26 February 2013

The Narrative Armature questions

Tyler Johnson

  1. Cartooning isn't just a way of drawing; it is a way of seeing. Which part is more important. (31)
  2. Why is the cartoon universal? (31)
  3. Describe the differences in cartoon styles around the world, what is the reason for each? (43-44)
  4. “Words are the ultimate abstraction” True or False? (47)
  5. Are words abstracted but a picture is not? (49)
  6. What makes an image iconic?
  1. Can the Camera be exchanged equally for the sketchbook? (11.5)
  2. Is there or is there not, a sense of truthfulness with either the camera or the sketchbook?
  3. Would you consider the photo sequence “Rolling tire 1972” truthful to the actual event it is trying to depict? (11.5) 
  4.  Do storyboards add to or hinder to the creativity of the architect?
  1.  How would you describe “architecture in film,” “filmic architecture”?(100)
  2. “Architecture at every instant, without being able to grasp the thousandth part of a second in which the transition takes place.”  Does true architecture have to be static or can we call film architecture? (102) 
  3. The Cabinet of Dr. Caligari is essentially a film of a play. Can this be considered filmic architecture? (103) 


Zach Heartl

1. In regards to storyboard montages discussed in the readings, are there any examples in architecture that you can think of?  Or possibly a rhizomic level of thinking created from these montages?
2.  In the Storyboard reading what are the differences that are discussed between the “stills” section and the “the City.”  They both talk about a two sets of imagery in the frame that draws you in and another that pulls you forward, are they different ideas being conveyed?
3.  In regards to people in storyboards how might we use people in our architectural renderings the way that this reading describes it?
4. In regards to the storyboard, does there need to be an existing narrative?  (Example: the cat perspective still is biased).
5.  In regards to the Storyboard narrative being conceived separately, yet imagined together, what would be the difference to a series of postcards?
6.  In the Vidler reading when Elie Faure describes plastic art, how does this compare when considering sheffauer’s argument against plastic art?
7.  When considering these two lines of argument which do you side with and why?  Which would be more appropriate for use for us in the realm of design?
8.  In the storyboard reading when talking about graphics, they describe artist’s sketches and how they are faked.  Do you agree with this statement?
9.  In the Vidler reading, Shauffer talks about the “sixth sense of a man” as the 4th dimension of the photographic cosmos.  Can you describe this and how this might manifest itself in the world of architecture?
10.  Looking at the storyboard reading and the perspective section; if the reader is supposed to form their own narrative, then when talking about perspective is it not already written because they already picked a perspective or view point on the subject?

11 February 2013

Week 3- Index

P. 198
- Krause “As distinct from symbols, indexes establish their meaning along the axis of a physical relationship to their referents.”  What does Krause mean by this? And why?
P. 198-199
In the painting Tu m’, how is the index finger establishing the connection between the shifter and its referent?
P. 203
What is the indexical relationship between the photograph (icon) to its object? Why is this?
P. 205
Why is it that “the language of rapid exposure which produce a state of rest, an isolated sign, is of course the language of photography .“?  How does it describe the isolation of something from within the succession of temporality?

P. 206 
- Krause “The readymade’s parallel with the photograph is established by its process of production.  It is about the physical transposition of an object from the continuum of reality into the fixed condition of the art-image by a moment of isolation, or selection.  And in this process, it also recalls the function of the shifter.  It is a sign which inherently “empty,” its signification a function of only this one instance, guaranteed by the existential presence of just this object.  It is the meaningless meaning that is instituted through the terms of the index.”  What does Krause mean in the last sentence?
P. 206
- Krause “Index is juxtaposed to icon and both are then captioned.  “With my tongue in my cheek,” is obviously a reference to the ironic mode, a verbal doubling to redirect meaning.  But it can also be taken literally.  To actually place one’s tongue in one’s cheek is to lose the capacity for speech altogether.  And it is this rupture between image and speech, or more specifically, language, that Duchamp’s art both contemplates and instances?  Explain how the break between image and speech allows Duchamp’s art to both contemplate and instance.
P. 210
How has photography become the operative model for abstraction?  Why is this concept important?
P. 215
- Krause “The painting is thus a sign connected to a referent along a purely physical axis.  And this indexical quality is precisely the one of photography.”  Why is this?

P. 216
- Krauss “It is only by disrupting its physical surface and creating discontinuous units that it can produce a system of signs, and through those signs, meaning?  What does Krauss mean by this?  Examples
P. 217
Barthes says of the photograph:
Explain how photography produces an illogical conjunction of the here and the formerly? What is the real unreality of the photograph?

04 February 2013

Week 3- The Ageny of Mapping

Corner states that maps have agency because of their double-sidedness.    What are the two sides and what is their relationship?

Corner uses the word “milieu” in contrast to the traditional notion of “site”.  Does this term more effectively describe the space/time in which mappings occur?  If so, speculate on consequences this could have on the approaches to, and form of site analysis practice.

Corner writes: “Such fantastic play across the world’s various surfaces is characterized not only by a fertile heterogeneity but also by conceptual elements coming loose from their traditional moorings.  The boundaries between different foundational realities have become so blurred, in fact, that it is practically impossible in a cyber-world to distinguish between what is information and what is concrete, what is fact and what is fiction, what is space and what is time.” Is there a contradiction between this “blurring” and “fertile heterogeneity”? Why or why not?

What are the distinctions between “mapping (or maps)” and “planning (or plan)” and can a correlation be drawn between these and Arnheim’s dialectic of static and dynamic abstraction?

Discuss Corner’s notion of mapping and our traditional idea of the map in terms of “utility” or what Matta-Clark describes as “use factor.”

Can a map or the activity of mapping ever be objective or neutral?

Compare and contrast Loran’s, Hockney’s and Mossel’s analytical approaches.  Tufte clearly disapproves of Mossel’s.  What are his reasons and are they fair?

Are Loran’s diagrams effective in explaining Cezanne’s construction of the picture plane as a plastic form?  Why or why not?

What are the differences between Corner’s and Tufte’s approach to mapping?

Nissen Questions:

1.                   Contrast Corner’s distinction between mapping and tracing?
2.                   What are the advantages and disadvantages of Mecator’s projection and Buckminster Fuller’s dymaxion projection?
3.                   How does the work of the child psychologists relate to maps relationship with reality?
4.                   In summarizing Harvey’s argument, what are the inherent problems with New Urbanism?
5.                   How does the Situationist usage of mapping differ from the Colonialist?

03 February 2013

Exercise 01 - Film Selections

The Fall
1. Cady
2. McMaster
3. Nissen
4. Pirlot
5. Ruiz
6. Wells
7. Woods

1. Annis
2. Coyne
3. Crossman
4. Haertl
5. Hwang
6. Jameyfield
7. Reiser

Being John Malkovich
1. Breunig
2. Buettner
3. Johnson
4. Kornaus
5. Straube
6. Young