"In the future, all the past (and even the present?) will be a fiction."
| |
What I'd like to do more of is 'fictitious historical dialogue'.
As of yesterday, reading Duboy (again) along with ongoing Montesquieu and spotty Foucault--bricolage plus letters plus Las Meninas etc. Mix that with 'fictitious historical dialogue' and you have my next book project.
It's a book about all kinds of style. The working title is über œuvred e suicidal. Piranesi hires a Quaker lawyer to fix historical inaccuracies while the Quaker lawyer hires Piranesi to design an historically accurate house. Neither knew of the other's true propensity--playful double-meaning meets good-natured honesty--yet they discover themselves to be a formidable team. You'll think you're laughing and you'll laugh about thinking.
leap day 2000 . . create something completely off the wall. My own obscure attitude will guide me, and there is no need to submit to any norms. I can make it all up and even be intentionally false and untrue in the information Quondam supplies. The whole museum as an enormous fiction.
Bramante's Milanese differs so much from his Roman work that it has been ascribed to a fictitious "Bramante of Milan."
I love being inspired, thus the new working title of my next book project is The Faux Failing Memory.
The interesting thing about the written word is that you can almost always tell when the author isn't being completely honest. At least I can.
Perhaps at first it's instinctual, and then, as one learns to trust one's instincts, it becomes a skill. That's at least the reader's part. The writer gives off clues within their style. Citing "failing memory" is often such a clue.
| |
A plain old lie is for sure less honest than memory. Memories are mental reenactments, and, for sure, a reenactment can never be the original. Those are givens.
Yes, one can certainly tell an unwitting falsehood, and that's usually due to not knowing all pertinent information, or some such circumstance. Whereas to actually tell a lie means that indeed the liar does know the honest truth, but chooses not to express it. In which case the memory is indeed truthful, although the expression of the memory isn't truthful.
Oh, and what do you suppose the difference is between Culture and Random Tangents? Could it possibly be that one is actually inferior to the other? Now that I think about it though, culture today is nothing but random tangents.
I will now get very 'Freudian' here, and say that just maybe the Guggenheims, like Freud, had this strange love/hate thing vis-à-vis Rome/the Vatican. After all it was Freud, a Jew, who reenacted the Christian Trinity of Father, Son and Holy Spirit by instituting the ego, id, and super-ego. So, one could then imagine the Guggenheims saying, "Mr. Wright, we want you to build for us a Jewish Vatican museum!" And lo and behold, Wright, creative genius that he was, designed the foremost Jewish Vatican Museum in existence, with no one ever being the wiser--quite an accomplishment, (or did it all just happen subconsciously?). [I better stop before I start writing a reenactment novel here.]
...some Borges, some Capote, some Quondam
"A labyrinth of symbols," he corrected. "An invisible labyrinth of time."
"...I questioned myself about the ways in which a book can be infinite. I could think of nothing other than a cyclic volume, a circular one. A book whose last page was identical with the first, a book which had the possibility of continuing indefinitely."
I have taken on the mysterious duty of reconstructing literally his spontaneous work. My solitary game is governed by two polar laws. The first permits me to essay variations of a formal or psychological type; the second obliges me to sacrifice these variations to the "original" text and reason out this annihilation in an irrefutable manner...
Some years earlier, Lillian Ross had published Picture, her account of the making of a movie, The Red Badge of Courage; with its fast cuts, its flash forward and back it was itself like a movie, and as I read it I wondered what would happen if the author let go of her hard linear straight-reporting discipline and handled her material as if it were fictional--would the book gain or lose?
...I wonder what would happen if the architect let go of his straight-curating discipline and handled the material as if it were fictional--would the museum gain or lose?
| |
Was just inspired to write a 'historical' novel where Schinkel uses the 'influence' of the Crown Prince to get to do the designs he, Schinkel, wants. The Crown Prince figures out Schinkel's stratagem and thus starts changing his mind like every week or so as to what style a project should be designed in, just to drive Schinkel a little crazy, but also to see just how clever Schinkel can be. Schinkel, in turn, figures out the Crown Prince's stratagem and hence the architecture just starts getting more and more weird. [Wolfhilde von Schlittenfahrt, the sexy, new intern in Schinkel's office quickly becomes aware of the dueling stratagems and immediately starts 'busting' in her own stratagems.] Add to that that both Schinkel and the Crown Prince are obsessed with the life and works of Heinrick von Kleist and participate in a secret Von Kleist Society where all forms of strangeness ensue. Working title: Kohlhaas wo bist du?
I understand you are staying at the new hotel. La Bataille. How do you find it?
Very pleasant. In a bit of turmoil because they are in the process of opening a casino. The man in charge of the casino is called Shelley Keats. I thought it was a joke at first, but that really happens to be his name.
Marcel Proust works at Le Foulard, that fine little seafood restaurant in Scheolcher, the fishing village.
Semiquincentennial: an almost novel architectonics
Miers Fisher Jr. and Helen Gregoroffsky reunited.
At the end of the play, the two braggarts reappeared on the stage together to reaffirm the "reality" of the illusion. Having asked each other how they fared, the impresario of the fictitious performance answered nonchalantly that he had not really shown anything but the audience getting up to leave "with their carriages and horses accompanied by a great number of lights and torches." Then, drawing the curtain, he displayed the scene he had just said he had shown to his audience, thus rendering complete the incredible reversal of reality and illusion to the confused amazement of the real spectators, who were now finding themselves ready to leave and caught in the enchanting act of feigning the feigned spectators."
Piranesi places the fictitious horti Luciliani where the horti Lucullani ought to be, and places the horti Lucullani at a location further north.
| |
...annexation; a totally fictitious client; who knows what else. ...a narrative inspired by the graphics.
I'm enjoying all the data as a unique and kind of atemporal/fictitious virtual environment.
Figure out a way to make the new arrivals famous for 15 minutes. Perhaps ongoing guest spots on a perpetual reality NYC/TV show with lots of sink or swim competitions and flash-in-the-pan stuff. Fleeting fame really is the new normality. Being [an] architectur[al] Duchamp . . . living in a large 3D painting, in a hyper painting, being in a hyperzone, within an environment of many unknown factors . . . "the working title museum" . . . how people will buy their art and architecture
in the future . . . Rita Novel Tea [room] - a book of cult fiction . . .
Does (historical) fiction sometimes easily fall into the category of subversive reenactment?
...essentially putting ideas into people's mind via fiction.
Could the above be an outline for an architectural fiction or something?
un-science fiction
Maybe even a fictitious you will be in it.
"All the world's a next stage."
|