It should be noted that this isn't about anyone in particular - its about the question of when opinions become fact. And of course all kinds of other things, like shoes, and goo.
She claims her opinions are true,
and I don't know what to do.
And my fresh bouquet is now askew;
I can't find my way out of this political zoo;
I'm looking for answers, but there are not a few,
and the baddies never seem to get their due!
And she claims her opinions are true?
And in the end its a Nike shoe;
we'll see how much honour a man can accrue;
if you're looking for the wealthy, they already flew,
and the seat that you offer's all covered in goo!
I completely forgot to close the flu,
and there's hundreds of banknotes,
and they all smell like poo.
The fat bearded doctor has a bagpipe tattoo,
and this lovely fresh bouquet is breaking in two!
And she claims her opinions,
mind you not a few -
are true!
And the sky has turned green,
I see trees of blue,
and my communist cousin has fled for Peru,
and Winnie and Piglet, and
Kanga and Roo,
All stare with amazement at this murky stew.
And the answers keep coming -
they are not a few;
the judge and the jury, paralyzed by the view,
have thrown out the old, to favour the new.
But in conclusion, although all this is true,
I can relax in my hammock without feeling too blue. . .
I mean,
at least my opinions are true!
9.04.2007
7.07.2007
Jon Sasaki
Labels:
link
I really really like the work of this artist, Jon Sasaki.
He has a show on right now in Toronto at Gallery TPW. I haven't been to it. But I read an article about it, and then I visited his site, which I highly recommend to you as well:
http://www.jonsasaki.com
His video work is the best, I think, but all of the stuff on the site is great! It's ironic without seeming contrived; it drifts into the uncanny without being overly serious; it's referential without being redundant.
He has a show on right now in Toronto at Gallery TPW. I haven't been to it. But I read an article about it, and then I visited his site, which I highly recommend to you as well:
http://www.jonsasaki.com
His video work is the best, I think, but all of the stuff on the site is great! It's ironic without seeming contrived; it drifts into the uncanny without being overly serious; it's referential without being redundant.
6.03.2007
ROM, June 2007
Labels:
prose _ nonfiction
Back when it was first announced in 2002, my gut reaction to the ROM renovation was immediately negative. I am, however, coming around to passivity.
When I examine my own intial response, I think it can be summed up as a reaction to its "irresponsibility" as architecture, similar to the cotemporary addition to the Ontario College of Art and Design. I was responding to a feeling that the lack of civic responsiveness and respectability in the execution of these designs was a flagrant violation of the seriousness of Architecture. While by no means have I changed my mind about the lack of urban sensitivity and refined sensibility (lets face it, the crystal is gaudy, like a fat diamond ring!), I have seriously softened my demand for these things as obligations to either the architectural profession or to society. I can accept this "architecture as reaction" or this "architecture as spectacle" or this "architecture as personal expression", whatever you wish to denote it as, insofar as they represent voices in a necessary built dialogue. In other words, I can respect what the architect, Libeskind, and his team think they are doing and their vitality and energy in attempting it, whether or not I respect the final form. I am willing to admit this as a concession to plurality in the built environment.
Libeskind feels a need to break down the rectilinear and cellular structures of traditional museums. This is in keeping with a fairly noble idea of reinventing and loosening up the rigid story-lines we associate with the curation of knowledge. He wants, I believe, to architecturally represent the popular philosophic belief that our relationship to knowledge, and to truth should become more dynamic. The problem is of course that this is very difficult to accomplish through static architectonics. The crystal, while implying movement, is, or we hope is, static. The architecture then, failing in this attempt at dynamism, ends up relying upon showmanship, spectacularism, and its role as a monument to the architect - a celebration of his genius. Unfortunately this building, as civic monument, is a one liner, a joke got before its told. Let's hope then that it proves to be a useful space for displaying the ROM's impressive collection of curiousities.
When I examine my own intial response, I think it can be summed up as a reaction to its "irresponsibility" as architecture, similar to the cotemporary addition to the Ontario College of Art and Design. I was responding to a feeling that the lack of civic responsiveness and respectability in the execution of these designs was a flagrant violation of the seriousness of Architecture. While by no means have I changed my mind about the lack of urban sensitivity and refined sensibility (lets face it, the crystal is gaudy, like a fat diamond ring!), I have seriously softened my demand for these things as obligations to either the architectural profession or to society. I can accept this "architecture as reaction" or this "architecture as spectacle" or this "architecture as personal expression", whatever you wish to denote it as, insofar as they represent voices in a necessary built dialogue. In other words, I can respect what the architect, Libeskind, and his team think they are doing and their vitality and energy in attempting it, whether or not I respect the final form. I am willing to admit this as a concession to plurality in the built environment.
Libeskind feels a need to break down the rectilinear and cellular structures of traditional museums. This is in keeping with a fairly noble idea of reinventing and loosening up the rigid story-lines we associate with the curation of knowledge. He wants, I believe, to architecturally represent the popular philosophic belief that our relationship to knowledge, and to truth should become more dynamic. The problem is of course that this is very difficult to accomplish through static architectonics. The crystal, while implying movement, is, or we hope is, static. The architecture then, failing in this attempt at dynamism, ends up relying upon showmanship, spectacularism, and its role as a monument to the architect - a celebration of his genius. Unfortunately this building, as civic monument, is a one liner, a joke got before its told. Let's hope then that it proves to be a useful space for displaying the ROM's impressive collection of curiousities.
5.19.2007
4.10.2007
Three Containers
This photo was oddly enough inspired by the water bottle that my philosophy proff. was drinking out of. I was thinking about the different sorts of things that we use to contain and transport water and their significance to us.
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