Mystical Caves Used Throughout Mythology. The use of caves in mythology to depict darkness and abandonment has branded it as a symbol of chaos.
From this perception other associations are made which connect the cave to prejudices, malevolent spirits, burial sites, sadness, resurrection and intimacy. It is a world to which only few venture, and yet its mysticism has attracted the interest of philosophers, religious figures and thinkers throughout history. These myths are exemplified in Homer's "Odyssey," where the two worlds of mortals and immortals unite in the eternal cave.
To Plato, the cave represents the confusion between reality and falsehood. Individuals chained deep within the recesses of the cave mistake their shadows for physical existence. The Art World’s Patron Satan - NYTimes.com. Photo At 3 a.m. on Oct. 9, 2013,the 24-year-old conceptual artist Amalia Ulman woke up in a hospital in rural Pennsylvania with a bone sticking out of her leg.
She had been in an accident: The Greyhound bus that was taking her from New York to Chicago to curate a show had smashed into a garbage rig, killing one passenger and wounding dozens of others. She needed surgery. She also needed a lawyer. Ulman knew that her parents, who lived in northern Spain, would be of no help. When Ulman’s bus crashed, she was traveling alone and without insurance, which might explain why, following surgery, the hospital talked about moving her to a hotel.
More than supportive, Simchowitz had stepped out of a fairy tale — a godfather whose emissary swooped down from the heavens to rescue Ulman from catastrophe. Ulman met Simchowitz earlier that year after an email introduction from the editor of Sex Magazine, an online arts publication, and was unaware of his reputation for aggressive accumulation.
White Walls, Black Holes: The Molecular Face of Contemporary Architecture. The expansion of the anthropomorphicprojection: from body, to its organs, itsattributes, and finally its fragmentation.
Mirko Zardini, "Skin, Wall, Fac;ade," Lotus International (1994): 38-51.4. Of Gender," Sexuality Space, ed.Beatriz Colomina (New York: Prince onArchitectural Press, 1992),368; andMark Wigley,"ArchitectureAfter Philosophy: Le Corbusier and the Emperor'sNew Paint," Journal Philosophy andthe VisualArls. Url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&ved=0CC0QFjAC&url=http%3A%2F%2Frossthompson.files.wordpress.com%2F2010%2F10%2Ffs-summary-19-anthony-vidler-e2809cthe-building-in-pain-the-body-and-architecture-in-post-modern-culture.pdf&ei=gJapVIDkMsTPaICggbgJ&usg.
Free plan. Definition[edit] Free plan, in the architecture world, refers to the ability to have a floor plan with non-load bearing walls and floors by creating a structural system that holds the weight of the building by ways of an interior skeleton of load bearing columns.
The building system carries only its columns, or skeleton, and each corresponding ceiling. Free plan allows for the ability to create buildings without being limited by the placement of walls for structural support, and enables an architect to have the freedom to design the outside and inside façade without compromise.[1] Influences[edit] Le Corbusier became the pioneer of free plan during the 1914 through 1930’s with his “Five Points of New Architecture”[2] and his adoption of the Dom-ino System.[3] This heavily influenced the importance of free plan and its role in the “modern era” of architecture.
Dom-ino Structural System[edit] Corbusier and the Five Points of a New Architecture[edit] Examples[edit] References[edit] Brian Aldiss: 'These days I don't read any science fiction. I only read Tolstoy' There is something curiously appropriate about Brian Aldiss, the Grand Old Man of British science fiction, living in Headington, a village now absorbed into Oxford.
So he lives in Oxford, but not in Oxford; just as he is in the canon – he has recently been republished as a Penguin modern classic – but, as a writer of speculative fiction, excluded from the literary mainstream. "There's a certain lowliness about Headington," he tells me, with a chuckle. A wry and spry 88 years old, Aldiss has written almost every day since he was 14, and has just seen his entire backlist republished by HarperCollins's digital Friday Project – "the Friday whatnot" as he refers to it – alongside a new novel.
The new novel, Comfort Zone, is not science fiction. No social realist writer thought to note the appearance of one of the first mosques in Britain. When we return to ageing, Aldiss is wonderfully optimistic. Like his previous novel, the SF Finches of Mars, Comfort Zone is sceptical about religion. Caribou - Essential Mix - Oct 2014 by Caribou.
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