17 October

1037 dedication of the fifth cathedral of Chartres

1367 William of Wykeham made chancellor of the kingdom

1482 Papal Bull creates Giovannino Dolci châtelain of the citadel of Cività Vecchia
1490 death of Giuliano da Maiano

1763 birth of John McComb
1795 birth of Thomas Leverton Donaldson

1856 death of Luigi Canina

reenacting Primarily Not Duchamp
2002.10.17 18:17     3739c

historical reenactment picture of the day
2007.10.17 15:18     3203m 3334o

The Vanity Press
2007.10.17 18:18     3334o 3751d 3794c 3899g

Eisenman debates Wolf D Prix at a crit -- Google Video
2007.10.17 18:36     3334n
2007.10.17 21:43     3334n
2007.10.17 21:50     3334n

Duchamp to direct THE LUCKY BUMS
2009.10.17 11:08     3332b 3727f 5140c

A good example of art about architecture
2015.10.17 14:54     3313

BIG   Kistefos Museum   Jevnaker

001017d Ichnographia Quondam preliminary studies   2392i07

031017a Parkway Interpolation plan model   2278i04   b   c

041017a Benjamin Franklin Parkway plans model   2342i21   b
041017b Benjamin Franklin Parkway Franklin's Footpath plans   2093i13
041017c Parkway Interpolation plans   2342i22
041017d Parkway Interpolation plans   2342i23
041017e Philadelphia Museum of Art plan   2142i04


2007.10.17 15:18
historical reenactment picture of the day
This is what I saw last night:
Daniella Mericle's two-channel video from her 2006 project History Sighs presents fixed-frame landscape views from original, antipodal landing sites of colonial conquest. The sun sets over the Arabian Sea, (filmed from Gujarat, where the British first made contact with Indian soil) as it rises over the Atlantic Ocean from Salt River Bay, St. Croix (a Columbus landing site and setting of the first-known violent confrontation between Europeans and American natives). Mericle's exploration of these two locations prompts speculation about history's ability to manifest its theoretical and material legacy within the physical landscape.
I told the artist her work had an interesting reenactionary quality (to which she agreed completely), and how some degrees of separation collapsed by now standing next to her while the sun was rising and setting again.

2007.10.17 18:18
The Vanity Press
The Journal of Artificial Parameters constantly asks for my work, and I keep telling them I prefer the work remain virtual.

2009.10.17 11:08
Duchamp to direct THE LUCKY BUMS
"The same "sense of loss" that supports history and mourning also supports the damnatio memoriae, which is both an enforced and denied nostalgia. There must be a sense that something has fallen out of representation, that it was at one time but it is no longer--a sense that something has been lost. If not, then memory truly fails and with it the force of the damnatio memoriae. The force of the rehabilitation has much more to do with the re-enactment of the death and condemnation of Flavian than with an account of the events of 394. The survivors have always remembered Flavian, but it is only after the rehabilitation that they can "satisfy the debt of duty owed the dead"--that is, acknowledge the irremediable fact of his loss, through the act of mourning. The writing of history, too, is motivated more by guilt and a desire to mourn than by a desire merely to evoke. The survivor is the one who remains to see that the proper rites are performed for the dead and for that part of the self which has perished, and in the end compulsively to rehearse that loss once again by writing the history" [re-accurately].
--CWH [SL]
The virgin wolfs, the Hirpini and the snails (spirialling), at the end of the axis of war.
So there was a connotation after all.
The Eutropia question.
"You do know the Sabine word for wolf, don't you?"
The Jennewein question.
"Is the axis of war the sacred axis or the profane axis?"
The Adam obsevation.
"Look, she dropped another hair pin."
The Duchamp question.
"Are reenactments virtual or real?"

13101701 Mausoleum of Romulus Circus of Maxentius Basilica Sessorianum Arch of Janus Quadrifrons Basilica of St. Agnes Mausoleum of Constantina Basilica of Maxentius/Constantine plans   206bi09
13101702 Pantheon Circus and Tomb of Hadrian Mausoleum of Romulus Circus of Maxentius Basilica of Sts. Peter and Marcellius Basilica of St. Agnes Mausoleum of Constantina plans   206ei06

14101701 House 10: Museum model elevation   2197i12
14101702 House 15 model elevation   2208i05
14101703 Gallertese Housing elevation   2214i02
14101704 ICA House elevation model orthagonal  2270i02

15101701   BIG   Kistefos Museum   Jevnaker

16101701 IQ45 Temple of Venus and Rome Basilica of Maxentius/Constantine Danteum 5233 Farnsworth House Palace of Assembly Museum of Knowledge Tower of Shadows Urban Components Houses for Karl Friedrich Schinkel House of Shadows Bye Le Composites Jung Zaha House Cubist ICM   206hi18

18101701 IQ15 hyperarchitecturism Analogous Museum of Architecture Acropolis of Contemporary Art ASouq Neighborhoods House for Karl Friedrich Schinkel 004 House for Karl Friedrich Schinkel 001 Neue Staatsgalerie Dresdner Bank Housing for La Villette UNEP Headquarters Wallraf-Richartz Museum Breslauer Platz Olivetti Headquarters Milton Keynes Florey Building Cambridge History Faculty Building Leicester University Engineering Building Ichnographia Campus Martius Philadelphia Tempietto Baths of Constantine Stonehenge plans   247bi08

19101701 Villa Savoye Palace of Assembly plans   2156i29

21101701   Roma Antica etc Appian Way Colosseum Pantheon Temple of Venus and Rome Minerva Medica Circus of Maxentius Tomb of Romulus Arch of Janus Quadrifrons Thermae Helenae Basilica of Maxentius/Constantine Arch of Constantine Baths of Constantine Basilica of Sts. Peter and Marcellinus Mausoleum of Helena Basilica Sessorianum Basilica of St. Agnes Mausoleum of Constantina Tempietto Palace/Park of Versailles Ichnographia Campus Martius plans Capitoline Hill Foro Romano Roma Interrotta images   2063i03   b




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