tag:blogger.com,1999:blog-69786763283630121392024-02-18T17:47:17.937-08:00Kitsch ArchitectureCristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.comBlogger104125tag:blogger.com,1999:blog-6978676328363012139.post-49906788614158484232017-12-05T19:03:00.001-08:002017-12-05T19:09:19.667-08:00The Kitsch Style and the Age of Kitsch (N. Elias)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVlqbl-AljKjquf5cixwWzhCO4hU4rkdYn0KTaT1slahdmS4ErfD9COfn3OCGzOaFLAm1YTpqbBv5QP9pufoxC8WHw2dtTOg0rRSyzK2offuwf2DDeoR1cREGHtZd_dftpTAgaQvohonzc/s1600/download.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="177" data-original-width="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVlqbl-AljKjquf5cixwWzhCO4hU4rkdYn0KTaT1slahdmS4ErfD9COfn3OCGzOaFLAm1YTpqbBv5QP9pufoxC8WHw2dtTOg0rRSyzK2offuwf2DDeoR1cREGHtZd_dftpTAgaQvohonzc/s1600/download.jpg" /></a></div>
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"[...] It has sometimes been said that the eighteenth century was the last to have a 'style' at all. And indeed, hardly has anyone dared to entertain the idea of a capitalist style that the doubts set in: Can one still speak of a 'style' in this context? It seems clear the the rise of bourgeois professional and industrial society was marked not only bu the replacement of one aesthetic, one 'style' bu another, but by the collapse of a coherent set of typical expressive forms. The aesthetic productions of capitalist society therefore tend to be described, far more than earlier ones, in relation to the single creative individual, or at most to various schools and tendencies. The existence of a unified development of forms and of common, typical basic structures, in short, of a 'style' of artworks in he capitalist world, remains more or less obscure. Names have been found, at most, for episodes in this development, for example, the so-called <i>Jugendstil.</i> A more comprehensive name is lacking, and the problem itself has hardly yet emerged into our consciousness.</div>
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If the term 'kitsch style' is used here to fill this gap, that may seem like a piece of eccentricity or even a malicious depreciation of the art of our time. In reality, the choice of this term is anything but a tendentious whim. For if we look beyond the general terms 'capitalist' or 'liberal' for underlying concepts expressing what is uniform in capitalist aesthetic idiom, after much sifting of terms which are either colourless or imply a positive evaluation, one comes across this term as one of the very few which express a pervasive feature of capitalist aesthetic products. To be sure, the term 'kitsch' is unclear enough in common usage. But if it can and should mean anything more than a random generality to embrace the concrete phenomenon which underlies its topicality in our day, then its content and boundaries must be sought in the evolution of aesthetic form within bourgeois society. That the peculiarity of an age first becomes visible from a negative aspect is certainly not without precedent in history. Originally, terms such as 'Baroque' or 'Gothic' did not have much more positive ring than 'kitsch' has today. Their value-content changed only in the course of social development, and - without giving undue weight to historical parallels - the term 'kitsch style' is sent on its way here with the same likelihood and expectation that its value may change, and to help prepare for such a change. it is used, first of all, to designate the stylistic character of the pre-war period. But no one is able to say whether we ourselves are not still 'pre-war' - that is, more closely tied to the pre-1914 period, when seen in a historical perspective - than appears to us today from our close, foreshortening viewpoint. </div>
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What the term 'kitsch style' is intended to express first of all is an aesthetics quality of a very peculiar kind, namely the greater formal uncertainty inherent in all artistic production within industrial society. This can already be seen in the very early stages of the bourgeois-capitalist era. For to begin with liberal-bourgeois society certainly did not express itself in entirely new forms. Ornamentation persisted, and <i>Empire</i> and <i>Biedermeier</i> were clearly descendants of the old court style. What was lost, above all, was the certainty of taste and of the creative imagination, the solidity of the formal tradition which was discernible earlier in even the clumsiest products. Outburst of feeling of unprecedented intensity shattered the old forms; groping for new ones, artists produced some well-formed works but, to an unprecedented degree, others marked by an extreme want of clarity and taste. In this groping, this coexistence of high standards with a total lack of standards, not only in different artists but often in one and the same individual, the change structure of the artistic process found especially vivid expression. For even the most capable artist the lapse into formlessness now became an acute and constant threat. Every successful, fully-formed work was now wrested from the abyss to a quite different extent than had been the case earlier, when a firm social tradition both fettered and sustained the creative urge. [...] Kitsch in the negative sense, therefore, is never only something antagonistic existing outside the true creators, but is also a basic situation within them, a part of themselves. This incessant interpenetration of structure and disintegration is a feature of the lasting regularity to be observed in industrial society. [...] The powerful accentuation, the peculiarly artificial and sometimes almost convulsive intensity of form characteristic of some of the greatest modern artists, expresses, fundamentally, nothing other than this insecurity, this unabating struggle against formlessness and disintegration which even the most accomplished artists have to wage today. [...] So much, in our age, has dilapidation become a constitutive element, decisively affecting even the positive aspect of artistic works. And, as we can see, the re-evaluation of kitsch as a positive concept begins at this point."</div>
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Elias, Norbert (1935) "The Kitsch Style and the Age of Kitsch". In: Goudsblom, J., Mennel, S. (1998) <i>The Norbert Elias Reader</i>. Oxford. Blackwell. pp 27-29.Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-90366000245337492772015-02-06T07:02:00.001-08:002015-02-06T07:02:32.727-08:00Warm kitschNot exactly architecture, but certainly kitsch.<br />
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(Seen at Target)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2mQk65xmUWSQraARl2BK-5HXVTacQ3j2Y7c2raprhJBlJw5gvuqWp-Mqyz_r87u1WQ3SGRCT7hWQehDsvPFBcfOr3tqTrMGH-le8NtTtRxcQBoQ79jfdcv9o2aGVcEpXgk7B6K75CB7ip/s1600/IMG_2192.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2mQk65xmUWSQraARl2BK-5HXVTacQ3j2Y7c2raprhJBlJw5gvuqWp-Mqyz_r87u1WQ3SGRCT7hWQehDsvPFBcfOr3tqTrMGH-le8NtTtRxcQBoQ79jfdcv9o2aGVcEpXgk7B6K75CB7ip/s1600/IMG_2192.JPG" height="400" width="300" /></a></div>
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<br />Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-10428372359148785092015-01-15T08:16:00.001-08:002015-01-15T08:16:20.294-08:00Art, Kitsch and Art History (A. Brzyski)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI9sm6y-C3prwcb4xtJ96LerBHBflNUxHz-WicU_8OnDXZvBTUjfQ0m2oPLK4WCCzt-IFlsSI-EVTXoeT-ZRKjnExvyS9I_Hlq-BqisaY5jv5btdH6rYJTZZ2316ZM99tUD2EB72xMTL65/s1600/2015-01-15+The+Widow,+Frederick+Dielman+(Boston%2BPublic%2BLibrary%2C%2Bupload.wikimedia.org).jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI9sm6y-C3prwcb4xtJ96LerBHBflNUxHz-WicU_8OnDXZvBTUjfQ0m2oPLK4WCCzt-IFlsSI-EVTXoeT-ZRKjnExvyS9I_Hlq-BqisaY5jv5btdH6rYJTZZ2316ZM99tUD2EB72xMTL65/s1600/2015-01-15+The+Widow,+Frederick+Dielman+(Boston%2BPublic%2BLibrary%2C%2Bupload.wikimedia.org).jpg" height="320" width="255" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Widow, Frederick Dielman<br />(Boston Public Library, upload.wikimedia.org)</td></tr>
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"On the most basic level kitsch is not art. Our ability to distinguish between the two terms - even in those instances when kitsch approximates the appearance and logic of art and art that of kitsch - marks us as members of the cultural elite. Precisely because we are aware of their crucial dissimilarity, we can identify, discuss, and diagnose a wide range of phenomena usually associated with popular or mass culture as kitsch. We can even indulge in kitsch as camp, because unlike the actual consumers of kitsch, who lack the necessary critical distance and therefore fail to recognize kitsch for what it is, we know better. As Susan Sontag noted in the 1960s, our eager willingness to watch the very best "bad movies" or to relish with a hint of revulsion the extravagantly "awful" reveals our membership in the hip inner circle. Kitsch is therefore <i>our</i> term for <i>their</i> lack of taste and as such always a value judgement made from a position absolute cultural superiority.</div>
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But what exactly is that we mean when we identify something as kitsch? At different times, different authors have used this label to denigrate nineteenth century academic paintings, anything made by Salvador Dalí, various "inappropriate" forms of art reproduction, decorative bric-a-brac, political propaganda, votive objects, erotic images, advertisements, and Hollywood movies. The diversity of this list and the seeming lack of consensus among those disparate phenomena under the same rubric may be based on external considerations rather than any qualities shared among them. The pertinent question with regards to kitsch appears to be, therefore, not what is kitsch, but rather what exactly is meant when that label is applied to something.</div>
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<span style="font-size: x-small;">Brzyski, Anna (2013) Art, Kitsch and Art History. <i>In:</i> Kjellman-Chapin, Monica, <i>Kitsch. History, Theory, Practice</i>. Newcastle upon Thyne: Cambridge Scholars. p 1.</span></div>
Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-83380930619340703972014-06-29T06:00:00.000-07:002014-06-29T06:00:00.397-07:00Clubs (François Prost)<div class="separator" style="clear: both; text-align: justify;">
<a href="http://www.francoisprost.com/">François Prost</a> is a french graphic designer and photographer. In his most recent project he photographs night clubs and discos at the outskirts of cities.</div>
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"Without the distraction of teetering crowds and flashing disco lights and blurred, eager eyes, the clubs look a little sad and depleted, and it becomes apparent just how weird and kind of dystopian some of the designs actually are." - <i><a href="http://www.itsnicethat.com/articles/photography-francois-prost">It's nice that</a></i>.</div>
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Imágenes: <a href="http://www.francoisprost.com/photography/">http://www.francoisprost.com/photography/</a>Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com2tag:blogger.com,1999:blog-6978676328363012139.post-91351043783820949072014-05-06T00:49:00.003-07:002014-05-06T00:49:51.723-07:00Kitsch fixA sample of the many "Kitsch fix"s found at <a href="http://www.cotewrites.com/">Jennifer Coté</a>'s blog, <a href="http://www.cotewrites.com/blog/">Coté writes</a>. Enjoy!<br />
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[And her top ten <a href="http://www.cotewrites.com/blog/kitsch/">personal favourites</a>]</div>
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<tr><td class="tr-caption" style="text-align: center;">Kitsch fix 01 - Pink gorilla, Austin, TX (cotewrites.com)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Kitsch fix 03 - Hyde Park Bar & Grill, Austin, TX (cotewrites.com)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGjm3_qY7XiUtS66kA73J3SDBs2HDXZ4Kv4K5lZCLNrEy9829RIfxepreAUrNo06Vn7ajbEhGH6ScEo4HW3PDXpIen9DmYIDDy-6MOOznlpU7ItI00bFfHp5BW_ByHTUApA65w7YjSVdOJ/s1600/2014-05-06+Kitsch+fix+25+-+Dinosaurs,+Half+Moon+Bay,+CA+(cotewrites.com).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGjm3_qY7XiUtS66kA73J3SDBs2HDXZ4Kv4K5lZCLNrEy9829RIfxepreAUrNo06Vn7ajbEhGH6ScEo4HW3PDXpIen9DmYIDDy-6MOOznlpU7ItI00bFfHp5BW_ByHTUApA65w7YjSVdOJ/s1600/2014-05-06+Kitsch+fix+25+-+Dinosaurs,+Half+Moon+Bay,+CA+(cotewrites.com).jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kitsch fix 25 - Dinosaurs, Half Moon Bay, CA (cotewrites.com)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioHMAYDU1K0xfPk4YL17AWTwyuXDLqNsApaGeXK5WzM75GHhpbLQxnCVdFQs33r8CWiCcFPh-KurexLnM_nW9THF0EyvHDLAzlo4IA0M9Y6Q7hDa476i7bJzy1x0yhmKQKv3Jm1Ze10uma/s1600/2014-05-06+Kitsch+fix+28+-+Peter+Pan+mini+golf,+Austin,+TX+(cotewrites.com).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioHMAYDU1K0xfPk4YL17AWTwyuXDLqNsApaGeXK5WzM75GHhpbLQxnCVdFQs33r8CWiCcFPh-KurexLnM_nW9THF0EyvHDLAzlo4IA0M9Y6Q7hDa476i7bJzy1x0yhmKQKv3Jm1Ze10uma/s1600/2014-05-06+Kitsch+fix+28+-+Peter+Pan+mini+golf,+Austin,+TX+(cotewrites.com).jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kitsch fix 28 - Peter Pan mini golf, Austin, TX (cotewrites.com)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSivAdmqro5WPY9bzjQB7Q19r2O4H4eQ7yHrdFiTDvgWJRfaW8CuEIan0aP7S_zv45hQSc39h0C2pMFwIzKMUl2l5ItTDTFCgguMkpHlkWhbCYGxxwHmsz0NlLWVhyphenhyphen0w84wDPbRr59tiEZ/s1600/2014-05-06+Kitsch+fix+42+-+Hand+car+wash,+Studio+City,+CA+(cotewrites.com).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSivAdmqro5WPY9bzjQB7Q19r2O4H4eQ7yHrdFiTDvgWJRfaW8CuEIan0aP7S_zv45hQSc39h0C2pMFwIzKMUl2l5ItTDTFCgguMkpHlkWhbCYGxxwHmsz0NlLWVhyphenhyphen0w84wDPbRr59tiEZ/s1600/2014-05-06+Kitsch+fix+42+-+Hand+car+wash,+Studio+City,+CA+(cotewrites.com).jpg" height="400" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kitsch fix 42 - Hand car wash, Studio City, CA (cotewrites.com)</td></tr>
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Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-53806020489925256262014-04-25T17:38:00.000-07:002014-04-25T17:38:00.407-07:00SketchUp competition "Out of Place".The open competition solicited renderers to submit their most outrageous decontextualized 3D models, generated with SketchUp and Maxwell Render. <br />
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<a href="http://architizer.com/blog/simply-awesome-renderings-from-maxwells-competition/">Read on.</a><br />
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<br />Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-22461893332585278992013-04-12T07:29:00.003-07:002013-04-12T07:29:42.345-07:00California Crazy<div class="separator" style="clear: both; text-align: center;">
<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJfgpSHLd9-PyeysYfAAh3pZRXKOzHP5lgLtwunDhz7Rc3TjofAY0Ybob5DJBraGrtKdehnjy7jbp8vRT1pkVO7-tagjiinq4rrjcUPjjPHsQbc8NXR_lQsnoOJo6wQCH72T3284nw-mWt/s1600/California+Crazy+-+cover+br.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJfgpSHLd9-PyeysYfAAh3pZRXKOzHP5lgLtwunDhz7Rc3TjofAY0Ybob5DJBraGrtKdehnjy7jbp8vRT1pkVO7-tagjiinq4rrjcUPjjPHsQbc8NXR_lQsnoOJo6wQCH72T3284nw-mWt/s320/California+Crazy+-+cover+br.jpg" width="242" /></a></div>
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<span style="font-size: x-small;"><span style="text-align: justify;">Heimann, Jim (2001) </span><i style="text-align: justify;">California Crazy & Beyond. Roadside vernacular architecture</i><span style="text-align: justify;">. San Francisco: Chronicle Books.</span></span>Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com1tag:blogger.com,1999:blog-6978676328363012139.post-55862655535540748662013-03-23T05:10:00.000-07:002013-04-23T05:14:07.423-07:00Rules for modern design<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglRCq9Gy6C1x0POsYyJjw_hRnM90hiK714l1qeHZOjprSv57nfav5Ga1dcm-fSKp-ES8IbFVp9Uu8bfCu1HWSMUYtPc1VGVr8VlmaRyCqd1Y6YW4dw7StBL7moZq8tfr8Gk78zwzcVi4Bg/s1600/2013-03-23+No+Gnomes+(coffeewithancrchitect.com).png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglRCq9Gy6C1x0POsYyJjw_hRnM90hiK714l1qeHZOjprSv57nfav5Ga1dcm-fSKp-ES8IbFVp9Uu8bfCu1HWSMUYtPc1VGVr8VlmaRyCqd1Y6YW4dw7StBL7moZq8tfr8Gk78zwzcVi4Bg/s320/2013-03-23+No+Gnomes+(coffeewithancrchitect.com).png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">coffeewithancrchitect.com</td></tr>
</tbody></table>
<div style="text-align: justify;">
"Great design comes from appropriate restrictions. We can’t just go off willy-nilly designing frivolous trite, full of decorative representations of a by-gone era. No, indeed. We’re not completely uncivilized. </div>
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<div style="text-align: justify;">
Modern Design needs rules."</div>
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<br /></div>
<div style="text-align: justify;">
Written by <a href="http://www.coffeewithanarchitect.com/author/admin/">Jody Brown</a> for <i><a href="http://www.coffeewithanarchitect.com/">Coffee with an Architect</a></i>. Read/watch the <a href="http://www.coffeewithanarchitect.com/2012/08/27/rules-for-modern-design/">whole article</a>.</div>
Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-59007048142338171142013-02-23T15:40:00.003-08:002013-02-23T15:40:45.862-08:00Kitsch Oklahoma<div class="separator" style="clear: both; text-align: center;">
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<br />Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-70332837637678204062013-02-05T18:44:00.000-08:002013-02-05T20:25:31.290-08:00Kitsch Disney II<div class="separator" style="clear: both; text-align: center;">
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<br />Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0Epcot, 200 Epcot Center Drive, Lake Buena Vista, Florida 32830, EEUU28.3753071 -81.5496552999999842.8532726000000004 -122.85824929999998 53.897341600000004 -40.241061299999984tag:blogger.com,1999:blog-6978676328363012139.post-36383847205655834612013-01-31T15:22:00.001-08:002013-01-31T18:25:35.523-08:00Polvos azules<i>Beneath Its Polished Surface, a Black-Market Shopping Center Thrives </i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJd4WRTZ8rvHjs2h1ZBJjV8nbCapFpjCKfOFOpPPkxadWKCGDx95v-Wke2h8mWRXBWQKb_DMZyQD3sQGDUr5h5xePvGzshxoDx-qdMyioXXJA2lJSn7qQzuihn8km0v8XJJIyah822DBcG/s1600/DSC06312.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJd4WRTZ8rvHjs2h1ZBJjV8nbCapFpjCKfOFOpPPkxadWKCGDx95v-Wke2h8mWRXBWQKb_DMZyQD3sQGDUr5h5xePvGzshxoDx-qdMyioXXJA2lJSn7qQzuihn8km0v8XJJIyah822DBcG/s200/DSC06312.JPG" width="200" /></a>In one of the busiest shopping complexes in downtown Lima, thousands of Peruvians squeeze past each other in narrow corridors and jockey for space in tiny rooms. Music blasts from stalls as shopkeepers try to lure customers with their seemingly infinite rows of goods. The smell of food and plastic lingers in the air.
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This is Polvos Azules, an epicenter of retail activity in Lima and a place often referred to (in oxy moron) as the city’s “official informal market.” Legend has it that Polvos Azules, Spanish for “blue powders,” got its name in the 1540s from the material used by leather artisans to dye their skins on a small street behind the Presidential Palace. Five centuries later, the capitalist spirit embodied by those early merchants is alive and well, their leather goods replaced by faux-Levis jeans and bootleg Magic Mike DVDs.
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Lima is a city where the formal and informal are naturally spliced, a condition exemplified nowhere better than the bustling and raucous stalls of the Polvos Azules. In the 1980s, semi-ambulant vendors began congregating in Polvos Azules, selling Walkmen and VHS video tapes, and eventually growing in number to upwards of 5,000. In the early ’90s, they organized, forming the Association of Owners of the Polvos Azules Commercial Center. The association negotiated a relocation program with the city, and built a large shopping complex with 2,400 stalls.</div>
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<a href="http://nextcity.org/informalcity/entry/polvos-azules-black-market-retail-destination-cleans-up-its-act">Keep reading.</a><br />
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<span style="font-size: x-small;">Vigo, Manuel (2013) <i>Beneath Its Polished Surface, a Black-Market Shopping Center Thrives.</i> <u>In:</u> Informal city dialogues. <a href="http://nextcity.org/">http://nextcity.org</a></span>Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-66491971204492465052013-01-27T07:52:00.000-08:002013-01-31T15:22:32.745-08:00Tabula non rasa (S. de Maat)<div style="text-align: justify;">
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<tr><td class="tr-caption" style="text-align: center;">globalenvision.org</td></tr>
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"In a slum, one can often not afford the luxury of demolition. Building a larger home usually means extending an existing house by a floor on top. Choices from the past remain visible and set implications for further development. Continued building means puzzling with the existing situation. The current situation imposes restrictions on the new design. It requires much creativity and inventiveness to get all connections, both spatially and technically, of old and new quite right. Design issues and building projects are therefore in a slum more complex than average. As a result, especially proven techniques are used. Style architecture makes little chance. Avoiding risk is crucial, because of financial constraints. In his book How Buildings Learn1, Stewart Brand shows how not only the initial design determines the shape of a building, but also how the subsequent existence leads to growth and change. In a slum, especially that growth and change are built, not style and originality.
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[...] Although an architect will never design a slum, the architecture of a slum is an essential source for designers."</div>
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<a href="http://theperfectslum.blogspot.com/2009/11/tabula-non-rasa.html">Keep on reading</a> at <a href="http://theperfectslum.blogspot.com/">The Perfect Slum</a>.</div>
Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-89126799446856226542013-01-25T18:41:00.000-08:002013-01-25T18:41:00.501-08:00Kitsch Disney I<div class="separator" style="clear: both; text-align: center;">
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<br />Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0Epcot, 200 Epcot Center Drive, Lake Buena Vista, Florida 32830, EEUU28.3753071 -81.5496552999999842.8532726000000004 -122.85824929999998 53.897341600000004 -40.241061299999984tag:blogger.com,1999:blog-6978676328363012139.post-384107173528372902013-01-17T17:38:00.000-08:002013-01-17T17:38:25.828-08:00Multiple floors (S. de Maat)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">theperfectslum.blogspot.com</td></tr>
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"Adding a floor to your house is the best way to let your home grow. An additional floor and four walls is all you need. And of course stairs to get there. Everything else is already in place, the foundation, the front door and the roof. This roof can be reused by just lifting it a few meters.
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The staircase is of course the most notable new thing in the house. In this house the staircase landing of the first floor is conveniently doubling as the front porch of the house below. Note that a tarp lies over the clothesline, to protect the washing against the bright sun and down whirling dust. In the dry season dust is blown into Mumbai from India’s interior. Everything eventually gets covered with a brown layer. Not a drop of rain falls in nine months, therefore the blanket of dust is always present. The first rain of the monsoon washes everything clean and brings happy faces. Buildings, streets, plants and trees get their original colour back."</div>
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<a href="http://theperfectslum.blogspot.com/2009/11/multiple-floors.html">Keep on reading</a> at <a href="http://theperfectslum.blogspot.com/">The Perfect Slum</a>.Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-44692096471797565322012-12-24T04:11:00.000-08:002012-12-24T04:11:00.778-08:00Recalling the Aesthetic Spirit of Architecture (R. T. Meeker) II<div style="text-align: justify;">
"The aesthetic sense is a synergetic capacity involving intellect, emotion, motivation, memory, communication, and perception. The magic of the aesthetic experience, in both nature and art, exists in the marvelous potential for communion between kindred spirits. Since belief in this notion has little currency in our time, we nostalgically turn to works of art fashioned in more spiritually imbued times and cultures. When spiritually impregnated, nature and art may raise consciousness and arouse the soul by charging the emotions, stimulating the intellect, stirring old memories, firing the imagination, provoking us to act, to reach out, to communicate. We are moved by the aesthetic experience because it reconfirms our belonging in the cosmos, in nature, in the community, and ultimately in ourselves.
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<tr><td class="tr-caption" style="text-align: center;">architeacher.org</td></tr>
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A critical method for evaluating architecture aesthetically should account for and examine all of the parameters of the architectural problem holistically: people and their purposes, physical and cultural contexts, historical and topical precedents as well as functional requirements, building technology, and budget constraints. Then, when the critic refers to what is "appropriate, right, and fitting" about a building, these terms may credibly refer to one or more parameters of the problem. Parametric analysis as a critical method raises the critique above the level of tastes by addressing the whys and wherefores of our personal preferences. After all, the critic can only persuade; he cannot dictate an aesthetic evaluation. This method situates aesthetic evaluation where it belongs: among the contending values, intentions, and impulses of the designers, builders, observing participants, and historical precursors, whose mindsets and world views may be compatible or irreconcilable. Parametric analysis further permits the critic to relate his subjective considerations about architectural intangibles-such as light, shadow, space, ambience, vista, proportion, harmony, beauty, formal dynamics, and other aesthetic terms-to the architectural tangibles expressing the built form in response to the parameters of that particular problem."
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<span style="font-size: x-small;">Meeker, Robert T. (1983) "Recalling the Aesthetic Spirit of Architecture". <i>Journal of Aesthetic Education</i>. pp 97.</span>Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-40730646237796420742012-12-15T03:55:00.000-08:002012-12-15T03:57:04.167-08:00Recalling the Aesthetic Spirit of Architecture (R. T. Meeker) I<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">arch.umd.edu</td></tr>
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"What is the domain of architecture? What is the nature of the architectural problem? How should we perceive and define that problem? What is the nature of the aesthetic sense? What is involved in the aesthetic experience of architecture? Since the aesthetic experience is subjective, what is a viable concept of the self, of the individual? What is the relationship of the individual to society? Since architecture is a collective cultural expression, what does it say about and how does it reflect the culture of its time and place? What does architecture reveal about the structure and dynamics of a society and that society's relationship with nature? What is the role of the architect in society, both as a public professional and as an artist? Is the architect an artist, since often as not the architect is a member of a collective agency? When is architecture an art? How does architecture achieve historical significance? </div>
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Architectural aesthetics could become a central focus of architectural theory again, for it conditions most issues concerning the nature of architecture. If authors would recall the aesthetic spirit of architecture, address the issues squarely, illustrate them aptly, and discuss them in terms that architectural practitioners, educators, and students understand and use, then the countervailing arguments could revolve around common themes and begin to resolve the dialectic of architectural theory."
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<span style="font-size: x-small;">Meeker, Robert T. (1983) "Recalling the Aesthetic Spirit of Architecture". <i>Journal of Aesthetic Education</i>. pp 93-94.</span>Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-423155359311697432012-12-12T17:39:00.002-08:002012-12-12T17:40:13.954-08:00Kitsch (F. Gualdoni)<div style="text-align: justify;">
"Around 1860 in Germany the expression <i>Kitsch</i> starts to grow, indicating an aesthetic operation of counterfeit and <i>pastiche</i>. The etymology is indicative: <i>Kitschen</i> means the act of building old furniture with old parts, and <i>Verkitschen</i>, to sell something different that what has been announced. At the same time, then, the term refers to something related with the non-authentic reproduction of something that already existed, and suggest that its main object of said action is to satisfy a need that has something to do with taste, with expectations of cultural consumption.</div>
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The moment is determinant. The start-up of the second half of the nineteenth century is that in which bourgeoisie and small bourgeoisie are definitely established as the main components of an evolved European society, or rather the German, French and English society. Said social groups do not present specific cultural forms that identify them, as what happens in one hand to aristocracy and to the other hand to the lower classes, still anchored to popular culture, limited but defined. The bourgeoisie aspires instead, by the attraction that naturally pose the more mature lifestyles to those inferior, to be precipitants of the aristocratic culture of the high classes: such involvement is rather seen as an essential element in the climbing up to an eminent and acknowledged social role, to distinctive traits of a long cherished exclusivity."</div>
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<span style="font-size: x-small;"><span style="text-align: start;">Gualdoni, Flaminio (2008) </span><i style="text-align: start;">Kitsch</i><span style="text-align: start;">. Milano: Skira. p 7</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Corbis</td></tr>
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Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-83735327674848816272012-11-30T12:36:00.000-08:002012-12-15T03:55:46.035-08:00Eiffel KitschIt has every <a href="http://kitscharchitecture.blogspot.com/2012/03/kitsch-c-dreifuss.html">characteristic</a> Abraham Moles identifies in kitsch, which makes this piece an object worthy of Gilo Dorfles' catalogue: the Eiffel lamp tower.<br />
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<br />Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-88658717810627320482012-10-27T13:57:00.000-07:002012-10-27T13:57:00.142-07:00Kitsch football<div style="text-align: justify;">
"The Centre Pompidou art gallery in Paris unveiled a 16-foot bronze statue that depicts the national sporting hero ramming his head into the chest of Italy’s Marco Materazzi, capuring an infamous moment in sports history.</div>
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Artist Adel Abdessemed created the statue based on the 2006 World Cup soccer final when Zidane lost his cool and lashed out at Materazzi."</div>
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Read <a href="http://www.globalpost.com/dispatches/globalpost-blogs/world-at-play/zinedine-zidane-headbutt-statue-paris-materazzi-Abdessemed%20">full article</a>.<br />
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<tr><td class="tr-caption" style="text-align: center;">thesun.co.uk</td></tr>
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More: <a href="http://www.goal.com/en/news/90/france/2012/10/24/3475450/zidane-statue-causes-controversy">Zidane statue causes controversy</a>Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-22705746635635476892012-10-22T09:37:00.003-07:002012-10-22T09:37:24.313-07:00Oggi il Kitsch (G. Dorfles)Exposition at the Triennale di Milano, 2012.<br />
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A cura di Gillo Dorfles
Con Aldo Colonetti, Franco Origoni, Luigi Sansone e Anna Steiner </div>
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La Triennale di Milano presenta la mostra Gillo Dorfles. Kitsch - oggi il kitsch curata da Gillo Dorfles, insieme con Aldo Colonetti, Franco Origoni, Luigi Sansone e Anna Steiner. </div>
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Nel 1968 esce “Il Kitsch. Antologia del cattivo gusto” edito da Mazzotta, una serie di approfondimenti teorici che hanno aiutato a descrivere il concetto di kitsch in tutte le sue articolazioni; concetto che Dorfles per primo ha contribuito in modo decisivo a definire, a livello internazionale. </div>
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Il testo di Dorfles è una vera pietra miliare per la comprensione e l’evoluzione del “cattivo gusto” dell’arte moderna; afferma che alcuni capolavori della storia dell’arte come il Mosé di Michelangelo, la Gioconda di Leonardo sono “divenuti emblemi kitsch perché ormai riprodotti trivialmente e conosciuti, non per i loro autentici valori ma per il surrogato sentimentale o tecnico dei loro valori”. </div>
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“L’industrializzazione culturale, afferma Dorfles, estesa al mondo delle immagini artistiche ha condotto con sé un’esasperazione delle tradizionali distinzioni tra i diversi strati socio-culturali. La cultura di massa è venuta ad acquistare dei caratteri assai diversi (almeno apparentemente) dalla cultura d’élite, e ha reso assai più ubiquitario e trionfante il kitsch dell’arte stessa.”</div>
Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com1tag:blogger.com,1999:blog-6978676328363012139.post-66641191554634943192012-10-14T05:23:00.000-07:002012-10-14T05:23:00.399-07:00Long live kitsh!Some kitsch touristic destinations all around the world.<br />
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See <a href="http://elviajero.elpais.com/elviajero/2012/10/03/actualidad/1349267529_339929.html">full article</a> at <i>El País</i>.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8zPJVA9D4x9tVB5XgLNJCtRR3ip5mrqMnP58CNpZtnLPWczC98MCoJya6kJO1kpzmUR3Oddgni4XModM2lx_7soibLA-i3CZPQpIf3zAEGnFHoB1joII34dnDuzt4RihyphenhyphenBgUrcsUW0Kmn/s1600/2012-10-08+Kitsch+Lonely+Planet+-+Bar+Tiki+Ti,+en+Los+%C3%81ngeles+(California)+(elviajero.elpais.com).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8zPJVA9D4x9tVB5XgLNJCtRR3ip5mrqMnP58CNpZtnLPWczC98MCoJya6kJO1kpzmUR3Oddgni4XModM2lx_7soibLA-i3CZPQpIf3zAEGnFHoB1joII34dnDuzt4RihyphenhyphenBgUrcsUW0Kmn/s320/2012-10-08+Kitsch+Lonely+Planet+-+Bar+Tiki+Ti,+en+Los+%C3%81ngeles+(California)+(elviajero.elpais.com).jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bar Tiki Ti, Los Ángeles (California)<br />
(elviajero.elpais.com)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2mNsoLhFrcG6lbUCADUWdeIWqc5t4zKwNG_GGAZwgkX63woVGaAL5tNBm_UyfmYOHcCN51QPwwSZCHOuRpkKuMH6rlL2qT8AtT2Bake9erRn-2-yHB5kBDocb9_h4ETzRxxfSOdhhGXyN/s1600/2012-10-08+Kitsch+Lonely+Planet+-+Parque+de+las+Grutas,+en+Druskininkai,+Lituania+(elviajero.elpais.com).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2mNsoLhFrcG6lbUCADUWdeIWqc5t4zKwNG_GGAZwgkX63woVGaAL5tNBm_UyfmYOHcCN51QPwwSZCHOuRpkKuMH6rlL2qT8AtT2Bake9erRn-2-yHB5kBDocb9_h4ETzRxxfSOdhhGXyN/s320/2012-10-08+Kitsch+Lonely+Planet+-+Parque+de+las+Grutas,+en+Druskininkai,+Lituania+(elviajero.elpais.com).jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Parque de las Grutas, Druskininkai, Lituania <br />
(elviajero.elpais.com)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdoSRBQZMOqqBMZy4o3zUYl60wLIbPyhvgeGJReCXgzh1xE88cslgtp12Tzv1nt6MLu2W4xpDsiJe1zPyka9lAkJLCEmwVdYYlAraCfq9PbsamJ0j4x7xFXqYWb4lr0OhposLohyxrT5oW/s1600/2012-10-08+Kitsch+Lonely+Planet+-+Rocky+Balboa,+%C5%BDiti%C5%A1te,+Serbia+(elviajero.elpais.com).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdoSRBQZMOqqBMZy4o3zUYl60wLIbPyhvgeGJReCXgzh1xE88cslgtp12Tzv1nt6MLu2W4xpDsiJe1zPyka9lAkJLCEmwVdYYlAraCfq9PbsamJ0j4x7xFXqYWb4lr0OhposLohyxrT5oW/s320/2012-10-08+Kitsch+Lonely+Planet+-+Rocky+Balboa,+%C5%BDiti%C5%A1te,+Serbia+(elviajero.elpais.com).jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rocky Balboa, Žitište, Serbia <br />
(elviajero.elpais.com)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRsUBegtuzQZWB-2WEXfaK0kWvXNRSze-hZ6qq4QsQgZvYanbbPQJC6lQnPuKLhTY5zSil5luOYa0uMPorK2uutrzviDpU7IuruStow8Ev7YMPMH5vKv4ORkVud_WJxsin-cXO0AYJGEi8/s1600/2012-10-08+Kitsch+Lonely+Planet+-+parque+de+Grottenbahn+(Austria)+(elviajero.elpais.com).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRsUBegtuzQZWB-2WEXfaK0kWvXNRSze-hZ6qq4QsQgZvYanbbPQJC6lQnPuKLhTY5zSil5luOYa0uMPorK2uutrzviDpU7IuruStow8Ev7YMPMH5vKv4ORkVud_WJxsin-cXO0AYJGEi8/s320/2012-10-08+Kitsch+Lonely+Planet+-+parque+de+Grottenbahn+(Austria)+(elviajero.elpais.com).jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Parque de Grottenbahn (Austria)<br />
(elviajero.elpais.com)</td></tr>
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<br />Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-89750600348413110692012-10-10T06:00:00.000-07:002012-10-10T06:00:19.041-07:00Nautilus House (Javier Senosiain)Read <a href="http://www.home-reviews.com/nautilus-house-by-javier-senosiain-the-design-inspired-by-sea">article</a>.<br />
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"Looking at some designer’s creations one can be astonished by the power and the creativity of the human mind. This can be said about the Nautilus house located near Mexico City. It is a unique shell shaped house designed by Mexican architect Javier Senosiain. The house design is very innovative, unusual and audacious. Javier Senosiain decided to bring the life aquatic into architecture. This house turns the form of the Nautilus shell and is wonderful to look at and to be in. The interesting feature of this huge shell is a striking entry cut into a wall of colorful stained glass. Inside it casts multi-colored spots of light onto walls. But it’s not the only surprise you will find."<br />
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<tr><td class="tr-caption" style="text-align: center;">worldarchitecturenews.com</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">cdn.home-reviews.com</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">cdn.home-reviews.com</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">cdn.home-reviews.com</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">worldarchitecturenews.com</td></tr>
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Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-52487432403178345002012-10-05T14:28:00.000-07:002012-10-05T14:28:00.133-07:00Kitsch and Its Object (T. Kulka) II<a href="http://kitscharchitecture.blogspot.com/2012/09/kitsch-and-its-object-t-kulka-i.html">Part I</a><br />
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<tr><td class="tr-caption" style="text-align: center;">hoodedutilitarian.com</td></tr>
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"Before turning to the question of <i>how</i> to paint - that is - to the question of the stylistic properties of kitsch, let us consider what further specifications should guide the choice of the subject matter, and what type of emotional response the painter should aim to elicit. Let us take, for example, the theme of the crying child that figures so prominently in kitsch depictions. Our painter should be advised to choose a nice and cute little child rather than a wicked ugly-looking one. The cry shouldn't be irritating or hysterical, but rather a sob of the soft and quiet variety; the child should elicit a sympathetic response. The painter should avoid all unpleasant or disturbing features of reality, leaving us only with those we can easily cope with and identify with. Kitsch comes to support our basic sentiment and beliefs, not to disturb or question them. It works best when our attitude toward its object is patronizing. Puppies work better than dogs, kittens better than cats. The success of kitsch also depends on the universality of the emotions in elicits. Typical consumers of kitsch are pleased not only because they respond spontaneously, but also because they know they are responding the right kind of way. They know they are moved in the same way as everybody else. This psychological aspect of kitsch was also stressed by Milan Kundera: "Kitsch causes two tears to flow in quick succession. The first tear says: How nice to be moved, together with all mankind, by children running on the grass! It is the second tear that makes kitsch kitsch" (<i>Unbearable Lightness</i> 251). The aim of kitsch is not to create new needs or expectations, but to satisfy existing ones. Kitsch thus does not work on individual idiosyncrasies. It breeds on universal images, the emotional charge of which appeals to everyone. Since the purpose of kitsch is to please the greatest possible number of people, it always plays on the most common denominators.</div>
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The examples of kitsch themes mentioned above belong to what one may call universal kitsch. They play on basic human impulses irrespective of religious beliefs, political convictions, race, or nationality. They exploit universal subjects such as birth, family, love, nostalgia, and so forth, which could, perhaps, be further analysed in terms of Jungian archetypes. However, alongside universal kitsch we also find more specific types of religious, political, national, and local kitsch. "Kitsch has its source in categorical agreement with being," says Kundera. "But what is the basis of being? God? Mankind? Struggle? Love? Man? Woman? ... Since opinions vary, there are various kitsches: Catholic, Protestant, Jewish, Communist, Fascist, democratic, feminist, European, American, national, international" (<i>Unbearable Lightness</i>, 256-57).<br />
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<span style="text-align: start;">We may thus distinguish between different types of kitsch of varying degrees of universality. Christian kitsch - exemplified by plastic Jesus babies, pictures of the Virgin Mary or scenes of the Crucifixion - combines the universal elements of kitsch with symbolism relating to the articles of Christian faith. Communist kitsch - depicting smiling workers in factories, young couples on tractors cultivating a collective farm or building a hydroelectric power station - played on the mythical valued of the joy of work and the enthusiasm for building a classless society. Capitalist kitsch, exemplified by advertising, on the other hand, uses class distinctions and status symbols to create artificial needs and illusions to foster the ideology of the consumer society. There can also be even more specific national kitsch that exploits the sentiments associated with national symbols and leaders: Mao Tse-tung leading the Great March, Lenin speaking to the workers, or good-hearted Hitler holding a child in his arms. The subject matter of kitsch may vary considerably in accordance with beliefs and traditions. What remains constant is that the consumer of kitsch is never emotionally indifferent to what the picture represents. [...]</span><br />
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<span style="text-align: start;">Kitsch depicts objects or themes that are highly charged with stock emotions."</span></div>
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<span style="font-size: x-small;">Kulka, Thomas (2002 [1996]) <i>Kitsch and Art.</i> University Park: The Pennsylvania State University Press. pp 25-27.</span>Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-39915290412509335772012-09-30T05:31:00.000-07:002012-09-30T05:31:56.209-07:00Zombie Garden GnomesKitsch meets gore.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjQnnMclQOT7v69RqqLnqVHa0I_iTvSgFPIpRRiJOEbjEOyq8l6DiCm4BgNfJuv60l6RK3C2jr2M27LkcZNfIlhqnPsSA05CFDTTGMEcRqQ2ynsNBIqtAl8aGqqBj-BhEN8yBqrcxibebQ/s1600/2012-09-30+Zombie+gnomes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjQnnMclQOT7v69RqqLnqVHa0I_iTvSgFPIpRRiJOEbjEOyq8l6DiCm4BgNfJuv60l6RK3C2jr2M27LkcZNfIlhqnPsSA05CFDTTGMEcRqQ2ynsNBIqtAl8aGqqBj-BhEN8yBqrcxibebQ/s320/2012-09-30+Zombie+gnomes.jpg" width="320" /></a></div>
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Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0tag:blogger.com,1999:blog-6978676328363012139.post-17047461020909023642012-09-27T07:47:00.000-07:002012-09-27T07:48:06.942-07:00Kitsch and Its Object (T. Kulka) I<div style="text-align: justify;">
"Let us begin by imagining the following situation: Our friend, a competent artist, needs, for some reason, to produce a commercially successful work of kitsch. However, he had no idea what kitsch actually is, and is requesting our advise. What kind of advise could we offer him for creating convincing kitsch? What kind of instructions could we devise, which, if properly executed, would produce a successful kitsch painting?</div>
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As we can distinguish between the subject matter of a painting and the manner of its rendering, we can accordingly distinguish between the instructions pertaining to the question of <i>what</i> to paint and those pertaining to the question of <i>how</i> to paint it. In other words, let us consider what sort of objects would be most suitable as subject matter of kitsch, and what kind of rendering would be best suited for this task.</div>
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Since figurative and nonfigurative painting are equally legitimate today, the first question is whether our painter should go for a figurative picture or for an abstract one. The answer is clear. It would be evidently more difficult to produce a commercially successful abstract kitsch picture than a figurative one. We seldom call an abstract work kitsch, even if we think is bad.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4tXgPW4q_dKBILUDApnwOSivhgAk45OoHEp_8gbBK4UBPK5n-wAyBYhRLm-IUqjx4brK-yUH-4C2WJ0kDlkPLx3B_iyAEZQFjiHK61LSxUJLSl_tXluyq27XGCvQJrGNA38_gItan7lN5/s1600/2012-09-27+(Corbis).jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4tXgPW4q_dKBILUDApnwOSivhgAk45OoHEp_8gbBK4UBPK5n-wAyBYhRLm-IUqjx4brK-yUH-4C2WJ0kDlkPLx3B_iyAEZQFjiHK61LSxUJLSl_tXluyq27XGCvQJrGNA38_gItan7lN5/s320/2012-09-27+(Corbis).jpg" width="320" /></a></div>
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The next question is whether all objects or themes are equally suitable as the subject matter of kitsch. Clearly, some are more suitable than others. Fluffy little kittens or children in tears would surely do better than an ordinary chair or a washing machine. Let us list some more examples of typical subjects exploited by kitsch. Among the themes that figure most prominently in kitsch pictures are puppies and kittens of various sorts, children in tears, mothers with babies, long-legged women with sensuous lips and alluring eyes, beaches with palms and colourful sunsets, pastoral Swiss villages framed in mountain panorama, pasturing deer in a forest clearing, couples embracing against the full moon, wild horses galloping along the waves of a stormy sea, cheerful beggars, sad clowns, sad faithful old dogs gazing toward infinity... the reader could easily extend the list.</div>
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What do these themes have in common? The answer is: they are all highly emotionally charged. They are charged with stock emotions that <i>spontaneously</i> trigger an unreflective emotional response.The subject matter typically depicted by kitsch is generally considered to be beautiful (horses, long-legged women), pretty (sunsets, flowers, Swiss villages), cute (puppies, kittens), and/or highly emotionally charged (mothers with babies, children in tears). This emotional charge does not just typically concur with kitsch; it is a sine qua non. Consider ordinary objects of everyday life that are devoid of any emotional charge: an ordinary chair, or a washing machine. It would, of course, be easy enough to paint bad pictures of chairs or washing machines. However, no matter how hard our painter tried, his efforts would not be rewarded by clear-cut examples of kitsch. Take, on the other hand, an object that is generally considered cute and elicits a ready emotional response: a fluffy little kitten, for example. Not only would it be quite easy to produce such a kitten-depicting work of kitsch, it would actually take some ingenuity to steer clear of it. This dependence on the emotional charge of its subject matter may also explain the difficulty of producing a nonfigurative work of kitsch. Our first advise to our painter should thus be: Choose a subject matter with a clear emotional charge that triggers a ready emotional response."</div>
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<span style="font-size: x-small;">Kulka, Thomas (2002 [1996]) <i>Kitsch and Art</i>. University Park: The Pennsylvania State University Press. pp 25-26.</span></div>
Cristina Dreifuss Serranohttp://www.blogger.com/profile/15798139268038662690noreply@blogger.com0