public sculpture 1

Correlatively, the formation of the I is symbolized in dreams by a fortress, or a stadium - its inner arena and enclosure, surrounded by marshes and rubbish-tips, dividing it into two opposed fields of contest where the subject flounders in quest of the lofty, remote inner castle whose form (sometimes juxtaposed in the same scenario) symbolizes the id in a quite startling way. Similarly, on the mental plane, we find realized the structures of fortified works, the metaphor of which arises spontaneously, as if issuing from the symptoms themselves, to designate the mechanisms of obsessional neurosis - inversion, isolation, reduplication, cancellation and displacement. 

Electronic Reserve Text: from Jacques Lacan, Ecrits, New York: W. W. Norton, 1977.
The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience
Delivered at the 16th International Congress of Psychoanalysis, Zurich, July 17, 1949

regeneration chic

"O thou! who with thy fingers rendest off
Thy coat of proof,

forum / field

The Vatican Meteorite Collection:
Current research on these meteorites is centered on understanding their physical structure, including the nature and extent of the pore spaces, cracks and voids present in these rocks.

‘Forensic Architecture is grounded in both field-work and forum-work; fields are the sites of investigation and analysis and forums the political spaces in which analysis is presented and contested. Each of theses sites presents a host of architectural and political problems.
In fields, lets say starting with Territories, I attempted to engage a kind of “archeology” of present conditions as they could be read, or misread, in architecture. This archeology is not always undertaken by direct contact with the materiality under analysis, but with images of it. The spaces that we debate, analyze, or make claims on behalf of, are very often media products. Similarly, drawing a map includes synthesizing satellite and aerial images as well as images from the ground. Some images are created by optics and some by different sensors that register spectrums beyond the visible. One needs sensors to read sensors.
So this is a kind of archaeology of spaces as they are captured in these different forms of capture and registration. You read details, speckles, pixels and patterns, connect them to larger forces, or at least you understand the impossibility of doing so, often noting paradoxes and misrepresentations. We have done this very close reading of aerial images of colonies in the West Bank, we have read almost all elements from architectural through infrastructural archaeological to horticultural ones visible in these images as a set of tools in a battlefield.
Then there is the forum: a site of interpretation, verification, argumentation and decision. International courtrooms, tribunals, and human rights councils are of course the most obvious sites of contemporary forensics. But there are other political and professional forums.
Each forum is different. The third component of forensics, beyond the architectural and aesthetic, is what you need in order to stand between that “thing” and the forum: an “interpreter.” In ancient Rome it would be the orator; in our days it is perhaps the scientist, or the architect, or the geographer — the “expert witness” that translates from the language of space to the language of the forum. This definition of forensics might help expand the meaning of the term from the legal context to all sorts of others. Politics, as it is undertaken, around the problems of space and its interpretations, is a “forensic politics” as far I understand it.
Each of the multiple political and legal forums in use today — professional, scientific, parliamentary or legal — operates by a different set of protocols of representation and debate. They each have another frame of analysis. Each embodies dominant political forces and ideologies — that is to say that each instrumentalizes forensics as a part of a different ideological structure. In the turbulence of a changing world, there are also informal, subversive and ad-hoc and crisis forms of gathering: pop-up assemblies of protest and revolt in which the debate of financial, architectural (the housing or mortgage crisis), and geopolitical issues are often articulated.
Forensic architecture should thus be understood not only as dealing with the interpretation of past events as they register in spatial products, but about the construction of new forums. It is both an act of claim-making on the bases of spatial research and potentially an act of forum-building.’

http://www.forensic-architecture.org/ 

FORUM / what is out of doors
a meeting or medium where ideas and views on a particular issue can be exchanged.
an Internet message board
a public square or marketplace used for judicial and other business. 
FORES [outside] door 

FIELD
Old English feld "plain, open land" (as opposed to woodland), also "a parcel of land marked off and used for pasture or tillage," probably related to Old English folde "earth, land," from Proto-Germanic *felthuz "flat land" (common West Germanic, cf. Old Saxon and Old Frisian feld "field," Old Saxon folda "earth," Middle Dutch velt, Dutch veld Old High German felt, German Feld "field," but not found outside it; Swedish fält, Danish felt are borrowed from German), from PIE *pel(e)-tu-, from root *pele- (2) "flat, to spread" (see plane (n.1)).  

"to go out to fight," 16c., from field (n.) in the specific sense of "battlefield" (Old English). The meaning "to stop and return the ball" is first recorded 1823, originally in cricket; figurative sense is from 1902. 

A physical phenomenon, such as force, potential, or fluid velocity, that pervades a region.

magnetic field

 

A region containing a particular mineral

A component of a database record in which a single unit of information is stored.

 A physical or virtual location for the input of information in the form of characters.

course of study or domain of knowledge

A realm of practical, direct, or natural operation,

The background of the shield. 

 

wb/ prehistory /

V

Works of art are received and valued on different planes. Two polar types stand out; with one, the accent is on the cult value; with the other, on the exhibition value of the work. Artistic production begins with ceremonial objects destined to serve in a cult. One may assume that what mattered was their existence, not their being on view. The elk portrayed by the man of the Stone Age on the walls of his cave was an instrument of magic. He did expose it to his fellow men, but in the main it was meant for the spirits. Today the cult value would seem to demand that the work of art remain hidden. Certain statues of gods are accessible only to the priest in the cella; certain Madonnas remain covered nearly all year round; certain sculptures on medieval cathedrals are invisible to the spectator on ground level. With the emancipation of the various art practices from ritual go increasing opportunities for the exhibition of their products. It is easier to exhibit a portrait bust that can be sent here and there than to exhibit the statue of a divinity that has its fixed place in the interior of a temple. The same holds for the painting as against the mosaic or fresco that preceded it. And even though the public presentability of a mass originally may have been just as great as that of a symphony, the latter originated at the moment when its public presentability promised to surpass that of the mass.

With the different methods of technical reproduction of a work of art, its fitness for exhibition increased to such an extent that the quantitative shift between its two poles turned into a qualitative transformation of its nature. This is comparable to the situation of the work of art in prehistoric times when, by the absolute emphasis on its cult value, it was, first and foremost, an instrument of magic. Only later did it come to be recognized as a work of art. In the same way today, by the absolute emphasis on its exhibition value the work of art becomes a creation with entirely new functions, among which the one we are conscious of, the artistic function, later may be recognized as incidental. This much is certain: today photography and the film are the most serviceable exemplifications of this new function.

 ....

Agamben / philosophical archaeology/ 2009
 
And it is something similar that Benjamin might have had in mind, when, in Overbeck’s footsteps, he wrote that in the monadological structure of the historical object are contained both ‘prehistory’ and ‘post-history’ (Vor- und Nachgeschichte), or when he suggested that the entire past must be immersed into the present in a ‘historical apocatastasis’ (Benjamin 1982, p. 573). (Apocatastasis is the restitution in the origin which, according to Origenes, takes place at the end of times; qualifying an eschatological reality as ‘historical’, Benjamin uses an image very similar to the foucaultian ‘a priori’.)

transactional information

The information is classed as "metadata", or transactional information, rather than communications, and so does not require individual warrants to access.

guardian article

All space is already occupied by the enemy

Gustave Courbet is one of the leaders of the Commune. He instigates the demolition of Napoleon's statue in the Place de Vendome because it is a symbol of militarism and imperialism. He writes I get up, I eat breakfast, I sit down and preside for 12 hours a day, my head begins to feel like a baked apple. But despite all this unaccustomed turmoil of the head and brain, I’m in a state of enchantment. Paris est un vrai paradis. The poets Paul Verlaine and Arthur Rimbaud are also involved. In the last days of the Commune, Edward Manet draws heartbreaking pictures of the Communards slaughtered at the barricades by the French Army


http://marxists.org/history/france/paris-commune/index.htm

May 16th 1871 /// to demolish the Vendôme Column

Basic Program of the Bureau of Unitary Urbanism

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http://www.ccwgraduateschool.org/a-conversation-between-michael-asbury-and-sean-lynch/

The Commune of 1871

On 12 April 1961, Yuri Gagarin became the first human to travel into outer space. In his space capsule he carried the remnant of the red flag flown over the Hotel de Ville in the heart of the Paris Commune in 1870.

 

the French insurrectionist Louis-Auguste Blanqui (1805-81), ... spent most of his adult life in prison, and whom Walter Benjamin (writing in the 1930s) judged the most famous revolutionary before Lenin. Blanqui was elected as leader in absentia by the Paris Communards who offered to release hostages in exchange for him, but were refused, and it was in the wake of the Commune’s failure that Blanqui wrote his cosmological treatise L’Eternite par les astres (1873). In an infinite universe made from atoms of a finite number of types, Blanqui argues, the same combinations must arise again and again.

“The entire universe is composed of stellar systems. In order to create them nature has only one hundred simple bodies at its disposal… Every star, whatever it might be, thus exists in infinite number in time and space, not only in one of its aspects, but as it is found in every second of its duration, from birth until death… What I write now in a cell in the fort of Taureau I wrote and will write under the same circumstances for all of eternity, on a table, with a pen, wearing clothing… The number of our doubles is infinite in time and space… These aren’t phantoms: they are the now eternalized.”
Whereas Tegmark emphasises spatial repetition and variation (the idea that there is another “you” reading this article right now), Blanqui additionally highlights temporal repetition, leading him to conclude that progress is illusory; everything that can possibly happen has already occurred. It was this aspect that led Benjamin to see Blanqui’s cosmology as a precursor to the doctrine of eternal recurrence in Nietzsche’s Thus Spake Zarathustra (1883-5).
In The Arcades Project, Benjamin considers Blanqui’s significance as both revolutionary conspirator and pseudo-scientist, concluding that Blanqui’s cosmology is a capitulation to the principles of bourgeois capitalism that Blanqui had spent all his life fighting against. Blanqui’s multiverse is, says Benjamin, “the phantasmagoria of history”, a nightmare projection of capitalism itself. 


Andrew Crumey

RUN. HIDE. FIGHT. Surviving an Active Shooter Event - English

It may feel like just another day at the office, but occasionally life feels more like an action movie than reality

The authorities are working hard to protect you and to protect our public spaces

But sometimes bad people do bad things

Their motivations are different

The warning signs may vary, but the devastating effects are the same

And unfortunately you need to be prepared for the worst

If you are were ever to find yourself in the middle of an active shooter event

Your survival may depend upon whether or not you have a plan

The plan doesn’t have to be complicated

There are three things you could do that make a difference

RUN ///HIDE/// FIGHT

First and foremost if you can get out, do, always try and escape or evacuate even when others insist on staying, encourage others to leave with you, but don’t let them slow you down with indecision

Remember what’s important, you, not your stuff

Leave your belongings behind and try to find a way to get out safely

Trying to get yourself out of harms way needs to be your number one priority

Once you are out of the line of fire, try to prevent others from walking into the danger zone and call 911

If you can’t get out safely, you need to find a place to hide

Act quickly and quietly, try to secure your hiding place the best you can

Turn out lights and if possible remember to lock doors

Silence your ringer and vibration mode on your cell phone

And if you can’t find a safe room or closet

Try to conceal yourself behind large objects that may protect you

Do your best to remain quiet and calm

As a last resort if your life is at risk, whether you are alone or working together as a group

Fight, act with aggression, improvise weapons, disarm him and commit to taking the shooter down no matter what

Try to be aware of your environment, always have an exit plan

Know that in an incident like this victims are generally chosen randomly, the event is unpredictable and may evolve quickly

The first responders on the scene are not there to evacuate or tend the injured

They are well trained and are there to stop the shooter

Your actions can make a difference, for your safety and survival, be aware and be prepared

And if you find yourself facing an active shooter

There are three key things you need to remember to survive

RUN ///HIDE/// FIGHT