—is it possible to dissociate the evolution of one’s architectural ideas from the development of his own system of representation?
—architects author generic systems, strategies, algorithms that can be used to create whole families of architectural forms……which are then the traceable features of language that can expose a stylistic fingerprint, an authorial uniqueness?
—how to measure style? what to measure?
—AUTHORSHIP ATTRIBUTION techniques have two components: an indexing mechanism for extracting style markers from text, and a comparison mechanism for using the markers to determine probable authorship…..
………certain authors have a highly recognizable style……..language works in a combinatorial way relying on discrete and repeatable elements……….writers share a vocabulary and a set of grammatical rules, a more or less unlimited set of utterances can be created by varying selections from the common set, varying the ordering of common vocabulary items, through repetition and through suppression…………….statistical procedures are well adapted to summarise and differentiate profiles like these, can refract and focus patterns in a corpus and make them explicit and available for analysis……….the theoretical problems of computer-assisted authorship attribution deal with which traceable features of language such as the frequency of words, and difference in letter sequences…
What is the function of style today? If the 1970s were defined by Postmodernism and the 1980s by Deconstruction, how do we characterize the architecture of the 1990s to the present? Some built forms transmit affects of curvilinearity, others of crystallinity; some transmit multiplicity, others unity; some transmit cellularity, others openness; some transmit dematerialization, others weight. Does this immense diversity reflect a lack of common purpose? Farshid Moussavi will present the third volume in her "Function" series, The Function of Style, alongside projects of her London based firm, FMA, to argue that to see the coherence that underlies the diversity in contemporary architecture, style must be defined differently today, not as a representation but as a source of action through the political potency of affect.
A Constructive Madness wherein Frank Gehry and Peter Lewis spend a fortune and a decade, end up with nothing and change the world
Written by Jeffrey Kipnis, the Wexner Center's interim chief curator of exhibitions and curator of architecture and design, A Constructive Madness captures the human drama surrounding an incredibly significant, but ultimately unrealized, architectural project. Peter Lewis, chair of Ohio-based insurance giant The Progressive Corporation, hired architect Frank Gehry to design a house in suburban Cleveland.
Over the next nine years, the project grew in scope, ambition, and budget and became a touchstone for the architectÌs most experimental ideas. The Lewis house (and an enigmatic piece of red velvet) played a central role in transforming Gehry's style and his attitude toward the use of the computer as a creative tool in design.
Written by Jeffrey Kipnis, the Wexner Center's interim chief curator of exhibitions and curator of architecture and design, the film premiered in August at a benefit screening presented by the Aspen Filmfest. To Kipnis A Constructive Madness is "not a lecture or a lesson, but an entertaining story, a drama expressed in the medium of architecture." (61 mins.)
THE AESTHETICS OF IMPERFECTION RECONCEIVED: IMPROVISATIONS, COMPOSITIONS, AND MISTAKES…..imperfection is not toleration of errors and imperfections, but a positive aesthetic….imperfections can become new styles or kinds of perfection…..
Notas sobre la ”teoría del autor” en ficciones audiovisuales, Efrén Cuevas
La cuestión de la autoría en las ficciones audiovisuales ha venido ocupando el discurso teórico y crítico acerca del medio cinematográfico desde los años cincuenta, cuando se empezaban a dar los primeros pasos para su introducción en los ámbitos académicos europeos y norteamericanos. Desde que los críticos franceses de Cahiers du Cinema lanzaron su "política de autores" hasta nuestros días, se han venido ofreciendo diversas articulaciones acerca de lo que más tarde se vino a llamar "teoría del autor", casi siempre en torno a la figura del director. En la actualidad, la práctica habitual de la crítica, heredera en buena medida de aquella política de autores propiciada por Cahiers, sigue dotando de plena actualidad a un asunto que desde la perspectiva teórica podría parecer más bien agotada tras los embates de-construccionistas de los últimos años.
Theories of Authorship and Intention in the Twentieth Century. An Overview, Dario Compagno
This article discusses some of the most important theories about authorship and the author’s intentions developed during the last century. It argues that initially Husserl, Croce and the New Criticism firmly divided private intentions on the one side and verbal meanings (constituting an ideal subject) on the other. Then, it introduces Derrida and Barthes who suggested a radical change in perspective by confuting the existence of an ideal conscious subject, of ideal meanings and of private intentions. Subsequently, Booth and Foucault looked for a surrogate of the author and found it in a discursive instance showing the reader a path to the author’s intentions. Lastly, Anscombe and Eco formulated a new concept of public and open intention completely redefining the whole issue. This article, in conclusion, suggests that, in spite of all statements about the ‘death of the author’, it is precisely thanks to the twentieth-century debate that the author was born.