Articles

Hell is a downward spiral made up of nine rings of exemplary punishments. Each one must be considered a painful stay where thoughtlessness acts as a didactic paradigm and suspends redemption. Who accompanies Dante, is Virgilio, a poet. The first ring is a limbo where the pagans are discarded, those who lived meaninglessly as the indifferent.

When he died, Albert Camus got rid of his indifferent dead, the same ones who lived with his clear and hermetic texts; erratic of emotion. Who was driving that afternoon on the road to Villeblerin was not Gallimard but Mersault. It meant a pending talk that was cut short and the continuation of a number of texts that were ultimately incomplete in words, but full of discussion. "A rebel is a man who says no"

Between the tyranny of the idle and bloodthirsty rich and the starving crowds a crack provides an intense light: justice no longer responds to the isolated reflection of an enlightened petty bourgeois but considers the opinion of debased societies, slaves and the wretched: « talent, says Stendhal, is born of necessity»

The ultimate reason why they plan to eliminate them is the looming famine; exchange one pain for another. But Hansel and Gretel are used to shortages and the quantity of food does not consider anything other than what they have always known. For parents, on the other hand, it represents a state of bastard discernment: Children stand in their way and confront them with delayed well-being. Why can't they be happy?

Solaris seems to be before a form, the very sonority of fluids swirling among reeds, the indeterminate thickness in the mist, the strange biology, the afternoon, insects surrounding bubbles of light, the sound of their movements, the mass of a layered forest without end, the stillness of a house in the reflection of the water –an aquatic thickness of singular biology and metaterrestrial details–, a man at last crossing the landscape of the earth; in a way the only way to enter the planet itself, as liquid as covered in madness.

Throughout history, architectural commissions and their clients have been an invariant of power. But the private relationship between design and class did not exist only in the private world. In the public sphere, architects have only built the relevance –sometimes absurd– of the rulers of the day. In an approach to the problems of adjectives as an aesthetic discourse, the designer's disappointment is found primarily in that commission.

Cahun arrested, awaiting execution. She resists brilliantly but in any case, in the Baudelairean way. That is her heritage: the exotic spirit, the innocent pleasures, the self-expulsion of romanticism. Claude Cahun is his own conscience in crisis, his open, brave, multiform and passionate gender identity; the elusive fate of human life on earth.

Life in transit resonates as the simple task of a passenger who is eagerly searching for a final destination without achieving it. The task is completed only with a kind of disposition that is nothing more than an accumulation of absolutely useless apprenticeships and preparations: death will come by itself without taking into account the duration of the trip or the accumulated knowledge.

On his way back to his cell, an unprepossessing chicken soup awaits him; the bread clearly looks rubbery, unpalatable. Controlling the price of wheat grains has allowed nothing other than to dishonor the bread of our France. The cook degrades the seasonings more every day. The agitators who discuss the aspects of culture say they think from the economy and education; even from the arts and sciences believing that they fundamentally express a social discourse about reality, which can be interpreted from a completely improbable freedom and happiness.

Ultimately, communication is about attracting or distracting. Design as a discipline crosses the question of silence as the core from which to grasp the discourse. You can also scream. In the framework of every event, within its bubble, communication seeks to break through the social air and enter its neurotic indifference.

Those who guided the history of Thomas Alva Edison in time and in books - the career of a daring inventor - argued before a man of genius, a man of science. Perhaps they avoided accepting the portrait that Edison himself directed to the world to show himself in society: an advertising film that unambiguously reveals his position in the business of progress.

In Observations on the Feeling of the Beautiful and the Sublime, Immanuel Kant, the last modern philosopher in history, lightly rehearses on public morality while slyly referring to the aesthetic problem. The work will be the genealogy that will allow to develop in his later essays and gathered in the Critique of Judgment, three transcendental questions: What can I know? What should I do? What am I allowed to expect?

Determined to discuss an environmental ethic that guarantees the future life, Fuller seeks in the same geometry a logical and natural resonance. But the developments are approaching astonishing patterns; many of them as a result of their insistence on the concept of synergy. Industrial society dismisses them as mere utopias, a condition that indicates design operations paradoxically arbitrated outside of technical reality.

Monastery of Saint-Géraud, 962: In addition to his star-finders, the calculation of musical intervals and other capital inventions - swearing of celibacy while pope - D'Aurillac shows a wisdom that is fluidly driven by a singular talent in the domain of the complete liberal arts: the Trivium and the Quadrivium.

In design, an object originates from the mind, not from paper. It is there where the political and the technical, the aesthetic and the functional converge; the market and the rules. This considers organic thinking: if design is a reason, it is also the final cause why it differs from art.

Many years have passed - "there is no other enigma than time," says Borges - and La Casa Colorada is in a state of abandonment. He decides to go in but not without first listening to some advice: those of the architect Muir himself and the troubled story of a cutler; but they are nothing more than stories
unfortunate. On the other hand, from the old carpenter he receives the plans of the furniture and a warning: do not go near the House of Preetorius.

The small German town of Halberstadt is home to a perpetual concert in the old St. Burchardi Church: a single note from its organ will be sounding for years. It is the work of John Cage "As slow as possible." Without anxiety but full of future, the music community awaits the next change of notes that will last another 2557 continuous days. The last change of notes was on October 5, 2013. The execution will last a sort of controlled eternity.

Baudelaire greatly appreciates winding roads.
Formed by those same letters that it questions, it faces the
passivity of French society kneeling in romanticism. It is in 1844 when he begins to write and publish his art criticisms; their Salons. Meanwhile, he escapes from the debts that he is already worryingly accumulating just after his twenties. Suddenly the Bonapartist revolution of 1848 agitated him until he was mobilized to the streets.

Van Meegeren understands that he can show that his paintings are not mass reproductions; they have the knowledge and justification that philology finds in traditions. His work, –as a novelty– is framed in a concrete event: the historical appearance of an artistic subject, something that must keep him safe from crime; and in any case –the work– be part of the same culture that he himself gives continuity to. In the end, his comments are nothing more than an unstoppable historical and cultural succession.

Machiavelli argued that fear is a fear of punishment. Perhaps a kind of alert, of conscience that prefigures the inexorable divine justice: Nemesis comes from the Latin expression indignatio. If good is eternity, is evil a passing circumstance? Is happiness an excess?