What's Different In South Park Uncensored

LOOS, THE CRAFTSMAN

Cuando los padres han construido todo, a los hijos solo les queda derrumbarlo.

Karl Kraus en Die Fackel

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En 1959, la revista Casabella publicaba un número monográfico sobre el arquitecto austriaco Adolf Loos. En ese número se presentaba su obra de arquitectura a partir an extensive research paper of Aldo Rossi, at that time that Italian publication editor.

Rossi said there that architecture has always been an expression, including through its contradictions, of the ruling class of his time, since due to economic determinants is no imaginable political opposition to do architecture. "

funny thing is that the intellectual attitude of Loos was mostly opposition-architecture through its continuous-critical comments at various schools and established dominant groups in their environment. First against the aesthetic conservatism Vienna in the late nineteenth century and its unconditional support to the historicism that has been exemplified by the large collection of buildings in the Ring and then against renewing the first generation of Austrian architecture, structured around the movement of Secezion Otto Wiener Wagner and his acolytes.

The formality of the building for the headquarters of Secession, by Joseph Maria Olbrich in Vienna Karlsplatz, condense Loos reflected the contradiction between seeking an aesthetic alternative to historicism in architecture and decorative emphasis the need for new form of expression with the times to come.

According

tells the writer and critic George Steiner in an extraordinary article in 1979 for the New Yorker magazine entitled Wien, Wien, nur du allein (Vienna, Vienna, only you) should have an extraordinary book that is not yet been written which show that the essence of the culture that has developed simultaneously had its origin in the constellation of divergent that accumulated in the intellectual circles of the city of Vienna in the early twentieth century. Both philosophy and the latest novels, music, painting, sociology, economics, etc., Etc. debtor would be thinking of the many characters who invariably found in that city, those years. A trio of friends who anticipate and catalyze many artistic events, stands on the blocks for thinkers: Karl Kraus, Adolf Loos and Arnold Schoenberg.

satirical practice Karl Kraus had on his contemporaries, on that next company, also exemplify the method of radical doubt about everything that is given from a blind faith in established authority and rationality. Schoenberg and his disciples, Alban Berg and Anton Webern would explore in the paucity of their proposals, the musical boundaries of a time that was over. And finally, Adolf Loos would open the door to the design of a new architecture without attributes, naked and relieved of that conception Viennese decor that I hate.

building for the headquarters of the Wiener Secezion. Joseph Maria Olbrich, architect.

Loos, who never earned an academic degree, always aspired to greater radicalism that deprives the art fixtures and decorative nature and could anticipate more serenely the appropriate expression for a turbulent period. His fight against all types of architecture was masked in decorativism an example of the way it should luego transitar toda la vanguardia organizada alrededor del Movimiento Moderno. Le Corbusier, entre otros, lo consideraba un ejemplo inestimable y, de hecho, lo imitaría descaradamente en sus proyectos de villas en la primera época de su estancia parisina. Panelado interior de madera de caoba en la tienda de complementos para caballeros&nbsp;de Goldmann&amp;Salatsch. Adolf Loos, interiorista, 1904.

En el pequeño excurso de 1898, Die kranken ohren Beethovens (Los oídos enfermos de Beethoven), Loos se quejaba de la extrema incomprensión de los contemporáneos hacia la obra innovadora del verdadero artista. Para él, lo nuevo necesita un tiempo for assimilation, which inevitably generate social estrangement precursor of the new forms, located in unknown territory beyond the established taste. A stigma that grips those from the seek greater knowledge and genius to anticipate the avant-garde artistic expression. Although he wrote these ideas in support of the atonal music of Arnold Schoenberg and young against bourgeois rejection of the Vienna of his time, probably as a reflection would also address the social denial of its own architecture. In another text

1898, Die stadt potemkinsche (Potemkin City), Loos expressed its total opposition, almost contempt, the new urban architecture in Vienna. The romantic historicism, neo-Gothic, neoclassical, etc. Ring of responding to a formal request to mimic oriented styles of the past few, envied by newcomers to the ostentation and luxury that wealth confers. According to their argument, these new buildings be evidence of the fraudulence of a parvenu class which prefers falsehood and lies to the true expression of contemporary art. To do this provided a parallel to the imaginary constructions that Prince Grigori Potemkin prepared for Catherine the Great in the plains of Ukraine, some huge sets in which subjects present some assumptions a few villages and flourishing cities that were simple cardboard stage machinery and fabrics. He considered that counterfeiting scenographic Viennese architecture was intended to be palatial would be like a scam. For Loos, compared to the fetishism of the past, the moral obligation of the architecture would be in the relentless pursuit of style according to each time that, in its formal and technological inevitability, could convey the force of the social spirit that corresponds to that specific time .

In his famous text Ornament und Verbrechen (Ornament and Crime), presented to the meeting The Werkbund in 1908, then setting out a radical way the need to strip the art and architecture and decorative spurs last recover the essence of the building as an aesthetic foundation for honest and realistic. There was a comparison between the Aboriginal tattooed and modern dandy as examples of ethical relativity and the need for language and contemporary expression is released from unnecessary attachments. For Loos, cultural evolution would be to gradually eliminate the decoration of objects and spaces around us, both in everyday use as in architecture. An item of interest in the friendly relationship between Kraus and Loos is in contrast to their parallel efforts in the realm of words, language as an expression of the ephemeral imperfect face the reality of art that refuses. So while Karl Kraus patiently built ironic critique of Viennese society in the journal Die Fackel (The Torch) over 900 numbers and 37 years of continuous efforts, the publication of Loos, Das Andere (The Other) only have two editions in 1903 and was consumed in its insignificance as a means of communicating their ideas.

The result of those deliberations, specifically in some of his works residential and commercial, would achieve a high degree of refinement that would anticipatory misunderstood by most of his countrymen. The now famous and valued building for Goldman and Salatsch tailoring, Michaelerplatz in Vienna, completed in 1911, would receive over the first decades of the twentieth century, the motto of the house without eyebrows for its lack of decorative elements in their own bland facades. According to popular legend, the emperor Franz Joseph reject this work and prevent its completion, not to see him leave the city for the door to that place, from their habitual residence in the Hofburg.

However, the attitude of Loos in Michaelerhaus visceral rejection was not the way of construction of the historic city. Simply, to a deeper reflection on the relevant components of Viennese architecture legacy to pass to extract its most essential elements. The shape of the vertical composition, arrangement of holes and foundations, the use of glass display cases and counters along the sidewalks, but would not comment on the tradition. It would therefore be a self-explanation on how things could be made anew without renouncing the previously deposited there. That is, the effort to establish a rich dialogue that did not involve the perpetuation of imitation and forgery.

According Loos, the architecture should be considered as an activity weighted by contingency. The building must meet in the first instance a basic utility and, therefore, for the Viennese philosopher, perhaps, an intellectual fact, more related to craftsmanship than to art itself. For our hero, the architecture is defined by the chains of the practical and submission to a specific assignment. The difference between art and architecture lie in the possible release of their players, while the artist can express his obsessions in an unrestricted, the architect must undergo a very specific boundary conditions that restrict expression. Conditions that apply to both geography and functionality as the technical and material economy. Some bounded margins which give the architect a role that artistic craftsmanship.

According to the philosopher Massimo Cacciari Loos in his reflection on the work of art begins in the realm of personal liberty and thorough knowledge of the inherited language. From there faces the challenge of exploring the past, bringing the accumulated knowledge in crisis and thus placed in an offshore position, one that relates to the discovery that space is based on deeper understanding of words and phrases originating of their specialty. The point of art is a risky moment of maximum disruption and that its uniqueness is not easily reproducible.

Building for Goldman & Michaelerplatz Salatsch in Vienna. Adolf Loos, 1904
However

and so for Loos, architecture can only reach the stage art in only two situations, referred to the monument and the tomb.

is why, in his grave, Loos disclaims any ornament, the maximum stripping language advocates as a way of opening up a new world of artistic space that possible because is unique. The uniqueness of this event space, which is expressed in his case in a cube of granite one meter by one meter by one meter, is the place where they expected the limit to reach the future, with the total renunciation of the expression and listening to what is beyond our reach.

thus seem that the aesthetic response to contemporary artistic impossibility of architecture should be in the abdication of all desire expressive. This could be the most important legacy that Antiwiener pointed has left us for more than a century.

Tomb Adolf Loos in Vienna's central cemetery --->

Tarantula Water Warrior

Hitachiin Twins Poker Night

An illustration of Ouran High School Host Club I made for my cousin birthday Kato: P

Technique: Digital Painting.

Size: 43 x 28 cm

Instructions Waxing Before Or After Shower

ANTIWIENER

By Richard Sennett
Ed Anagram . Barcelona 2009

Several years ago a friend recommended I read a book by Richard Sennett called The culture of new capitalism and since then I've become a frequent visitor to this British sociologist. A the latest editions of its vast work that has appeared in Castilian is this Craftsman (first published in 2008) and is about the general willingness of people to do things entrusted to them. Is the start of a trilogy that promises to be exciting, which will continue with a second volume that will try to unravel the rituals that guide the aggression and end with a study on how to achieve and live more sustainable human environments.

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If anything characterizes Richard Sennett is that it presents the most dense and complex issues in a way very enjoyable. Use the narrative with anecdotes and practical experience to explain the most abstruse matters. His latest published work is titled precisely How I write, as literature Sociology ( As I write, sociology and literature ), suggesting a second vocation, to teach writing well. This special ability makes author Artisan is a text that is read with pleasure. It has to do it their avowed allegiance to philosophical pragmatism that aims to give a broad sense to the specific experiences of each human being and has had record as qualified as William James or Richard Rorty .

sociologist Sennett does a remarkable job in Craftsman , narrating and describing the great collective loss has brought the scorn of many specialty craft in contemporary societies. The myth of procedimentación work as a way to industrialize the tasks and the consequent subjection of the gradual development of specific personal experience, have been around long enough to produce a terrible toll. Something that has already claimed more than a century ago, people like John Ruskin Charles Rennie Mackintosh or , driver of the recovery craft movement linked to Anglo-Saxon Arts and Crafts .

Bindery. Recorded in the Encyclopedia of Diderot and d'Alembert

The book points to a recurring figure derived from extensive research, which indicates that the process of acquiring the minimum skills needed to carry out a task efficiently scale, requires approximately 10,000 hours of training the person. This common time is essential to a proper traditional knowledge on any subject. Sennet also exemplifies the way the matter was instituted handling of the scalpel, a process codificación de la experiencia que duró más de 100 años desde que en el siglo XV se pudo empezar a producir cuchillos de hierro con una mayor calidad de templado. En 1543, Andrés Vesalio publicó De humani corporis fabrica , un texto ilustrado esencial para el progreso de la actividad medica y que fue solo posible debido a las disecciones del cuerpo humano realizadas por su autor con escalpelos que permitían una precisión adecuada.

Vesalio produjo su descripción a partir del desarrollo de una práctica artesanal de calidad en el arte de la disección de cadáveres. Una habilidad que requiere de una gran precisión para no estropear las muestras y que permitió realizar esa maravilla descriptiva de la anatomía que todavía constituye una fuente de referencia básica en la disciplina anatómica.

El sistema sanguineo. De humanis corpore fabrica. Andrés Vesalio. 1543

El desarrollo del conocimiento artesanal es un proceso lento que en el medioevo requería de una organización gremial muy precisa y jerarquizada. Es debido a este proceso que los aprendices lograban adecuar su práctica a la realización correcta de las distintas tareas que eran necesarias en la práctica de una especialidad concreta. Sennet lo define como la transformación del explicit knowledge into tacit knowledge. To say about that assimilation is an essential process for all abilities. By learning a skill, develop a complex repertoire of procedures that have just turned into a routine we do not think about directly. In a higher phase of skill, there is a constant interplay between the tacit knowledge and reflective, the first of which serves as an anchor, while the other serves a critical and corrective. The quality craftsmanship is a result of this higher stage.

The problem raised by this feature of build quality it is very difficult de transmitir de forma explicita, escrita o de acuerdo al lenguaje. Algo que ya ocurría frecuentemente en los talleres artesanales del pasado. Pone como ejemplo la maestría como orfebre de Benvenuto Cellini , cuyo famoso salero de metales preciosos constituye una cumbre en el manejo de la forja y que ha sido imposible reproducir posteriormente. Como el mismo dijo, su arte moriría con él. Algo similar ha ocurrido con los violines fabricados por Guarnieri o Stradivarius : nadie ha sido capaz de realizar piezas de sonido tan perfecto y delicado después de la muerte de aquellos maestros artesanos de la región italiana de Cremona. Sus violines siguen siendo autenticas joyas irreproductibles que, debido a his special ring, are invaluable.

The artisan quality problem arises from the difficulty of transmitting tacit knowledge through language and, consequently, detailed written descriptions are inadequate. Sennet, to support this thesis, draws the contrast between the medical expert and the novice and the different ways of applying known rules. The expert, of course, is more accurate in the diagnosis by integrating a broad view of the patient and analyze the case in relation to future trends derived from previous experiences and at the same time and in the same case, students tend to more formal follow-up manuals and procedures according to rigid criteria.

The underestimation of tacit knowledge acquired for the benefit of establishing priced procedures described by formulating a written policy clearly has eroded and impoverished actual production of goods for the sake of a supposed greater efficiency. A drawback of this is that progress does not include staff from the specific experience and training conducted. It is a classical problem facing many years without major consulting firms have achieved a proper practice yet. From this, derive the benefits of group artesanal para lograr el grado de experto necesario. Es en el contacto cotidiano entre el maestro, los oficiales y aprendices como en el pasado se podía lograr una transmisión adecuada de ese tipo de conocimiento tácito.

Muchas tácticas laborales específicas se transmiten entre maestros y aprendices con el ejemplo en acción y su descripición es difícilmente reproductible mediante una habilidad complementaria como es el lenguaje escrito. La traslación de estos problemas a las comunidades profesionales y la deriva actual hacia una imposición burocratizada y reglada del trabajo lleva mucho tiempo ocasionado un empeoramiento de las condiciones en que las distintas profesiones realizan sus responsabilidades.

Scalpel. Photo: Aesop, Flickr

And the will for personal growth is essential in the development of the individual artisan. In the enrichment process in the skills of individuals is essential in the training motivation that encourages progress. As Sennett says, returning again and again to allow the self action. And also, the repetition creates a non-explicit satisfaction, which leads to that as skills improve more repetitions as possible without boredom.

Where

this need, and freedom it entails, are constrained by the efficiency or speed, is a short circuit leading to the ineffectiveness of the people involved joint. That is why companies are extremely limited by legal rules and not making adequate progress. At one extreme, the common experiences of professional brigades have resulted in the demoralization of workers and lack of motivation of its members and thus the gradual degradation of the tasks were assigned.

Something similar occurs with respect to the tools of computer aided design. A system architects have embraced with fervor and seems to facilitate the work professional. According to Sennett, is the opposite because it prevents an accurate knowledge of the objects that are designed, absence resulting from the facility to exceed the need to return again and again on the same task in order to grasp its deeper essence. As stated in the book, knowledge of land acquired by drawing over and over again and not letting the computer will refresh for you.

Sennet also has a special predilection for space-related problems, the city and architecture, derived from his contact with American and European specialists as Joseph Rikwert and Saskia Sassen . A very interesting disquisition that integrates the text, related to the difference between intellectual experience and craftsmanship, is referred to the contrast between two specific works of architecture developed by two universal Vienna, the philosopher Ludwig Wittgenstein and the architect Adolf Loos.

The Moller house Loos Sennet exemplify to the effort of the architect to integrate the imperfection inherent in the craft experience. In every work of architecture imponderables are constantly transforming - sometimes radically, the initial project idea. Yet, the intelligent integration of these alleged deficiencies can transform a work of architecture in an artistic experience transmitting the wisdom of multiple operators.

Moller House, Adolf Loos. Photo: Klaas5, Flickr

In another direction, the house that Wittgenstein did for his sister in Vienna Kudmanngasse represents the will of the philosopher to locate and extract the essential rules of architecture. In their arrogance, sought to understand the nature of architectural thinking, constructing a building issue and the first attempt. One thing that somehow followed the guidelines of Loos trying to establish universal structures and spatial conditions.

Projects Adolf Loos were open documents posed an integrative structure, recognizing the imperfection and therefore the resulting buildings can convey a strong emotion while the perfect chill the only architectural work Witgenstein born as dead as recognized philosopher himself, just after the family home after many vicissitudes, said his struggle for an ideal perfection was an inanimate object. The effects he saw in his home reflected in the time-criticism, the destructive effect of perfectionism in philosophy and, more generally, in mental life. Finally

Sennett points to another problem facing the need to recover as a way to craft a better personal development and achievement of adequate jobs. An ultimate enemy craft would be the fallacy of representing the overall quality and depth-based control procedures. A system that seeks excellence in theory but in the background lurks a manifest inability to achieve a result.

The book concludes with reflection on the intertwined duality in developing artisan Hephaestus mythological Pandora. While Vulcan is a character that represents the social value of craft in spite of his deformity, Pandora is the beauty as an attribute malignant. Ambivalent fusion of these two figures would be based on the material culture of our civilization. While the craft we can provide daily goods and aesthetic, only artistic desire and quest for glory give us greater pleasure.

The sublime beauty with this unique open the door to other destructive and uncontrollable forces. It is difficult to restrain open Pandora's box .--->