AA Inter 3


Approaching a world soon to be created by alvaropulpeiro
November 3, 2012, 8:30 pm
Filed under: 2012-13

Answering to Strats:

Architecture’s quality

might rightly be judged,

not by the problems it solves,

but by the problems

it creates.”

This piece relates to truth & fact in Cinema, but it also applies to every “art” (i include architecture here) that pretends to create / build from a world / context-understanding. Truth is not fact, and fact is not truth.

  1. By dint of declaration the so-called Cinema Verité is devoid of verité. It reaches a merely superficial truth, the truth of accountants.
  2. One well-known representative of Cinema Verité declared publicly that truth can be easily found by taking a camera and trying to be honest. He resembles the night watchman at the Supreme Court who resents the amount of written law and legal procedures. “For me,” he says, “there should be only one single law; the bad guys should go to jail.”Unfortunately, he is part right, for most of the many, much of the time.
  3. Cinema Verité confounds fact and truth, and thus plows only stones. And yet, facts sometimes have a strange and bizarre power that makes their inherent truth seem unbelievable. 
  4. Fact creates norms, and truth illumination.
  5. There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.
  6. Filmmakers of Cinema Verité resemble tourists who take pictures of ancient ruins of facts.
  7. Tourism is sin, and travel on foot virtue.
  8. Each year at springtime scores of people on snowmobiles crash through the melting ice on the lakes of Minnesota and drown. Pressure is mounting on the new governor to pass a protective law. He, the former wrestler and bodyguard, has the only sage answer to this: “You can’t legislate stupidity.” 
  9. The gauntlet is hereby thrown down.
  10. The moon is dull. Mother Nature doesn’t call, doesn’t speak to you, although a glacier eventually farts. And don’t you listen to the Song of Life.
  11. We ought to be grateful that the Universe out there knows no smile.
  12. Life in the oceans must be sheer hell. A vast, merciless hell of permanent and immediate danger. So much of hell that during evolution some species—including man—crawled, fled onto some small continents of solid land, where the Lessons of Darkness continue.Image
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2 Comments so far
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Thanks for the response Alvaro.

Your reference to Cinema Verite and how deals with portraying the truth, reminds me of the common paradox of the Liberty Statue in Budapest, that clearly defines how confusing and absurd art can become. In short, a baroque statue of a woman outstretching a flag became monument to liberation of Budapest in 1945 by the Red Army. The paradox lies in the fact that the statue was actually created in 1943 on the orders of the Fascist dictator Horthy, who fell fighting the Red Army. Ofcourse that is quite a good point for the clarity that modern art tries to define, contradicting this kind of ‘flexibility’ and ‘openness’ that we see in the example above. And what is interesting with the example you refer to, is that here Plato is reversed: science deals with phenomena, appearances, whereas art deals with the hard, the Real, how to struggle to portray it.
To go back a bit to Lebbeus approach to drawing though (architecture quality judged by the problems it creates–>its causes), i think what is interesting is the question of how does a distinct form (‘that cannot ever be the same again’) emerge from/out of its environs, out of disorder and chaos? In the same way that how does a cell form the membrane which separates its inside from its outside? This “deeper strata of truth (in cinema)” that you refer to. And i think that is where he connects to the ‘neither necessarily true, nor necessarily false’, and the presence of multiple possibilities. The predicate is a statement that might be true or false depending on the values of its variables, but it is actually also included in the subject.

Deleuze on Leibniz and the ‘Power of the False’: (http://www.webdeleuze.com/php/texte.php?cle=53&groupe=Leibniz&langue=2)

I just exposed already a first difference between truths of essence and truths of existence. In truths of essence, the analysis is finite, in truths of existence, the analysis is infinite. That is not the only one, for there is a second difference: according to Leibniz, a truth of essence is such that its contradictory is impossible, that is, it is impossible for 2 and 2 not to make 4. Why? For the simple reason that I can prove the identity of 4 and of 2+2 through a series of finite procedures. Thus 2+2=5 can be proven to be contradictory and impossible. Adam non sinner, Adam who might not have sinned, I therefore seize the contradictory of sinner. It’s possible. The proof is that, following the great criterion of classical logic — and from this perspective Leibniz remains within classical logic — I can think nothing when I say 2+2=5, I cannot think the impossible, no more than I think whatever it might be according to this logic when I say squared circle. But I can very well think of an Adam who might not have sinned.Truths of existence are called contingent truths.

Comment by StratisMort

I believe it is a very interesting point regarding the current way architecture relates to context in relation to form, and in relation to its truth and functional pragmatism. Numbers are not enough to portray a deep contextual complexity, facts do not matter anymore, they are restrictive and liquid, they do not a have a real stand. Understanding the world in relationship to the piece and the piece in relationship to the world takes much more than analysis, than a straight answer or a totalizing and definitive description or judgement. We have to be aware that human truth is appearance, fabrication…however a fabrication that rooted on a unmovable reality, and that reality once juxtaposed with the human piece of creation, swallows and digests this last one.

I will leave you one of my favorite thoughts on the world:

“And do you know what “the world” is to me? Shall I show it to you in my mirror? This world: a monster of energy, without beginning, without end; a firm, iron magnitude of force that does not grow bigger or smaller, that does not expend itself but only transforms itself; as a whole, of unalterable size, a household without expenses or losses, but likewise without increase or income; enclosed by “nothingness” as by a boundary; not something blurry or wasted, not something endlessly extended, but set in a definite space as a definite force, and not a space that might be “empty” here or there, but rather as force throughout, as a play of forces and waves of forces, at the same time one and many, increasing here and at the same time decreasing there; a sea of forces flowing and rushing together, eternally changing, eternally flooding back, with tremendous years of recurrence, with an ebb and a flood of its forms; out of the simplest forms striving toward the most complex, out of the stillest, most rigid, coldest forms striving toward the hottest, most turbulent, most self-contradictory, and then again returning home to the simple out of this abundance, out of the play of contradictions back to the joy of concord, still affirming itself in this uniformity of its courses and its years, blessing itself as that which must return eternally, as a becoming that knows no satiety, no disgust, no weariness: this, my Dionysian world of the eternally self- creating, the eternally self-destroying, this mystery world of the twofold voluptuous delight, my “beyond good and evil,” without goal, unless the joy of the circle is itself a goal; without will, unless a ring feels good will toward itself— do you want a name for this world? A solution for all of its riddles? A light for you, too, you best-concealed, strongest, most intrepid, most midnightly men?— This world is the will to power—and nothing besides! And you yourselves are also this will to power—and nothing besides!”

Comment by alvaropulpeiro




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