They asked me also to think about my PhD thesis on shapes & monuments in writing those notes.
But somehow my french writers and philosophers (I mean Foucault, Bergson, Deleuze, Bachelard) brought me in an old distopian vision about the super-types of any architecture of the western civilazation: the panopticon and the labyrinth.
Those super-models dealt with the creepy fear of the void, the possibility to think about the void in a completely artificial way. You must be prisoned to understand the void, because prison is the real transposition of a spaced place, totally predictable, with a perfect superimposition of mind-control strategies and space organization.
The counter-super-type of the labyrinth is the trasposition of the possible (for Modernity): you can go where you want, but if you have a purpouse then you must chose the right way. Labyrinth doesn't deal with freedom, for the fact that you must go or act, you're not free to stand or rest in a labyrinth.
Panopticon is the super-type of the modern city. Exodus declared it in a pretty ugly way. For the panopticon the void is necessary to see everything. The skyscraper is the place for the guardsman.
Labyrinth is the super-type of the heterotopia, a place without a place, in which you are alone and probably with no specific identity. You can't say whether you are a guard or a prisoner. The void is the space of this shifting-dualities.
In the late '90s cinematography has metabolized these two super-type, showing that they weren't part of our future way of thinking anymore. Two motion-pictures showed that when you loose the words you simply cannot image future anymore (without changing you interpretative tools).
the void of 'Structure' - or when you can see your desires outside the panopticon-type (from The Matrix) |
the void inside the labyrinth-type - or when you must have only one desire (from The Cube) |
Perhapes there is (somewhere) a new kind of time-void which can let us understand how we can communicate and design the future.
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