Vacuum coffee maker

[Why am I posting this? Well, it is a very interesting technical object. Furthermore, it makes me think cosmically. A sign to the wise is enough.]

Vacuum coffee maker


The tyranny of the single viewpoint

David Hockney’s “Secret Knowledge” (2002).

«Photography is usually seen as the start of something, but it is in fact the end of something. The artist’s hand in the camera was replaced by chemicals. After the invention of photography, painters no longer had the monopoly on images you could call “real”, “natural”, “true to life”. So artists began to look elsewhere for other ways for depicting reality. (…) The single viewpoint, the frozen moment, triumphed. With the advent of film and television, the tyranny of the lens was complete. (…) It is almost impossible to have more than one viewpoint. (…) A new tool has arrived: the computer. The computer allows us to manipulate images. Manipulate means “to use the hand”. The hand is back in the camera. (…) We seem to have forgotten some things that they knew in the past. You could say that we still live in a perspective nightmare. The single point of view will always restrict our perceptions. (…) It seems to me a great big beautiful world out there and we are hemmed in. Don’t you want to get out to see a bigger space, a bigger picture? I think we do. Exciting times could be ahead.»

War on all fixed forms

«I am at war with my time, with history, with all authority that resides in fixed and frightened forms. I am one of millions who do not fit in, who have no home, no family, no doctrine, no firm place to call my own, no known beginning or end, no “sacred and primordial site.” I declare war on all icons and finalities, on all histories that would chain me with my own falseness, my own pitiful fears. I know only moments, and lifetimes that are as moments, and forms that appear with infinite strength, then “melt into air.” I am an architect, a constructor of worlds, a sensualist who worships the flesh, the melody, a silhouette against the darkening sky. I cannot know your name. Nor you can know mine. Tomorrow, we begin together the construction of a city.»

– Lebbeus Woods (1940-2012), in War and Architecture, 2002, p. 1.

Two power sources

“Yuansu III +2” (2015) by Ren Ri

The project’s title, “Yuansu” [at 1m5s] is based on the Chinese words for “tension, element” (yuan) and “mold, relation in-between” (su).

«… worker bees follow their queen (gravity) and fly across my body, which is lying flat on the ground. Here, my body intervenes with the bees’ activities, and can be read as a symbol like “l”, while the route of the bees flying over my body is like “—”. These two symbols form a cross “+”, representing a new form of space when two power sources meet and influence each other. The symbolic form “+” is either achieved in the installation piece. The forms of the human body and bees interact with each other, while the directions of their movements intersect in the space. The duality of interaction between the body and the bees is not simply in the physical sense; more importantly, it hints at an interrelated force and its counterforce» – Ren Ri.

Dance partner

Gordon Matta-Clark, “Splitting” (1974), house (before complete demolition) at 322 Humphrey Street in the suburb of Englewood, New Jersey.


When writing about “Splitting”, Gordon Matta-Clark gave the house a performative role, saying that having made the cut there was a real moment of suspense about how the house would react, but that it responded «like a perfect dance partner».

Matta-Clark wrote that the production of the work was not illusionistic, but that it was «all about a direct physical activity, and not about making associations with anything outside it».