we see a few unidentified objects tacked to the wall, the voice-over says: “Note the flair for interior decorating.” And when we see a picture of an infanta on the wall of a school: “What is this fair lady doing here?” These comments highlight the idiosyncrasy of the voice-over, but most of the time it has a straightforward bluntness. Just after the camera has examined the mouth of the sick girl, it says coolly: “we were told that the girl died two days later.”
A Shocked Audience
The audience of the film in the 1930s was “extremely displeased” (ibid., p. 29), which is exactly what Buñuel had hoped for of course. He wanted to shock people out of their comfortable notions of the world around them, and provoke them into thinking for themselves.
Moving Beyond Stereotypes Through Shock
Bunuel's tactic might still work today in design research, because we often find that it is perhaps even more difficult to unlearn or forget the stereotypes we have of groups of people than learning new things about them. If one exagerates the stereotype, like Bunuel does by presenting poor village people as primitives, it becomes harder to take the stereotype seriously and forces you to look beyond your own certainties and knowledge.
About the film
Luis Buñuel, surrealist and eager to critique the status quo in society as well as in filmmaking, took a far from neutral stance with his film Las Hurdes (Land without bread) (1933). Not unimportantly, he did not have his hands tied by financers as he financed his films through a friend who had won the lottery and did not make any demands. Before Buñuel made his documentary Las Hurdes, he had already made his two short Surrealist films Un chien Andalou (1929) and (with Salvador Dali) L’age d’or (1930). To him, Las Hurdes is similar to his two earlier films and equally much Surrealist:
Of course the difference was that this film was based on a concrete reality. But it was an exceptional reality, one that stimulated the imagination. Furthermore the film coincided with the social concerns of the Surrealist movement which were very intense at the time.
Buñuel did not use a script for the film. He had read a book about the region that meticulously documented many aspects of everyday life in the arid mountains. Ten days before the shooting he visited the region and wrote down words like: ‘goats’, ‘a child sick with malaria’, ‘anopheles mosquitoes’, ‘there are no songs, there is no bread’, and he shot the film pretty much in agreement with those notes.
Quotations from an interview with Buñuel in: MacDonald and Cousins (1996) Imagining Reality, Faber and Faber, London.
I found a french spoken (no subtitles) copy of the film as an extra on Buñuel's Los Olvidados DVD at the DVD Bargains shop on Ebay.
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
MELANCHOLY AND PROVOCATION
The Egon Schiele-Project
23 September 2011 - 30 January 2012
On the occasion of its tenth anniversary, the Leopold Museum will dedicate its 2011 autumn exhibition to the oeuvre of Egon Schiele. (one of my favourite painters)
www.leopoldmuseum.org/en/exhibitions/current/17/melanchol...
and this Architectural staging to celebrate it as well
dont miss this `-´
Couverture du magazine HARA-KIRI. Journal satyrique se réclamant bête et méchant et usant sans modération de la provocation.
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
View of "Provocations: The Architecture and Design of Heatherwick Studio" at the Cooper-Hewitt (June 24, 2015 - January 3, 2016).
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
View of "Provocations: The Architecture and Design of Heatherwick Studio" at the Cooper-Hewitt (June 24, 2015 - January 3, 2016).
Vintage French postcard. Card 9. Charles Bernheim photo. edit., Nimes. Act IV. The Provocation.
The stage play Sémiramis (1904) by Joséphin Peladan was first performed 24 July 1904, at the Amphitheatre antique in Nimes, South of France. The title role of the Assyrian queen Semiramis was for Segond-Weber (Comédie Française), while Albert Lambert fils played the Egyptian prince Keth-Aour, her love interest, and Dorival as Zakkir-Iddin, Semiramis' army leader. Additionally, Albert Darmont played the magician Ourkam, M. Liser Naram Sin and Lucie Brille one of the choreuses. The story takes place in Assyrian Ninive. Despite her mature age, the mighty warrior queen Semiramis falls in love with a young Egyptian prince. The men at her court detest the relationship and in the end the lover is killed in a duel. Semiramis criticizes the intolerant conspirators and flies away in a cloud of doves
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Networked Fabrication for Urban Provocation [ Advanced Course in Architecture / Design ] - Universidad Iberoamericana - Amorphica / LaN / Architectums - Diana Quintero Saul Lecture
Catalizing Morphogenetic Processes in Evolutionary Systems
[ University of Technology Sydney
University of Applied Arts Vienna]
Thursday FEB.16.2012
Ultramarino Oyster Bar
Ruiz #57, Zona Centro, 22800
Ensenada, BC
Free Admission
Couverture du magazine HARA-KIRI. Journal satyrique se réclamant bête et méchant et usant sans modération de la provocation.
All the artists, entrepreneurs, and activists who are asking the questions and making the provocations that we believe will shape the future of culture. At the 2016 YBCA 100 Summit, Nov 5, 2016. The YBCA 100 is an annual compilation of the creative minds, makers, and pioneers that inspire our work at Yerba Buena Center for the Arts. Each year, our staff convenes to debate: “Who do we believe is asking the questions and making the provocations that will shape the future of American culture?” The result of this inquiry is a diverse list of artists, entrepreneurs, activists, and creative citizens from around the world that have one thing in common: They are all generating culture that moves people. See more at ybca.org/100. Event photography by Drew Altizer Photography
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
photo : A1one (copyright)
Public Provocations IV.
expo collective / group show
June 2012 – October 2012
Vernissage: 09.06.2012 / 19:00 h
A vibrant and unique exhibition that can be experienced from June till October 2012 in the Carhartt Gallery.
Artists in exhibition :
A1one / IR
Bezt / PL
Czarnobyl / PL
Dave the Chimp / GB
EME / ES
Honet / FR
Jef Aérosol / FR
Klaas Van der Linden / BE
Maoma / NL
Marco Zamora / US
SatOne / D
Tasso / D
The London Police / NL
Пікет мітингувальників для захисту від провокацій
Picket of protesters to defend against provocation
Sun Sentinel February 29, 1996 by Melissa Ruggieri
WKAT, WNWS, WINZ, WZTA, WIOD, Glen Hill, Dave Caprita, Mike Disney, Bob Green, Steve Kane, Al Rantel, Steve Nicholl
Part 1 of 2
At the slightest provocation or suggestion, I will instantly transport to Saint Alps bubble tea (and delicious noodles) restaurant on Bedford Avenue in BK.
View of "Provocations: The Architecture and Design of Heatherwick Studio" at the Cooper-Hewitt (June 24, 2015 - January 3, 2016).
View of "Provocations: The Architecture and Design of Heatherwick Studio" at the Cooper-Hewitt (June 24, 2015 - January 3, 2016).
Call me Snake offers an optimistic provocation – ‘imagine what could be here’ by Judy Millar. On a walk into the city October 3, 2015 Christchurch New Zealand.
The work is comprised of vibrant graphics of Millar’s looped paintings, which are adhered to five intersecting flat planes, and draws inspiration from the forms found in pop-up books. The colourful piece will add a dramatic and rhythmic counterpoint to the city’s current urban landscape — a mix of flattened sites, construction zones and defiant buildings that have stood through the quakes. The work employs theatricality, playfulness and visual trickery, whereby the viewer is unsure about the work’s flatness or three-dimensionality; and it has been designed to offer a different perspective from each angle. The bright colours interrupt the grey of the work’s surrounds, and as buildings pop up around it,
SCAPE 8, New Intimacies curated by Rob Garrett was a contemporary art event which mixed new artworks with existing legacy pieces, an education programme, and a public programme of events. The SCAPE 8 artworks were located around central Christchurch and linked via a public art walkway. All aspects of SCAPE 8 were free-to-view.
The title for the 2015 Biennial – New Intimacies – came from the idea that visually striking and emotionally engaging public art works can create new connections between people and places. Under the main theme of New Intimacies there are three other themes that artists responded to: Sight-Lines, Inner Depths and Shared Strengths.
For more Info: www.scapepublicart.org.nz/scape-8-judy-millar