The Disintegration Loops arrived with a story that was beautiful and heartbreaking in its own right. It’s been repeated so many times that Basinski himself has grown weary of telling it: in the 1980s, he constructed a series of tape loops consisting of processed snatches of music captured from an easy listening station. When going through his archives in 2001, he decided to digitize the decades-old loops to preserve them. He started a loop on his digital recorder and left it running, and when he returned a short while later, he noticed that the tape was gradually crumbling as it played. The fine coating of magnetized metal was slivering off, and the music was decaying slightly with each pass through the spindle. Astonished, Basinski repeated the process with other loops and obtained similar results. Shortly after Basinski digitized his loops came the September 11 attacks. From the roof of his space in Brooklyn, he put a video camera on a tripod and captured the final hour of daylight on that day, pointing the camera at a smouldering lower Manhattan. On September 12, he cued the first of his newly created sound pieces and listened to it while watching the footage. The impossibly melancholy music, the gradual fade, and the images of ruin: the project suddenly had a sense of purpose. It would become an elegy for that day.” (x)

“Memories are loops, our memories are made of loops. We have loops that constantly go around and around, sometimes it’s bad feedback loops that continue to plague people and cause them pain and stuff like that. These things need to be resolved. The loops helped me to resolve my own bad feedback loops and let them go. Our world is in a bad feedback loop right now. Feedback, when you put a microphone next to a speaker, it’s just a screech. Feedback needs to be surfed, you have to be very careful if you want to work with feedback because otherwise it just destroys everything. We’re at a point right now where we need to get rid of some bad feedback loops and it’s happening. It’s not gonna be pretty but eventually things will resolve.” — William Basinski

(via notonthedole)

(via stenbergapyromanen)

Jeff Wall

Morning Cleaning, Mies van der Rohe Foundation, Barcelona (1999)

(via lights-out)

#The Fall  

germanpostwarmodern:

Roncalli Lyceum (1956-61) in Bergen op Zoom, the Netherlands, by Jos. Bedaux

Passed the RIBA Part 3 course yesterday. I am now officially an architect!

(via fuckyeahbrutalism)

Paul Rudolph

Southeast Massachusetts Technical Institute, North Dartmouth, Massachusetts (1963-72)

(via rosswolfe)

four-months:


Idea No. 2 // Heterotopia

Image from Beyond the Campo Marzio, Miles Gertler & Matt Davis, 2012.

Excerpt from Michel Foucault’s Of Other Spaces (Heterotopias), 1967.

“First there are the utopias… They are sites that have a general relation of direct or inverted analogy with the real space of society…

There are also, probably in every culture, in every civilization, real places - places that do exist and that are formed in the very founding of society - which are something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted… I shall call them, by way of contrast to utopias, heterotopias. I believe that between utopias and these quite other sites, these heterotopias, there might be a sort of mixed, joint experience, which would be the mirror. The mirror is, after all, a utopia, since it is a placeless place. In the mirror, I see myself there where I am not, in an unreal, virtual space… such is the utopia of the mirror. But it is also a heterotopia in so far as the mirror does exist in reality, where it exerts a sort of counteraction on the position that I occupy. From the standpoint of the mirror I discover my absence from the place where I am since I see myself over there.”

(via archidose)

(via fiore-rosso)

Mr Louis Kahn
Kimbell Art Museum, Fort Worth, 1972.

(via archmag)

(via plansofarchitecture)

Valerio Olgiati

Learning Center for EPFL, 2004

(via archmag)

germanpostwarmodern:

Martin Luther Church (1963) in Langen, Germany, by Hans Georg Heimel

We have always lived in slums and holes in the wall. We will know how to accommodate ourselves for a while. For you must not forget that we can also build. It is we who built these palaces and cities, here in Spain and America and everywhere. We, the workers. We can build others to take their place. And better ones. We are not in the least afraid of ruins. We are going to inherit the earth; there is not the slightest doubt about that. The bourgeoisie might blast and ruin its own world before it leaves the stage of history. We carry a new world here, in our hearts. That world is growing in this minute. - Buenaventura Durruti

(via fuckyeahanarchopunk)

(via rosswolfe)

Le Corbusier alongside Andrei Burov and Viktor Vesnin in Moscow (1928).

via Andrei Burov

poetryconcrete:

Adalberto Libera

Casa Malaparte House, Capri, Italy (1937)

rosswolfe:

Graves of Karl Liebknecht and Rosa Luxemburg, Friedrichsfelde Cemetery (1919).

via On the Marxism of Rosa Luxemburg