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diversity and entropy
2001.02.04 11:56
Thank for your full response to questions I raised. I hope to soon reply in kind. At this point, however, I see the need to point out one major inconsistency in your thinking vis-à-vis what I say.
You said, "I remember in a previous post you suggested that White guys like me and my father, sons uncles and grandfathers were the cause of extinctions or something." And what I really said was, "the whiter humanity thinks, the more it manifests extinctions." It bothers me greatly to see how
you very much misinterpret my words. Let me make it clear that I was speaking of 'white' thinking, and not white people, and I was referencing white thinking with humanity, which is not all white. You and your immediate relatives do not represent all humanity, thus there is no way that I am being libelous. (Your subjectivity here makes me suspect of your objectivity in other areas.) White thinking is not restricted to white people, nor do all white people necessarily think white, moreover, I already clarified that when I first thought of "the whiter humanity thinks, the more it manifests extinctions" I was thinking of architecture.
This leads me to then ask, what exactly was the 'dominant' feature of Modernism (in architecture) when it was not a diversity of behavior, or, to but it in your terms, when Modernism was 'classical'? Essentially, I want to know if you can aptly describe when and how exactly architecture was at its most modern, that is devoid of any diversity.
I'd say that architecture was its most modern exactly when it exhibited architectural thinking verging on extreme 'whiteness'.
ps
I agree with you that Baroque architecture is not a product of 17th century politics, because Baroque architecture is more the product of 16th century politics (especially politics outside Italy that destabilized Italy). The Baroque of the 17th century is really just a reenactment of its illusory 16th century self, meaning the 17th century Baroque mirrors the 16th century Baroque. To understand the Baroque fully, you must learn to recognize both the illusory self of the Baroque and the Baroque's mirrored reenactment of its illusory self. For reflection of the Baroque to be true requires the Baroque's reflection to be Baroque as well.
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