robertogreco + césarreyesnájera   5

The Parasitic Reading Room | dpr-barcelona
"“[Books] can show you a different world. It can take you somewhere you’ve never been. Once you’ve visited other worlds, like those who ate fairy fruit, you can never be entirely content with the world that you grew up in. Discontent is a good thing: discontented people can modify and improve their worlds, leave them better, leave them different.”

—Neil Gaiman
‘Why our future depends on libraries, reading and daydreaming.’ The Guardian, 2013

Aristide Antonas and Thanos Zartaloudis define ‘The Parasitic Council’ as that place “where a public space can be the plateau for the occupancy of a commonhold in order that it performs multiple parasitic functions of common use without claims to property.” Following this protocol of action and occupancy of the city, and connecting them with the 4th Istanbul Design Biennial ‘A School of Schools,’ dpr-barcelona and the open raumlabor university joined forces to set up a Parasitic Reading Room for the opening days of the IDB, in September 2018, a nomad, spontaneous and parasitic set of reading spaces that took place along the biennale venues and other spots in the city, with the intention to ‘parasite’ the event participants, visitors, ideas, contents and places, and to provoke a contagion of knowledge. The Parasitic Reading Room is a spontaneous school, made by reading aloud a selection of texts that are related with the biennale’s scope.

On his book Deschooling Society, Ivan Illich states that most learning happens casually, and training of young people never happens in the school but elsewhere, in moments and places beyond the control of the school. When claiming for the revolutionary potential of deschooling, Illich makes a call to liberating oneself from school and to reckon that “each of us is personally responsible for his or her own deschooling, and only we have the power to do it.” This is why the wide domain of academia needs to be challenged in radical and unexpected ways and we need to envision other spaces of encounter and knowledge exchange out of its walls. Similarly, Michael Paraskos rightly pointed on his essay The Table Top Schools of Art, that “we might well say that if four individuals gather together under a tree that is a school. Similarly four individuals around a kitchen table. Or four individuals in the café or bar. By redefining the school in this way we also redefine what it means to be a student in a school or a teacher.”

Perhaps the essential question at this point is what kind of readings should form this alternative bibliography on different pedagogical models, about other sources of knowledge, that come not only [but also] from the pages of our favourite books? This question can have multiple answers which all of them are to be intertwined, multi-connected, overlapped. Poems, films, instagram photos—and its captions—, songs, e-mail exchanges, objects, conversations with friends over a glass of wine or a coffee, dreams; we learn from all of them albeit [or often because] the hectic diversity of formats, and sometimes its lack of seriousness.

By reading aloud we share a space of intimacy, a time and place of learning not only from the contents, but from the nuances, the accents, the cadence of the reading. Abigail Williams called this ‘the social life of books,’ “How books are read is as important as what’s in them,” she pointed—we call it ‘the book as a space of encounters.’ This means spaces where different books coexist and enrich each other; books as the necessary space where the author can have a dialogue with the reader, where different readers can read between the lines and find a place of exchange, where to debate, and discuss ideas. Books and encounters as an open school.

If everywhere is a learning environment, as we deeply believe, and the Istanbul Design Biennial intended to prove by transforming the city of Istanbul into a school of schools, we vindicate the importance of books—be them fiction, poetry or critical theory—as learning environments; those spaces where empathy and otherness are stronger than ideologies, where we can find space to ‘parasite’ each other’s knowledge and experience and create an open school by the simple but strong gesture of reading aloud together.

Because, what is a school if not a promise?"

[See also:

"For the 4th Istanbul Design Biennial ‘A School of Schools,’ dpr-barcelona and the open raumlabor university will set up for the opening days of the IDB a Parasitic Reading Room, a nomad, spontaneous and parasitic set of reading spaces that will take place along the biennale venues and other spots in the city, with the intention of 'parasite' the event participants, visitors, ideas, contents and places, and to provoke a contagion of knowledge. 'The Parasitic Reading Room' is a spontaneous school, made by reading aloud a selection of texts that are related with the biennale's scope. As initial readings—that can be paratised afterwards—we have collected some remarkable texts about education, radical thinking, literature, and many other sources of knowledge, and published them at The Parasitic Reader 01 and The Parasitic reader 02. Feel free to parasite them as well and share them."
https://issuu.com/ethel.baraona/docs/parasitic_reader_01
https://issuu.com/ethel.baraona/docs/parasitic_reader_02

"Based on previous conversations around the topic in the frame of “Body of Us”, the Swiss contribution to the London Design Biennale 2018, the project’s curator Rebekka Kiesewetter has invited friends to continue the discussion around political friendship: dpr-barcelona, initiators of the “Parasitic reading room” [along with the Open raumlabor University] at the 4th Istanbul Design Biennial 2018; architect Ross Exo Adams, one of the contributors to Body of Us publication, and continent., the experimental publishing collective, initiators of “Reading Friendships Paris“ at Centre Culturel Suisse 2016. At this same venue, three years later, the stage opens for an edition of the “Parasitic Reading Room” and a reprise of “Reading Friendships”, an evening of readings, thinkings, creating and discussion. A collective reading in Paris on March 20th, 2019."
https://issuu.com/ethel.baraona/docs/friend_ships_reader ]
ethelbaraonapohl  césarreyesnájera  2019  reading  howweread  learning  informallearning  informal  sharing  books  bookfuturism  aristideantonas  thanoszartaloudis  deschooling  unschooling  ivanillich  education  lcproject  openstudioproject  michaelparaskos  libraries  multimedia  multiliteracies  intimacy  encounters  experience  howwelearn  schools  schooling  film  instagram  raumlabor  dpr-barcelona 
march 2019 by robertogreco
Spaces of encounter: the performative art of reading | Thinkpiece | Architectural Review
"When the ‘counter novel’ Hopscotch by Julio Cortázar was published in 1963 it was celebrated as one of the most innovative experiments in 20th-century literature. The book was written to allow and encourage many different and complementary readings. As the author’s note at the beginning of the novel suggests, it can be read either progressively in the first 56 chapters or by ‘hopscotching’ through the entire set of 155 chapters according to a ‘Table of Instructions’. Cortázar also allows the reader the option of choosing their own unique path through the book. It’s no coincidence that the narrative – from the title of the book to the several overlapping stories that are contained in it – is based on a game often played in small groups in public spaces and playgrounds, in which the player has to hop or jump to retrieve a small object tossed into numbered patterns drawn on the ground. The book’s main structure has strong allusions to the notions of ‘space’ and the way we navigate through it, with its three main sections entitled ‘From the Other Side’, ‘From this Side’, and ‘From Diverse Sides’.

[image: "Since 2010, the ‘book bloc’ has been a visible feature of protests"]

Similarly, but from a different perspective, one of the first things the reader notes when flipping through Fantasies of the Library edited by Anne-Sophie Springer and Etienne Turpin and published in 2016 by MIT Press, is that the book itself can be understood as a kind of public space. In effect, it presents a brilliant dérive through books, book collections and the physical spaces of libraries from a curatorial perspective, going from private collections and the way their shelves are organised, to more ad hoc and temporary infrastructures, such as the People’s Library at Occupy Wall Street in New York, or the Biblioburro, a travelling library in Colombia that distributes books from the backs of two donkeys, Alfa and Beto. Various configurations and layouts have been designed in response to these narratives. They include essays, photos and interviews, setting up different kinds of encounters between authors, editors, readers, photographers and illustrators. Once you have the book in your hands, you gradually start to apprehend that the four conversations are printed only on left-hand pages, interspersed with other essays on right-hand ones. So it is only when you start reading voraciously and are interrupted by the ‘non-sense’ of these jumps, when the understanding of the dynamics imposed by the layout manifests itself, that you become aware you are already ‘hopscotching’ from page to page. The chapter ‘Reading Rooms Reading Machines’ is not only a visual essay about the power of books to create spaces around them and gather a community, it is also a curated, annotated and provocative history of these spaces as a conceptual continuation between the book and the city, ‘two environments in conjunction’, as Springer writes.

In some ways, it resembles the encounters you have in the streets of your neighbourhood. Some people you only glance at, others you smile at, there are a few with whom you talk and if you’re lucky, you might meet a friend. Within the texts, you can hop back and forth, approving, underlining, or absorbing in more detail. From individual object to the container known as the library, the idea of the book as a territory is explored in depth. Different kinds and sizes of spaces and the interactions that happen in and between them emerge. Springer describes the library as ‘a hybrid site for performing the book’ – a place where the book is not a static object but a space in which the reader is an active agent, coming and going from the outside; outside the pages and outside the library. It recalls Ray Bradbury’s assertion that: ‘Books are in themselves already more than mere containers of information; they are also modes of connectivity and interrelation, making the library a meta-book containing illimitable intertextual elements.’

[image: "Improvised book blocs on the street" from source: Interference Archive]

In moving from the ‘hopscotching’ suggested by Cortázar to the idea of the ‘library as map’ as discussed by Springer and Turpin, it is clear that the inextricable relationship between books and space forms the basis of our understanding of books as spaces of encounter, and the importance of heterogeneous books – whether fiction, poetry or critical theory – as spaces of encounter for architectural discourse. In that sense, books can be perceived as new kinds of spaces, where empathy, alterity and otherness are stronger than ideologies. Catalysing dissent and open dialogue, they can be one of the most effective tools of resistance in times of censorship, fake news and post-truth. Social anthropologist Athena Athanasiou explains how books have been used in public space as part of political struggles. ‘People have taken to the streets to fight for critical thinking and public education, turning books into banners and shields against educational cuts and neoliberal regimes of university governance’, she writes. This activism emphasises the strong symbolic power of the relationship between books and architectural spaces, ‘where the books were not only at the barricades, they were the barricades’. Such agency can transgress almost any kind of limit or boundary, and can happen in any sort of space – from your mobile device to the library or the street. But it is in the public sphere where the book’s agency can have the ‘power to affect’, becoming ‘a hybrid site for performing the book’ beyond the confines of the library.

Books can be ‘performed’ in many ways, especially when critical writing and the act of reading create spaces of encounter in the city. In June 2013, after plans were unveiled to develop Istanbul’s Gezi Park, artist Erdem Gunduz initiated his Standing Man protest while he stood motionless in Taksim Square for eight hours. This thoughtful form of resistance inspired a group of ‘silent readers’ who successfully transformed a space of fighting and friction into a meaningful space of encounter by simply standing still and reading books. It became known as the Tak sim Square Book Club, paradoxically one of the most dynamic demonstrations in recent years. The strength and energy contained in the bodies of each reader, but also in every book and the endless stories and narratives between covers, transformed Taksim Square into a highly politicised space. Instead of being compromised by conflict between government and citizens, it became a space of encounter that gave agency to each silent reader and to the wider collectivity they brought into being.

[image: "Readers in Istanbul’s Taksim Square transform the space through peaceful activism"]

The moment when writing, often carried out in solitude, is published, circulated and made accessible to everyone is the moment of generating public space, argues the French philosopher and art historian Georges Didi-Huberman. This was demonstrated in the ‘Parasitic Reading Room’, a nomadic, spontaneous and parasitic set of reading spaces staged during the opening days of the 4th Istanbul Design Biennial. Initially consisting of a series of out-loud readings of texts at selected venues, it then expanded to become an urban dérive across the streets of the city in the company of a mobile radio broadcasting the live readings. In that moment, the ‘walking reading room’ became a space of exchange, knowledge and collaboration. Different points of view coexisted, enriching each other, forming knowledge assemblages. It reminds us that reading together, whether silently or aloud, forces us to interact, to respect the times and rhythms of others, to learn new words and their sounds and to think new thoughts. In doing so, we rediscover new territories of empathy that become visible when visiting these spaces of encounter, where we learn that we can host otherness as part of the self. Where comradeship is a means instead of an end. Books create the spaces in which to play hopscotch together again."
ethelbaraonapohl  césarreyesnájera  books  reading  howweread  howwewrite  rayuela  2019  neilgaiman  fiction  space  performance  etienneturpin  derive  collections  libraries  raybradbury  connectivity  interrelation  hypertext  athenaathanasiou  architecture  protest  biblioburro  nomads  nomadism  nomadic  ows  occupywallstreet  conversation  neighborhoods  urban  urbanism  cities  istanbul  geziprk  erdemgunduz  taksimsquare  georgesdidi-huberman  comradeship  solidarity  empathy  writing  visibility  hopscotch  juliocortázar  anna-sophiespringer  dérive 
january 2019 by robertogreco
Antropoceno | dpr-barcelona
"Cuando Las Patronas lanzan comida en bolsas a las entrañas de La Bestia quizás no son conscientes de la relevancia de su gesto a escala geológica. Movidas por empatía activan colectivamente un mecanismo ancestral de cooperación recurrente en todos los seres vivos una vez superada la etapa de recelo y competencia. Al instinto competitivo que levanta muros, intercalan una estrategia inteligente que inventa protocolos, revienta límites y difumina fronteras.

Existen otros gestos que generan flujos con impacto a escala geológica. Quizás nos somos conscientes de que en nuestros bolsillos llevamos pequeños trozos de África procesados en China y del gasto energético y material de la infraestructura que nos permite estar continuamente conectados.[1] La necesidad de actualización y los ciclos cortos de renovación se traducen en teléfonos obsoletos apilándose en los cajones de nuestras casas.

Las anteriores narrativas ilustran dos formas de relación de la especie humana con el entorno y la presión que constantemente ejercemos sobre el. Un proceso de consumo y desposesión continuos, acelerados especialmente a raíz de la Revolución Industrial y puesto en evidencia por el cambio climático, es el que ha llevado a plantear conceptos como el Antropoceno, que sugiere que hemos entrado en una era geológica marcada por la influencia de la actividad humana en el planeta.

No existe consenso respecto al inicio del Antropoceno[2], algunos proponen buscarlo en los albores de la agricultura, ya que es donde se pueden encontrar las primeras evidencias de sedimentación que delatan esta actividad humana que permitió a los humanos asentarse en comunidades con densidades nunca antes vistas, mientras que otros autores señalan la Revolución Industrial o el inicio de la carrera nuclear.

Y qué papel tiene la arquitectura dentro de este panorama? Hasta ahora entendíamos que todas las realizaciones arquitectónicas han ocurrido durante el Holoceno. Es bajo las condiciones ambientales de este período geológico en las que nuestra disciplina ha ido especializándose. Sin embargo, estas condiciones no son inmutables y tenemos certeza científica de que han ido cambiando aceleradamente desde finales del siglo XIX.[3] Actualmente existe cierto consenso sobre el impacto que la práctica arquitectónica tiene sobre el medio ambiente. La mayor parte de este impacto no se debe tanto a la construcción sino al consumo de energía derivado del transporte, técnicas y materiales constructivos. Además los análisis de ciclo de vida de los edificios coinciden en que es mayor el impacto energético por su mantenimiento que por su construcción. Las buenas prácticas apuntan que el reciclaje, la minimización del transporte y el uso de recursos locales son las mejores estrategias de mitigación.

Sin embargo un repaso crítico nos muestra que las premisas ambientales están lejos de ser las que regulen la producción arquitectónica, y que en la profesión siguen importando más las valoraciones estéticas o económicas. Por otro lado, las estrategias de adaptación y cobijo que hemos refinando responden a condiciones ambientales que previsiblemente no sigan siendo las mismas. Así que al parecer practicamos una disciplina todavía muy coqueta y poco previsora.

Y es que en realidad, los arquitectos disponemos de pocas herramientas e incluso de lenguaje para lidiar con fenómenos complejos o con cambios evolutivos. Y el panorama incierto que tenemos por delante desborda las habilidades técnicas, estáticas y formales que presuntamente definen la excelencia arquitectónica. Lo sostenible no es más que una etiqueta bucólica o un slogan de marca para adaptarse a condiciones ambientales que en realidad son difícilmente reversibles, mientras que la incertidumbre y el cambio son las verdaderas constantes que tenemos por delante.[4] Los defensores del aceleracionismo lo han comprendido al anticipar un hipotético fin del capitalismo y su ethos productivo, de los que al parecer no seremos capaces de renunciar. Porque seamos absolutamente sinceros: no hemos logrado mucho con buenas intenciones, apelaciones morales o previsiones desalentadoras. Mientras tanto la arquitectura sigue siendo en realidad una práctica subordinada a los intereses, posibilidades y consecuencias del sistema financiero.

Es posible reorientar nuestra profesión frente a este panorama? Tal vez el reto esté en una paulatina reconversión, que incorpore protocolos que permitan responder a la incertidumbre en lugar de generar soluciones cerradas. Una estrategia de acciones capaces de incorporar accidentes y generar respuestas emergentes a problemas que no han aparecido todavía, que es como funciona la evolución.

Es posible que en el gesto de Las Patronas encontremos alguna pista. Este grupo trabaja colectivamente con la incertidumbre; sus acciones afectan y se ven afectadas por una infraestructura de movilidad. Sin planificarlo a largo plazo, inciden sobre un flujo de vidas y memorias, ayudan a modificar la ecología de las poblaciones, de los sistemas urbanos y las regiones en los que interactuará la población que emigra. Y de forma análoga, quizás el coltán, cobre y demás minerales de nuestros teléfonos móviles estén a la espera de nuevas formas de minería que los rescaten de nuestros cajones.

Porque no solo moldeamos el mundo con nuestra actividad; el medio ambiente también nos moldea a nosotros y los cambios que introducimos modifican entornos y organismos que al final tienen consecuencias sobre nosotros mismos. La arquitectura del Antropoceno será menos anthropos y más colectivo. Un sistema de gestión de incertidumbres que genere soluciones dinámicas y evolutivas útiles para diferentes formas de vida, sean humanas o no."
anthropocene  2017  architecture  capitalism  laspatronas  mexico  migration  borders  competition  cooperation  markets  sustainability  uncertainty  collectivism  accelerationism  groth  ecology  environment  ethelbaraonapohl  césarreyesnájera  dpr-barcelona 
november 2017 by robertogreco
The Book of the Now on Vimeo
"When asked to explain the title of his seminal book "The Medium is the Massage", Marshall McLuhan explained that it was actually a fortunate mistake: "Now there are four possible readings for the last word of the title, all of them accurate: MESSAGE and MESS AGE, MASSAGE and MASS AGE" he said.

'The Book of the Now' summarise possible readings of the publishing task and research carried by dpr-barcelona. Understanding publishing as "the act of making public", our work is subjected to explorations, failures and goals that are helping to shape the new territory of publishing in architecture. Take your past, enhance present tensions and foresee the future tense.
Make, make, make books.
...............
THE BOOK OF THE NOW
Concept and research: Ethel Baraona Pohl and César Reyes Nájera
'From the [mess]age to the [mass]age' Lecture. Architectus Omnibus?. Berlin 2015.
Voice: Marshall McLuhan
Ideas: Marshall McLuhan, H.G. Wells, Ray Bradbury
Music: 'THE BOOK OF THE NOW' - THE MASSES [Adam Michaels, Daniel Perlin, Jeffrey T. Schnapp], 2012
Promo video
Idea and assemblage: Cesar Reyes Nájera | dpr-barcelona
With excerpts from:
-'H.G. Wells. The Time Machine'; George Pal, 1960
- 'Toute la Mémoire du Monde'; Alain Resnais, 1956
-'Fahrenheit 451'; Francois Truffat, 1966
-'Archinhand'; dpr-barcelona, 2010
-'Network'; Michael Rigley, 2012
Animated GIFs :
-'Architecture Animée'; Axel de Stampa
From following photos:
-Mirador Building, MVRDV and Blanca Lleo. Luis García.
-Memory Museum, Estudio America. Nicolas Saieh
-Zollverein School, SANAA."
books  bookfuturism  ethelbaraonapohl  césarreyesnájera  2015  marshallmcluhan  dpr-barcelona  publishing  architecture  themediumisthemassage  themediumisthemessage  thebookofthenow  theelectricinformationagebook 
july 2015 by robertogreco
Publishing to the power of two - Architecture - Domus
"The digital revolution has spawned a new generation of small, agile and hyperactive publishers who, over the last decade, have profoundly transformed how architecture and design are broadcast, both in print and online."
print  blogging  blogs  online  2012  myrdlecourtpress  notagateway  deepanaik  trentonoldfield  rubypress  juliendesmedt  beatrizcolomina  runpinderbhogal  marcusfair  eliasredstone  julianschubert  elenaschütz  leonardstreich  davidbasulto  archdaily  césarreyesnájera  dpr-barcelona  alexandertrevi  futureplural  massimomini  birgitlohmann  publishing  design  architecture  designboom  ediblegeography  nicolatwilly  bldgblog  geoffmanaugh  dezeen  ethelbaraona  from delicious
october 2012 by robertogreco

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