#Sennett

[noosphe-re]

Craftsmen take pride most in skills that mature. This is why simple imitation is not a sustaining satisfaction; the skill has to evolve. The slowness of craft time serves as a source of satisfaction; practice beds in, making the skill one's own. Slow craft time also enables the work of reflection and imagination–which the push for quick results cannot. Mature means long; one takes lasting ownership of the skill.

Richard Sennett, The Craftsman

[bloopstill]

Sennet quienes son tus amigos?

✧⁠◝~°Quienes son los amigos de Sennett?°~◜⁠✧

Extra/Bonus:

Aquí una versión alterna dónde salen las personitas que menciona Sennett, está iba a ser como la original pero no me terminó de convencer mucho aún así no la quise desechar

Translation:

Question: Sennett, who are your friends?

Answer:

Sennett: well... I have my friend, Steff and then there are my dads and brother but I'm not sure if they count.

Sennett: Something that I am sure is that-

Sennett: That son of a b#tch is not my friend!

Extra/Bonus but si just the text:

Here is an alternate version where of the people mentioned by Sennett, this was going to be like the original but I was not very convinced even so I did not want to discard it

[ma1up891186]

STUDIO W2 "THE ONE AND ONLY VILLAIN"

Practice Exploration of The Open City by Richard Sennett

The head of Corbusier sits on the body of Rishi Sunak, the wealthiest man in charge of the UK as of today (2023). Bills have been passed in government which overtly only benefit the Bourgeoisie and the corporations (e.g. his overt lies about Net Zero.) at the cost of the people and the environment. A real world example of the disconnect between Democracy/Government & the people. The Public realm & Natural world is at threat due to capitalist greed.

Sennett talked about the disconnect between the people and democracy, speaking about democracy not just as a place, but also as a concept lost in time through over determination.

The buildings in the background are hailed by modern architectural enthusiasts as feats of architectural design + engineering, but Sennett posits that they are fundamentally separate from the 'street', and therefore the 'people' (see concept: urban canyon). Of course, he talks about how some buildings, when they are not porous as historic ones are, become 'self referential objects X', like St Pauls Cathedral, but the stimulation of urban growth around this building is a result of function, not just as a result of good design. This can also be called the Autopoiesis of Architecture.

Focal Point of the text:

Making the case for 'the open city', setting the architectural & socio-economic context of existing cities (New York, London etc.)

Key Ideas:

+ economics (Keynesian - demand drives supply.)

Over-determination

Over specification of form and function

State socialism + democracy as a concept. Democracy (Politicians) has been removed from its original function. How can we create spaces with the same sense of relatedness among strangers? How can we open up spaces?

"process of growth as a continual struggle between equilibrium and disequilibrium; an environment rigid in form, static in programme, is doomed in time."

He infers that what we have forced onto the city is unnatural, creating the symptom that is the Brittle City, by comparing cities to Darwin's evolution.

Primary themes wanted to express in artefact:

The socio-economic role of urban design in architecture: idealism versus historic reality

Concepts like:

CIAM movement of Le Corbusier, affectionately dubbed “the one and only Villain.” Ancient Polis (Democracy) 'Light Architecture' removed from the person Keynesian economics Garden cities as the ideal form Self referential objects Louis Sullivan Norman Foster Mies Van Der Rohe (Seagram Building) The Shard Dead spaces Rigid fixed

Specific medium selected:

//Collage Since there is a lot of ideas floating about, it was the best way to translate the different elements without putting it in a spatial capacity.

Quotes from the text:

//Collage

Quotes Direct from the text:

"Corbusier's intended destruction of vibrant street life was realised in suburban growth for the middle class"

"Frozen the city in time"

"over determination"

"Over specification of form and function."

"Dystopia became reality in various ways."

"Modern Urban environments decay much more quickly than urban fabric inherited from the past."

"The brittle city is a symptom"

"State socialism"

"The closed city betrays the twentieth-century beurocrat's horror of disorder."

"If density and diversity give life, the life they breed is disorderly... the arts result from overcrowding"

"People live into these places, like nesting, time breeds attachment into place."

Three systematic elements of an open city:

Passage territories

Incomplete form

Development narratives

Self referential objects

Glass walls versus porous stone ones.

Evolution (Darwin) in reference to cities.

[travsd]

A Number on Norma Nichols

A Number on Norma Nichols

The name of Norma Nichols (1894-1989) ought to be better known to silent comedy fans and not just because it combines the first name of a Talmadge with the last name of one of Keystone’s early directors. (It’s tempting to guess she might have been the daughter of George Nichols, but her father was J.C. Nichols, sheriff of Orange County, California). In any event, Norma Nichols was connected to…

[thesesixseeds]

Marion McDonald (1904-1956) photographed on a beach holding a skull in 1925

[iexpectpastries]

[myveryownfanfiction]

18+ MINORS AND THOSE WITHOUT AGE IN BIO DNI

tags: @illiana-mystery

warnings: swearing, smut, unprotected sex (wrap it before you tap it kids)

“(Y/N)!” Mack called for me. I sighed and looked over at his bungalow office. He turned and went back down the stairs.

“shit.” I muttered. “Keep me updated Mabel. Rollie.” I nodded to them and headed back across the compound. I was dressed to the bare minimum, like everyone else. The summer heat was getting to everyone. I didn’t understand how Charlie could handle being in his tramp costume all day but better him than me. “You know wanted to see me Mack?” I called as I opened the door. Mack looked up at me from his desk. I gulped as I walked into the room and closed the door.

“lock it.” Mack ordered. “Charlie’s been barging in here every fifteen minutes with ideas.” I nodded and did as he said, eyeing him as he got up from his chair. His suspenders were twisted around and it only drew my eye to his chest all that much more.

“Sounds like a pain.” I said, trying my hardest to meet his eye but my line of sight kept drifting down. Mack chuckled as he walked over to me. “Wait is that why you called me in here? As a barrier from Charlie?” Mack looked at me sheepishly. “Oh Mack. Come on.” I whined, finally taking a step towards him. Mack chuckled and shrugged. “what can I say?” He asked, eyes shining as he looked at me fondly. “I prefer your company to his.” Smiling softly at him, I reached out and fixed the suspenders. “Huh? Oh. Thanks.” Mack said, glancing down at the suspenders resting against his chest. I patted him right over his heart.

“of course.” I said, running a finger under the suspender. “Heat get to you too?” I asked, not even trying to hide where my gaze was anymore.

“it got to me a while ago sweetheart.” Mack said, licking his lips. I gently ran my fingers through his chest hair. I rolled my eyes and Mack held my hand over his pec.

“cheesy Mack. Very cheesy.” I accused. “You’re lucky I’m in love with you.”

“I am indeed.” Mack said, slowly pulling me towards him. “This alright?”

“Mack, we both know where this is headed. You might as well call down and tell them to set up a couple tubs of ice for later.” I put my hands on his chest and hesitantly started playing with the suspended straps. Mack glanced down at my hands and raised an eyebrow.

“you uh you like this?” He asked, catching my eye before I felt my cheeks heat up. I bit my lip and glanced down before turning my head away, my cheeks blazing. Mack chuckled softly and wrapped his arms around my waist. He drew me closer before kissing my head. “I can think of a few things that look better but you’ve never steered me wrong before.” I looked up at him and he took the opportunity to kiss me. “You like what you like.”

“alright. Then…” I murmured. “Can you keep them on? During our little…stress relief session?” Mack blushed and nodded.

“whatever you want.” He whispered. I nodded and Mack kissed me before maneuvering us over to the couch. “Let Charlie lay on this again after I’m through with you.” I laughed as Mack started to undress me. I kissed him as we laid back, Mack fumbling with his pants as I wrapped my arms around his neck.

“we never did properly break in this office did we?” I asked, smiling as Mack winked at me.

“oh I don’t know. Breaking that first desk sure made it seem like the rest of the office was broken in.” He teased. I laughed as he pulled his dick out and pressed the head against me.

“come on big boy.” I breathed out as Mack looked down to make sure he was lined up. He groaned as I wrapped my legs around his waist. “Give it to me.” Mack groaned, shooting me a look before slowly entering me. My head fell back with a moan as Mack kissed my neck.

“oh baby.” Mack breathed out. “Perfect. Just perfect.” I tugged on his suspender and Mack chuckled darkly against my jaw. He started to slowly thrust into me. “Oh. You really like this. Maybe I’ll walk around like this more often. Bet you would love that.” I nodded as Mack ground against me.

“we’d never get anything done.” I moaned.

“oh I wouldn’t say that.” Mack grunted as he pulled out before snapping his hips against me. “I think we’d get plenty done.” Mack hit that spot that made me see stars. My eyes nearly went crossed when he hit it again.

“Mack.” My voice cracked as there was a knock on the door. “Mack. Mack!” I was screaming now with the way he kept rutting into me. Mack started laughing, catching the silhouette in the window. “Mack please.” I whimpered, head falling back and back arching. My grip on his suspenders tightened as I pulled on them.

“that’ll teach Chaplin to come knocking when the doors closed.” Mack laughed, stilling as he moved to gather me in his arms. “If he’s skulking around, I’m going to give him a show.” I moaned as he picked me up, never slipping out from where he was tightly nestled. I wrapped an arm around his shoulders, burying my hand in his hair as he walked over to his desk. With one arm, he cleared it and I moaned.

“god dammit Mack. Are you trying to kill me?” I breathed out. Mack chuckled before laying me back on the space he had cleared.

“teach him to interrupt when I’m balls deep in the love of my life.” Mack growled. My breath hitched as he started thrusting into me again. I put a hand on his chest and gently pushed. Mack looked up at me and stopped. “What? What’s wrong?” Tears were welling up in my eyes and I pulled him in for a kiss.

“I love you too.” Mack paused for a second before smiling sheepishly at me.

“shoulda been a better opportunity to say it.” Mack muttered. “But I do love you.” He kissed me softly again before rolling his hips against mine. “Now please. I can’t take much longer honestly.” I nodded as I pulled him closer by the suspender straps. Mack chuckled against my lips as he sped up slightly and deepened his thrusts. It didn’t take long for either of us to fall over the edge. I was screaming his name again before collapsing against the desk. Mack sagged against me and pressed kisses to my face as our breathing went back to normal.

“we are so doing that again.” I breathed out. Mack nodded against my collarbone before pressing a kiss to my chest.

“I’m just glad the desk held up this time.” He chuckled. I laughed and nodded, threading my fingers through his hair. “We picked a good desk.”

“and couch.” I said. It was quiet for a moment before a thought hit me. “No one is on set tonight right? Like it’ll be empty for miles.” Mack propped his chin on my chest and looked at me confused.

“yeah.” He said. “Why?”

“we haven’t really been up on the roof since we bought this place…” I started. Mack smiled as he kissed me again before slipping out. He gently cleaned us both up with his handkerchief and tucked himself back into his pants.

“I’m sure it’ll be cooler tonight too.” Mack offered. “Maybe we could sleep up there too. Take our time.” He helped me off his desk and handed me my clothes. I smiled at him and pressed a kiss to his cheek.

“I like the way you think mr. Sennett.” I said, running my finger under his suspender again. “Make sure these stay on.” I whispered before unlocking the door and slipping out, seeing Charlie standing at the bottom of the stairs. I shook my head and looked up at the office window where Mack was standing with a devilish smile.

[valentinovamp]

Nancy Hellman by George Cannons (1920s)

[friendlessghoul]

Roscoe Arbuckle, Al St. John, Mabel Normand, Mack Sennett, Charlie Murry, Ford Sterling, Fred Mason, and Bobbie Dunn

[citizenscreen]

Mack Sennett stands by as F. Richard Jones directs Mabel Normand in THE EXTRA GIRL (1923).

[oldshowbiz]

[vintage-every-day]

1913: Mabel Normand and Mack Sennett in the film 𝑴𝒂𝒃𝒆𝒍'𝒔 𝑫𝒓𝒂𝒎𝒂𝒕𝒊𝒄 𝑪𝒂𝒓𝒆𝒆𝒓 (1913). Roscoe Arbuckle plays a man in the cinema audience.

[ma1up891186]

THE CLOSED CITY 02 OF 02

Sennett identifies three underlying motives for the emerge of Closed Cities:

Policy makers & urban designers aim to for control and order which results in the following: // Additivity "The parts always add up to a clear sum" // Homogeneity "the parts are directly interchangeable" // Repetition // Over-determination of the city's visual forms This results in hegemonic and internally closed buildings and city shapes.

Ruled by the obsession with equilibrium. Everything must be balanced, regular, and static. see: Palmanova (Italy), the ideals of the Garden city movement, and the utopian city of Brasilia.

The system is closed in time, providing a certain recognisability and security. see: Florida community masterplan.

Designed on the principles of New Urbanism, Sennett summarises the closed city concept as "Ideally, every part of the system has a place in an overall design; the consequence of that ideal is to reject, to vomit out, experiences which stick out because they are contestatory or disorienting; things that 'don't fit' are diminished in value. The emphasis on integration puts an obvious bar on experiment."

[shawn-meets-world]

[iexpectpastries]

[fromthedust]

René Magritte (Belgian, 1898-1967)

Homage to Mack Sennett - 1934