#Warburg Institute Archiv

[fabiansteinhauer]

Sortieren

Die Fotothek im Warburg Institute Archiv: Ein Überbleibsel in der Zeit digitalisierter Archive. Man darf sich nur nicht vertun: Die magische und mantische Praxis solcher Institutionen ergibt sich aus der Kombination von Architektur und Mobilisierung. Natürlich ist jedes Foto an seinem Platz. Jedes Foto ist zur Stelle, also zu der Stelle, die ihm in der epistemologischen Architektur eingerichtet ist: Social Life/ Justice and Punishment/ Law Books/ Cambridge Corpus Christi College Library/ MS 10/ Gratian Decretum/ fol. 333 : Da ist es ja, das Foto! Über den verzweigten Aufbau findet man ein Foto, man kann fest darauf vertrauen, denn das Foto haut nicht ab, es bleibt immer, wo es ist.

Und es bewegt (sich) doch, denn alle verzweigten Pfade decken sich nicht, wollen und sollen es aber, unabhängig davon, ob sie nach dem Allgemeinen oder nach dem Besonderen streben. Sie streben und dazu rivalisieren sie noch mit allen anderen Sortierungen und alle anderen Sortierungen mit ihnen. Kontingenz ist ein schwaches Wort für die Spannung, die darn liegt. Kein verzweigter Pfad deckt sich mit dem anderen. Andere sortieren nämlich anders. Alle wollen sich oder die andere Sortierung decken,alle Sortierungen geben der Sortierung Schub. Sortierungen sind kleine meteorologische Objekte, sie sind wie Schneeflocken: keine deckt sich mit der anderen, alle tanzen oder bringen zum Tanzen. Die Sortierungen können noch so kanonisch sein: deviant sind sie auch. Daraus ergibt sich die Spannung jeder Position, sie kommt von woanders und will woanders hin. Alles Sortierte flieht und drängt. Keine Stellung ohne Spannung, ohne Energie.

Das ist vielleicht nicht immer so geladen wie im Warburg Institute Archive und in der Warburg Bibliothek mit ihren eigen- und fremdsinnigen, stark- und schwachsinnigen Sortierungen, aber im Prinzip ist das immer so. In der Digitalisierung scheint es manchmal so, man könnte sich die Schlagworte, die Pfade und Registereinträge sparen, die Suchmaschinen finden ohnehin alles. Aber auf die Architekturen, die Bewegungsspeicher sind, kommt es an, zumindest wenn man an der Bewegung er Bilder in einem weiten und umfassenden Sinne, an ihrer Wanderung und an ihrem Pendeln interessiert ist, daran, welch Energie sie dadurch speichern, dass sie sortiert sind, hingelegt wie zur Ruhe und doch, gerade darum mit springenden Füßen.

Wenn man das, was Aby Warburg Gestellschieberei nennt, professionalisieren will, dann sollte man die Objekte mit ihrer Sortierung überziehen, immer weiter überziehen.

Warum so viele gleich von einer symbolischen Ordnung sprechen und nicht erst einmal, nur um klein anzufangen, von einer symbolischen Sortierung, das weiß ich nicht.

[in-the-blue-notebook]

Informal Crit #3

I am creating a body of nine, black and white, abstract photographs that are of a trash bag. It is my intention to make all of the images aesthetically the same as the final form of my project will be multiple grids using the same nine photos over and over again to create new images. 

From the beginning of this project, I wanted to create something that pushed the boundaries of what photography can be by removing any recognizable shapes. By using black and white as a tool to remove any underlying symbolism that colors could suggest, I’ve taken photos of a black trash bag completely out of focus. This produces a photo that has depth like a landscape but also fuzzy shapes that may hint at the presence of a figure. Light is deceitful and similar to the Rorschach inkblot test, everyone who views the work will perceive something different from each grid as the highlights and shadows connect and move in different directions. When the majority of people are presented with something abstract, they attempt to see past the abstraction to find an image that makes sense to them, but the irony is that it’s really just a photo of a trash bag. 

Photo Book: 

This is the link to the quick review of Tom Reaume’s book called Abstract Photography: Which Way Is Up? It includes an excerpt of the introduction where Reaume explains, “The correct interpretation, however, involves the BOX, you know the one we usually think inside of, or rarely outside of. In fact, this book presents how innovative, outside-the-box thinking in photography looks.” I wasn’t able to read the entire book on his process because it’s 150 pages, but the couple of chapters I did read, it changed the way I thought about abstract photography. Rather than thinking of it as using a camera in a way that it wasn’t intended, but thinking of it as an extension of my hand or a tool to express my artistic perspective. 

Academic Text:

Thomas Da Costa Kaufmann. “The Perspective of Shadows: The History of the Theory of Shadow Projection.” Journal of the Warburg and Courtauld Institutes 38 (1975): 258–87. https://doi.org/10.2307/750956.

I read The Perspective of Shadows: The History of the Theory of Shadow Projection by Thomas Da Costa Kaufmann. Kaufmann discusses how rendering shadows was a constant problem for painters in the Renaissance who were trying to create accurate realistic paintings. He talks about all of the different factors that go into understanding how shadows works and how it both opposes and compliments light. Because I’m making work that only relies on light and shadow to create abstract images, I thought it was important to understand the artistic/scientific processes behind understanding how light and shadow work together to create images we can comprehend. 

Exhibition:

About a year and a half ago I went to the MoMa and saw Refik Anadol’s AI work entitled Unsupervised. This massive ever-changing screen took images of over 200 years of art in the MoMa’s archive and reinterpreted them. These images moved in and out of each other and morphed into different shapes, yet were never quite discernable as recognizable artwork. They were almost completely abstract, just shapes and colors and textures without defined objects. I loved how Anadol took things that we know or feel familiar to us and made them feel just out of reach. It’s so difficult to hold people’s attention with abstract work but as I looked around the room, I noticed that nearly thirty people were standing around this massive screen, totally entranced. 

Charlotte Ihlanfeldt

[thinkingimages]

Aby Warburg: Bilderatlas Mnemosyne: The Original Hardcover – May 26, 2020

A legendary modernist epic of visual thinking from the founder of iconology, tracing the migration of symbols through art, history and cosmology―reconstructed and accessible for the first time

From 1925 until his death in 1929, the great German art theorist and cultural scholar Aby Warburg worked on an ambitious, unprecedented project he called the Mnemosyne Atlas: a series of 63 large themed panels, each featuring a constellation of images―postcards, maps, adverts, reproductions of artworks―that trace the migration of symbols from antiquity to the present. His goal was to show how certain gestures and icons repeated themselves across history, constituting what he called a “pathos formula”―that is, an enduring emotional metaphor. Warburg had the panels photographed, conceiving of their ultimate incarnation as being in book form―but never completed the atlas. Warburg has become famed for many things―founding the discipline of iconology (what would now be called visual studies); his incredible library (and its idiosyncratic organization); his photographs of Hopi Indians; and the august institute in London that bears his name. But the greatest, most mythical aspect of his legacy is the Mnemosyne Atlas, which is to art history what Walter Benjamin’s Arcades Project is to cultural history―an incomplete, collaged modernist epic attempting to comprehend the patterns of history and human emotion through flashes of insight that circumvent discursive thought. Artists, theorists, writers and curators as various as Gerhard Richter, R.B. Kitaj, Joan Jonas, Charlene von Heyl, Giorgio Agamben, Marina Warner, Ernst Gombrich and Hans Ulrich Obrist have all paid homage to this mythic entity in different ways; many books have been written about it, and many exhibitions themed around it. Since Gombrich was tasked with its recreation in 1937, several scholars have attempted editions of the Atlas, all using Warburg’s indistinct, nearly illegible photographs. Now, for this major publishing event, Roberto Ohrt and Axel Heil have done what long seemed impossible, searching the 400,000 images in the archives of the Warburg Institute, identifying those from the Atlas and reconstructing Warburg’s panels, rendering the Atlas visually accessible to the world for the first time.

[malusart]

It’s amazing what you can find in archives! I went to the Warburg Institute website in search of alchemical material and got distracted by this 19th-century ‘Calendrier magique,’ a Magical Calendar from 1869, edited by Austin de Croze (1866-1937). The images are long and thin. Take a look at the detail: an image of Baphomet with the Kabbalistic Sephira Hesed (Mercy) on the left and the Sephira Geburah (Strength) on the right (opposite of their usual positions); a trident sigil from Paraclesus, but via Eliphas Levi; a witches’ Sabbath dominating the picture, and a dramatic circle with bats, skull-and-cross-bones at the bottom.

The French lines by de Croze [and apparently dedicated to the poet Maurice Rollinat, known for his macabre and fantastic writing], speak of witches flying in storm winds, riding their staffs (not brooms) to see Satan, their bodies covered in magical ointment.

[manassav]

What Why and Where Blockchain.

What, Why and Where.Three basic question structure are common if we want to know something about . so let’s begin.

There is a new technological institution that fundamentally change how we exchange the value and it’s called a Blockchain — Bettina Warburg

What is Blockchain ? ~ The name signifies its structure. It is a collection of blocks that are linked together and form chain. Block contains immutable records. That record generally associated to transactions made with cryptocurrency. Each transaction added to blockchain are replicated to each node present on blockchain and every transaction is validated by multiple nodes in a network.

Why Blockchain ? ~

when we hear any thing on internet the first thing comes into our mind is “Trust”. For establishing trust to its users internet have chosen intermediates. and the major role of that intermediators is to ensure their user about quality, authenticity and security of product which they are selling online.

for example ~ To transfer money from one person to another we relies on bank because banks ensure us about authenticity and security with respect to payments.

Problem with the centralised system is lies with the following things like.

High Transaction fees.

Central Authority can overuse their power.

Copy of Asset.

Double spending.

Slow international transaction.

What banks actually does that it collects money which are deposited by their customers. they invest that 70~80% of total deposited money in some kind of business. and use remaining money to sustain normal banking. Businesses which provide banks higher returns for their investment. by that higher returns banks facilitates their costumers by small incentive as interest.

Example ~ The recent bank fall in India on March 2020. A bank falls down and depositors got panicked when they are bounded by only cash withdrawals under Rs. 50,000.

Here in conventional banking system. The users don’t have any controlled on their hard earned money which they had deposited in banks.

Thats why Blockchain comes into existing.

The major goal of blockchain technology is to eliminate the middleman or centralised authorities in order to establish trust among distinct unknown node present on network. In order to exchange assets.

Seems much difficult to archive but it’s most interesting.

Blockchain is a distributed open system. which is not controlled by any parties. the person who runs the blockchain are their its own users. Blockchain enables network of computer to maintain collective record via Internet.

Blockchain eliminates the middleman by establish trust on each entity present on network.

How do i trust on somebody on network whom i don’t know ?

The role of miners comes into the scenario. Miners are those sophisticated nodes present on network who validate your transaction is valid or not. for doing this work miners got incentive from network. Bitcoin network provides 6.25 bitcoins to miner for validating one block.

What i do if my miner is corrupted ?

This answer is based upon “majority wins”.

Whenever transaction is made on network. There is a race started on network between miners to add block on bitcoin network first and got incentivised. An block consist of multiple transactions and miner have to validate all the correct transaction. It is not that easy to mine a block. For mining a block miners have to solve a difficult cryptographic mathematical puzzle which is assigned by network and have to solved it into 10 mins. and for solving that cryptographic puzzle miner have to consume heavy computing resources and electricity. and after adding a block to network approx 51% of nodes on network have to mark block as valid block and then it will get accepted otherwise not.

 Miner got incentive on adding block to blockchain

Blockchain provides equality to all nodes any one can be a miner or anyone can be individual node.

Blockchain speeds up international money transfer. Then conventional banking system.

All the users have their own control on their hard earned money.

Where Blockchain can be used ?

In Blockchain records are stored in distributed systems which are interconnected. Blockchain reduces vulnerability and increases transparency in all business sectors. Each and every piece of information recorded on the blockchain is public and every participant has a copy of the blockchain. A blockchain is distributed as it is not controlled by a single entity. so no one can corrupt the data present on blockchain.

Stripping away the hype, I believe that blockchain technology is set to revolutionise many industries, Not only in terms of transaction of money but it can revolutionise many use cases such as logistics monitoring, Voting mechanism, Fraud detection, Identity security etc.

By seeing current pandemic conditions blockchain may be serve in places like.

1)Tracing money which is donated in PM care funds or which is donated in any NGO -

This will help donators to establish trust upon NGO. Because they can trace their money. And find out in which way their money is going to spent.

2) Contact Tracing — In an effort to flatten the curve, governments are exploring contact tracing measures to monitor the reach of exposure of infected people. In India most of the bank accounts were linked with the Aadhar card of their owners. Using Aadhar number as identity. If person use to buy anything from nearest store and pay digitally. because paying digitally now days is a most safest option. By maintaining ledger of identity of person and the payments he had made with shopkeepers. Is easy to trace the contact he had made in specific period of time.

3)Voting system — In current situation social distancing plays a very important role to be safe from virus. In country like India which is densely populated it is very difficult to manage elections during pandemic. In this case online voting can be a solution. But voting over centralised system is not consider trustworthy and there are high chances of being hacked in an centralised system. Here blockchain plays very important role to assure trust over distributed system. And it is highly secure as compared to centralised system.

[ideaimateria]

HUBERMAN, G.Didi. (2010). Atlas ¿Cómo llevar el mundo a cuestas? Madrid. TF editores/ Museo Nacional Centro de Arte Reina Sofía.

http://www.museoreinasofia.es/publicaciones/atlas-como-llevar-mundo-cuestas

http://www.museoreinasofia.es/multimedia/atlas-entrevista-georges-didi-huberman

http://www.museoreinasofia.es/exposiciones/atlas-como-llevar-mundo-cuestas

http://www.museoreinasofia.es/actividades/leer-imagenes-leer-tiempo * https://www.mecd.gob.es/cultura-mecd/dms/mecd/cultura-mecd/areas-cultura/principal/novedades/museos/2010/atlas-como-llevar-el-mundo-a-cuestas/Reina_Atlas.pdf

Màquines per pensar:el Bilderatlas Mnemosyne d'Aby Warburg: És un mètode d'investigació heurística sobre la memòria i les imatges i procediment d'exploració i presentació de sistemes de relacions no evidents mitjançant tècniques de collage i muntatge: el Bilderatlas Mnemosyne. El procés permet el reposicionament d'imatges o la introducció parcial de nous elements, per establir noves relacions, un procés obert i infinit que crea una cartografia personal possibilitant constants relectures. Tot just desenvolupades abans de la seva prematura mort, les lliçons d'Aby Warburg impregnen tota la cultura visual esdevenidora. https://ca.wikipedia.org/wiki/Heur%C3%ADstica https://ca.wikipedia.org/wiki/Serendipitat https://warburg.sas.ac.uk/library-collections/warburg-institute-archive/online-bilderatlas-mnemosyne 

Bibliografia

Online BilderAtlas Mnemosyne | The Warburg Institute

https://zkm.de/en/media/video/aby-warburg-opening-of-the-colloquium

WARBURG, Aby . (2010). Atlas Mnemosyne. Madrid. Akal.

https://www.akal.com/libro/atlas-mnemosyne_34083/

https://elpais.com/diario/2010/05/01/babelia/1272672757_850215.html

CARTOGRAFÍAS DE LA MEMORIA. ABY WARBURG Y EL ATLAS MNEMOSYNE CARTOGRAPHY OF MEMORY. ABY WARBURG AND THE ATLAS MNEMOSYNE.

http://oa.upm.es/23211/1/INVE_MEM_2013_155825.pdf

El “Atlas Mnemosyne” es una obra del historiador de arte alemán Aby Warburg (1866-1929) iniciada en 1924, que quedó incompleta a causa de su muerte en 1929. El material despertó interés entre sus colegas y fue trasladado a Londres, pero no vio la luz hasta la publicación llevada a cabo por Martin Warnke, a través de la Akademie Verlag, en 2010.

http://proyectoidis.org/atlas-mnemosyne/

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[dmcreativestudio]

Ira Lombardia

She stopped ‘taking’ photographs ten years ago as a reaction against photography; now she uses archives. The big images at the back are from the Warburg Institute and the middle images are from the post-war archive of Harry Shunk and János Kender. The small images on top are found on the internet. When you put them altogether, it’s like you’re compressing and layering time and space in one image. The blue is her hands inserting herself into the work. She also created an app: If you scan the blue section of the photographs, it tells you to pick an image from your phone – like a picture of your cat – and then replaces the blue with that image like a projector, giving the audience the power to change the work. You get to be a part of the process, using technology to change the way you can experience art.

[architectnews]

Norman Foster Foundation Madrid

Norman Foster Foundation in Madrid, On Archives Masterclass, Digital X Workshop News, Spain

Norman Foster Foundation Madrid

Public debates in which practitioners from the fields of design and innovation, Spain

29 July 2021

Norman Foster Foundation ‘On Archives’ Masterclass Series

Madrid, 29th of July 2021 – The Norman Foster Foundation (NFF) presents the ‘On Archives’ Masterclass Series, a series which explores the fundamental aspects related to architectural archives and libraries around the world. Given by fourteen leading experts in the fields of archiving, architecture, art, design and heritage management, this video series supports the NFF’s extensive educational programme by promoting an exchange of knowledge across a range of geographic and disciplinary perspectives.

While archives have, for centuries, been the core of cultural, historic and artistic institutions, these online lessons also acknowledge the relevance of archives for the performance of other disciplines, such as architecture and design, and for the future of society. From the Canadian Centre of Architecture (CCA) to the Vatican Museums, speakers will touch on key themes such as the materiality of archives, the concept of interarchive, the challenges of digitising archive materials, new preservation methods based on a dynamic order and how to manage special collections, among other topics.

While archives have, for centuries, been the core of cultural, historic and artistic institutions, these online lessons also acknowledge the relevance of archives for the performance of other disciplines, such as architecture and design, and for the future of society. From the Canadian Centre of Architecture (CCA) to the Vatican Museums, speakers will touch on key themes such as the materiality of archives, the concept of interarchive, the challenges of digitising archive materials, new preservation methods based on a dynamic order and how to manage special collections, among other topics.

In addition to an introductory masterclass given by Norman Foster (President, Norman Foster Foundation, Madrid, Spain / London, UK / New York, USA), in which he considers the important role that archives play in anticipating the future, contributing speakers include the following experts:

Giovanna Borasi, Director, Canadian Centre for Architecture (CCA), Montreal, Quebec, Canada; Sol Camacho, Director, Instituto Lina Bo e P.M. Bardi – Casa de Vidro, São Paulo, Brazil; Estrella de Diego, Academician, Real Academia de Bellas Artes de San Fernando, Madrid, Spain; Michelle Elligott, Chief of Archives, Library and Research Collections, MoMA, New York, NY, United States of America; Patricia Hartmann, Director, Sitterwerk Foundation, St. Gallen, Switzerland; Charles Hind, Chief Curator & HJ. Heinz Head of Drawings, British Architectural Library, RIBA, London, United Kingdom; Barbara Jatta, Director, Vatican Museums, Vatican City, Italy; Valerie Maasburg, Director, Bookshop and Artist’s Books Collection, Ivorypress, Madrid, Spain; Hans Ulrich Obrist, Artistic Director, Serpentine Galleries, London, United Kingdom; Mar Perez Morillo, Head of Division of Digital Processes and Services, Biblioteca Nacional de España, Madrid, Spain; Marcia Reed, Chief Curator, Associate Director and Head of Special Collections and Exhibitions, Getty Research Institute, Los Angeles, CA, United States of America; Mathias Schwartz-Clauss, Director, Domaine de Boisbuchet, Lessac, France; Bill Sherman, Director, The Warburg Institute, London, United Kingdom.

As part of the NFF’s upcoming digital initiatives, the ‘On Archives’ Masterclass Series will be soon followed by the release of the ‘Future Cities’ Conversation Series, a virtual dialogue series in which Norman Foster will reflect on the future of cities alongside ten leading voices and visionaries, as well as the release of the ‘On Archives’ Conversation Series, another virtual dialogue conducted by academician Estrella de Diego and art curator Hans Ulrich Obrist on the most compelling issues related to archives and libraries.

The masterclasses included in this series are part of the Norman Foster Foundation’s Education + Research Programme and have been developed thanks to the research fellowships supported by BYD, Crankstart Foundation, David and Nina Fialkow, Ford Foundation, Lisa and Richard Cashin and the Rolex Institute.

The ‘On Archives’ Masterclass Series is currently available for viewing on Youtube.

24 Jan 2019

Norman Foster Foundation Digital X Workshop 2019

The natural world and the artificial world are becoming interchangeable. Change will happen very rapidly

18 – 22 February 2019

• The Norman Foster Foundation presents the second edition of its annual Digital X Workshop with public debates in which practitioners from the fields of design and innovation will participate, including Amber Case, W. Daniel Hillis, Mary Lou Jepsen, David Moinina Sengeh, Nicholas Negroponte and Ben Vickers.

• The 2019 Digital X Workshop is designed to pose key questions and come up with some considered conclusions in a week-long event hosted in the Madrid headquarters of the Norman Foster Foundation.

• A distinguished group of specialists will engage with ten selected students from ten universities around the world who share a common interest in the subject. The workshop mentor is Nicholas Negroponte, co-founder and former director of MIT Media Lab.

Image from the first edition of the Norman Foster Foundation Digital X Workshop (2018) photo © Norman Foster Foundation

Madrid, 23 January 2019

The second edition of the Norman Foster Foundation Digital X Workshop will take place on 18-22 February 2019, in association with e-flux Architecture. ‘All things digital are simultaneously local and global, large and small, inside and outside of any given boundary’ states workshop mentor Nicholas Negroponte. ‘The digital world brings together previously separate worlds, like those of discovery, invention and expression. It does that because it has become the DNA of each. The natural world and the artificial world are becoming interchangeable. Change will happen very rapidly. Fasten your seatbelts.’

With that concept as a background, the workshop is designed to pose an key questions and come up with some considered conclusions . Can you build a city without infrastructure: no roads, no sewers, no water or power? Why bother? The answer is to renovate slums without bulldozing them, which is something that could impact two or three billion people. Call it a new autonomy, that of a house or a small community, taking some pages from outer space and bringing them back to earth.

The Academic Body spans a wide range of practitioners from the fields of design and innovation, including Amber Case, Co-founder of CyborgCamp, Cambridge, MA, United States; W. Daniel Hillis, Co-founder of Thinking Machines Corporation and of Applied Invention, Cambridge, MA, United States; Mary Lou Jepsen, Founder of Openwater, San Francisco, CA, United States; Hasier Larrea, Founder and CEO of Ori Inc., Cambridge, MA, United States; David Moinina Sengeh, Chief Innovation Officer at the Government of Sierra Leone, Freetown, Sierra Leone and Ben Vickers, Chief Technology Officer at the Serpentine Gallery, London, United Kingdom

After reviewing applications submitted by hundreds of candidates from around the world, the selection committee awarded ten scholarships to students from the following universities and institutions: American University of Beirut, Beirut, Lebanon; American University in Dubai, Dubai, United Arab Emirates; Ashesi University, Berekuso, Ghana; Cambridge University, Cambridge, United Kingdom; Cape Town University, Cape Town, South Africa; Delft University of Technology, the Netherlands; George Washington University, Washington, DC, United States; Illinois Institute of Technology, Chicago, IL, United States; Polytechnic University of Madrid, Madrid, Spain and the University of Hong Kong, Hong Kong, China.

These ten students will be asked to park reality at the door. Inviting them to bring their most advanced thinking, craziest ideas, whether they relate to architecture or not, to apply them, their derivatives or simply their point of view to the needs of the world’s poorest people, especially the increasing number who live in slums.

The Digital X Workshop will include seminars, lectures, one-to-one tutoring and architectural tours to learn more about the context of Madrid culminating in a five day workshop led by the Atelier mentor, Nicholas Negroponte, co-founder and former director of MIT Media Lab.

e-flux Architecture will join this year’s edition of the Digital X workshop as its editorial partner. Editors Nikolaus Hirsch and Nick Axel will conduct a series of interviews during the duration of the workshop, the result of this joint initiative will be unveiled in Spring 2019.

Public Debates

Tuesday 19 February 2019, 12:30 p.m. – 2:20 p.m. Fundación Francisco Giner de los Ríos Paseo del General Martínez Campos 14, 28010, Madrid, Spain With the participation of Amber Case, W. Daniel Hillis, Mary Lou Jepsen, David Moinina Sengeh, Nicholas Negroponte and Ben Vickers.

Tim Stonor, Managing Director of Space Syntax, London, United Kingdom, and part of the Advisory Board of the Norman Foster Foundation, will chair the debates.

e-flux Architecture

e-flux Architecture is a sister publishing platform of e-flux, archive, and editorial project founded in 2016. The news, events, exhibitions, programs, journals, books, and architecture projects produced and/or disseminated by e-flux Architecture describe strains of critical discourse surrounding contemporary architecture, culture, and theory internationally.

Since its inception, e-flux Architecture has maintained a dynamic international program of projects and events in collaboration with leading institutions and practitioners. Editorial content commissioned and published by e-flux Architecture consistently showcases rigorous, critical, sincere and engaged theoretical work being produced today in and around the fields of architecture, urbanism, and design. For more information, visit https://ift.tt/377zaPr

7 Sep 2018

Norman Foster Foundation Urban Mobility Workshop

Could the new technologies change the reality and perception of new ways of transportation?

Dates: 17-21 Sep 2018

Location: Monte Esquinza 48, Madrid, Spain

The Norman Foster Foundation presents its Urban Mobility Workshop with a public debate with the participation of Alfredo Brillembourg, Tilly Chang, Norman Foster, Carlo Ratti and Tim Stonor. The 2018 Urban Mobility public debate will explore how new technologies could open up an exciting range of opportunities in the infrastructure of movement.

Norman Foster Foundation Urban Mobility Workshop

26 May 2018

Norman Foster Foundation Madrid News

Norman Foster Foundation presents its annual ‘On Cities’ Workshop with the support of Bloomberg Philanthropies

NORMAN FOSTER FOUNDATION WORKSHOP 18-22/06/2018 – ON CITIES

• The 2018 On Cities Workshop will explore the premise that emerging urban innovations can create more livable, entrepreneurial communities and dramatically reduce resources consumed by cities, in a week-long event hosted in the Madrid headquarters of the Norman Foster Foundation.

• A distinguished group of specialists will engage with ten selected students from ten universities around the world sharing a common interest in the subject. This year’s workshop mentor is Kent Larson, Director of MIT Media Lab City Science Group and Initiative.

Madrid, 25 May 2018

The Norman Foster Foundation On Cities Workshop will take place on 18-22 June 2018, supported by Bloomberg Philanthropies, closing the 2017-2018 Educational programme initiative. The workshop will focus on Autonomous Innovative Communities, selecting a district in Madrid as a case-study for a research project that will be developed throughout the week.

Can each community locally produce all of the energy, food, and clean water needed for basic living— requiring no centralised infrastructure? Can humans transition from ownership to sharing, while living and working in compact, agile, supportive environments? This workshop explores the premise that emerging urban innovations can dramatically reduce resources consumed by cities while simultaneously creating more livable, entrepreneurial communities.

‘We are living in an era of extreme urbanisation and rapid global warming’, states workshop mentor Kent Larson. ‘The challenges of both call for more than mere incremental adjustments.’

After reviewing applications submitted by hundreds of candidates from around the world, the selection committee awarded ten scholarships to students from the following universities and institutions: American University of Dubai, Dubai, United Arab Emirates; Harvard Graduate School of Design, Cambridge, United States; London School of Economics and Political Science, London, United Kingdom; Pontificia Universidad Católica de Chile, Santiago de Chile, Chile; Royal Danish Academy of Fine Arts, Copenhagen, Denmark; Technische Universiteit Delft, Delft, the Netherlands; Tongji University, Shanghai, China; Tsinghua University, Beijing, China; Universidad Politécnica de Cataluña, Barcelona, Spain and University of the Witwatersrand, Johannesburg, South Africa.

These ten students will engage with a group of specialists through a series of seminars and lectures culminating inafive day workshop led by the mentor Kent Larson, Director of MIT Media Lab City Science Group and Initiative, and his team.

The Academic Body spans a wide range of practitioners working in different fields interrelated with the City, including: Beatriz Colomina, Director of Graduate Studies, School of Architecture, Princeton University, Princeton, United States; Luis Cueto, General Coordinator for the Mayor in Madrid, Madrid City Hall, Madrid, Spain; Anupama Kundoo, Principal, Anupama Kundoo Architects, Madrid, Spain/Auroville, India; Winy Maas, Co-Founder and Director of MVRDV and Director of the Why Factory, Delft, the Netherlands; Tim Stonor, Managing Director of Space Syntax, London, United Kingdom; Leonor Tarrasón, Director of Environmental Solutions, Norwegian Institute for Air Research, Oslo, Norway; Belinda Tato and José Luis Vallejo, Founders and Directors of Ecosistema Urbano, Madrid, Spain/Miami, United States.

The On Cities Workshop will include seminars, lectures, one-to-one tutoring and urban architectural tours to learn more about the context of Madrid and it’s districts. During the course of the workshops, participants will have the opportunity to engage with the Norman Foster Foundation’s archive and research projects.

Nicholas Negroponte, Co-Founder and former Director of MIT Media Lab, Cambridge, United States will act as the Chief Advisor of the workshop tutoring the students through the research process.

As a way to disseminate knowledge and ideas, the public lectures will be recorded and documented for publication in series of annual books published by the Norman Foster Foundation

Public Debates

19th June 2018 6 p.m.- 8 p.m. Fundación Francisco Giner de los Ríos Paseo del General Martínez Campos 14, 28010, Madrid, Spain

6:00 p.m. – On Cities: Governance • Introduction by Kent Larson • Keynotes by Beatriz Colomina, José Luis Vallejo, Leonor Tarrasón and Luis Cueto • Debate between Beatriz Colomina, José Luis Vallejo, Leonor Tarrasón and Luis Cueto, moderated by Kent Larson

7:00 p.m. – On Cities: Transformations • Introduction by Workshop mentor Kent Larson • Keynotes by Winy Maas, Belinda Tato, Anupama Kundoo and Tim Stonor • Debate by Winy Maas, Belinda Tato, Anupama Kundoo and Tim Stonor, moderated by Kent Larson

8:00 p.m. – Wrap up • Dialogue between Norman Foster and Kent Larson

Bloomberg Philanthropies

Bloomberg Philanthropies works in over 120 countries around the world to ensure better, longer lives for the greatest number of people. The organisation focuses on five key areas for creating lasting change: Arts, Education, Environment, Government Innovation, and Public Health. Bloomberg Philanthropies encompasses all of Michael R. Bloomberg’s charitable activities, including his foundation, corporate and personal giving. In 2017, Bloomberg Philanthropies distributed $702 million.

For more information, please visit www.bloomberg.org or follow us on Facebook, Instagram, Snapchat, and Twitter.

8 Jan 2018 The Norman Foster Foundation presents its annual Digital X Workshop with the support of Future Planet Capital

NORMAN FOSTER FOUNDATION WORKSHOP

15-19 Jan 2018

DIGITAL X

• Norman Foster Foundation presents its first Digital X Workshop with the support of Future Planet Capital.

• The 2018 Digital X Workshop will explore the kinship of Architecture and the Digital World in a week-long event hosted in the Madrid headquarters of the Norman Foster Foundation.

• A distinguished group of specialists will engage with ten selected students from ten universities around the world sharing a common interest in the subject. This year’s Atelier mentor is Nicholas Negroponte, cofounder and former director of MIT Media Lab.

The first Norman Foster Foundation Digital X Workshop will take place on 15-19 January 2018, supported by Future Planet Capital.

‘All things digital are simultaneously local and global, large and small, inside and outside of a given boundary’, states Atelier mentor Nicholas Negroponte. ‘The digital world is not crisp; it is porous and diffuse. It brings together previously separate worlds, like those of discovery, invention and expression. It does that because it has become the DNA of each. Architecture does that too.’

What happens when the natural world and the artificial world become one and the same? How does society change when direct brain communication occurs among humans, and between humans and machines? The workshop will focus on this kinship, that of architecture and the digital world, how the two play together now, and how they will change the world together, going forward, discussing things that, outrageous today, will be commonplace tomorrow.

After reviewing applications submitted by hundreds of candidates from around the world, the selection committee awarded ten scholarships to students from the following universities and institutions: Architecture and Geomatics, University of Cape Town, South Africa; Architecture and Urbanismo Faculty (USP), Sao Paolo, Brazil; Bartlett School of Architecture, London, UK; Centre for Urban Science and Engineering IIT, Bombay, India; City Futures Research Centre, University New South Wales, Australia; National University of Singapore (NUS), Singapore; Stanford Department of Civil and Environmental, California, US; Technion Institute of Technology, Tel Aviv, Israel; Technische Universiteit Delft (TU), The Netherlands and Universidad Politécnica de Madrid, Madrid, Spain.

These ten students will develop an essay ontheme of Digital X tutored by a group of specialists through a series of seminars and lectures culminating in a five day workshop led by the Atelier mentor, Nicholas Negroponte, co-founder and former director of MIT Media Lab.

The Academic Body includes: Ricky Burdett, Director of LSE Cities and Urban Age Programme; Hugh Herr, Co-Director of the MIT Center for Extreme Bionics; Kent Larson, Director of MIT City Science Iniacitive; Amanda Levete, Founder and Principal of AL_A; Greg Lynn, Professor at UCLA School of Arts and Architecture; Farshid Moussavi, Principal of Farshid Moussavi Architecture and Benedetta Tagliabue, Principal of Miralles Tagliabue EMB Architects.

The Digital X Workshop will include seminars, lectures, one-to-one tutoring and architectural tours to learn more about the context of Madrid. Architectural critic and writer Jonathan Glancey will act as the Editor-inChief of the workshop tutoring the students to think ahead and to elaborate an essay with their personal view on the subject

As a way to disseminate knowledge and ideas, the public lectures will be recorded and documented for publication in series of annual books published by the Norman Foster Foundation. During the course of the workshops, participants will have the opportunity to engage with the Norman Foster Foundation’s archive and research projects.

Public Debates

16th January 2018 at Colegio Oficial de Arquitectos Madrid – COAM (Hortaleza, 63, 28004 Madrid, Spain)

• 6:00 p.m. – 6:30 p.m.: Keynote by Nicholas Negroponte • 6:30 p.m. – 7:00 p.m.: Dialogue between Hugh Herr and Kent Larson, moderated by Ricky Burdett. • 7:00 p.m. – 7:30 p.m.: Dialogue between Greg Lynn and Benedetta Tagliabue, moderated by Luis Fernández-Galiano. • 7:30 p.m. – 8:00 p.m.: Dialogue between Norman Foster and Amanda Levete, moderated by Jonathan Glancey

31 Oct 2017 Norman Foster Foundation Robotics Atelier 2017

NORMAN FOSTER FOUNDATION ATELIER 2017 – ROBOTICS

• Norman Foster Foundation presents its first annual Robotics Atelier with the support of the Rolex Institute

• This year’s Robotics Atelier, related to design and building, will be explored in a week-long event hosted in the Madrid Headquarters of the Norman Foster Foundation.

• A distinguished group of specialists will engage with ten selected students from ten universities around the world who share a common interest in the subject. This year’s Atelier mentor is Professor Mathias Kohler from the Swiss Federal Institute of Technology (ETH) in Zurich.

Norman Foster Foundation, Madrid, Spain, 2017: photo © Luis Asín © Norman Foster Foundation

The first Norman Foster Foundation Robotics Atelier will take place on 20-24 November 2017, supported by the Rolex Institute.

Society is on the edge of being transformed through robotics and artificial intelligence. These technological innovations have the potential to change every aspect of our lives in far-reaching ways. Last June, in the Norman Foster Foundation’s inaugural forum ‘Future is Now’, a glimpse was given into how the world of construction would be revolutionised by these developments in what could prove to be a second digital era.

Ten scholarships have been given to students selected by the following universities and institutions: The Bartlett School of Architecture, University College London, UK; Institute for Computational Design and Construction (ICD), Stuttgart, Germany; Universidad Politécnica de Madrid (UPM), Madrid, Spain; National University of Singapore (NUS), Singapore; Indian Institute of Technology (IIT), Mumbai, India; Massachusetts Institute of Technology (MIT), MA, USA; Universidad Iberoamericana de Ciencias y Tecnología, Santiago, Chile; Ashesi University, Accra, Ghana; Swiss Federal Institute of Technology (ETH), Zurich, Switzerland; Institute for Advanced Architecture of Catalonia (IAAC), Barcelona, Spain.

The selected students will engage with a group of specialists through a series of seminars and lectures culminating in a five days workshop led by the Atelier mentor, Professor Mathias Kohler and his team. Leading robotics manufacturer Universal Robots will loan three units of their highly flexible robot arm, the UR5 Robot, to the Atelier.

Contributors to the workshop include Luis Miguel Ciprés, CEO of Barrabés Next, Pablo Jarauta, Coordinator of the European Institute of Design (IED) Scientific Committee, Amelie Klein, Curator at Vitra Museum, and Gijs Van der Velden, Co-CEO of MX3D.

The Robotics Atelier will include workshops, seminars, lectures, one-to-one tutoring, and development of projects by the students. As a way to disseminate knowledge and ideas, the public lectures will be recorded and live-streamed through the Norman Foster Foundation’s website: https://ift.tt/33XGpYI. The lectures will be documented for publication in an annual series published by the Norman Foster Foundation.

During the course of the workshops, participants will have the opportunity to engage with the Norman Foster Foundation’s archive and research projects.

Public lectures

22nd November at Auditorium Fundación Telefónica – Fuencarral 3 28004 Madrid, Spain

• 18:00 h Lecture “The Robotic Touch” by Matthias Kohler, Gramazio Kohler Research, ETH Zurich, Switzerland

• 19:00 h Matthias Kohler in conversation with Amelie Klein, Curator, Vitra Design Museum, Weil am Rhein, Germany

NORMAN FOSTER FOUNDATION

The Norman Foster Foundation promotes interdisciplinary thinking and research to help new generations of architects, designers and urbanists to anticipate the future. We believe in the importance of connecting architecture, design, technology and the arts to better serve society and in the value of a holistic education that encourages experimentation through research and projects. The Norman Foster Foundation holds the Norman Foster Archive and Library, which provide a window into the larger narrative and history of our built environment through the work of Norman Foster.

The Norman Foster Foundation is based in Madrid and operates globally.

ROLEX INSTITUTE – Encouraging individual excellence through philanthropy and education

Driven by an unwavering pioneering spirit, Rolex SA is renowned for its many technical innovations in watchmaking that have made it a symbol of excellence around the globe. The company brand values of quality, know-how and individual achievement pervade all of its endeavours. Rolex is closely linked to many of the world’s highest achievers and, since its beginnings, has supported visionary men and women in a variety of fields.

The Rolex Institute embodies this philosophy. Comprising the company’s philanthropic programmes and educational initiatives, it aims at recognizing excellence and making a significant contribution to society.

23 Sep 2017

Norman Foster Foundation

Norman Foster Foundation in Madrid

“I believe that cities can change the world for good. They are doing so. Cities are the future now.” — Norman Foster

On June 1st 2017, the Norman Foster Foundation officially launched in Madrid with the forum, ‘Future is Now’. Scholars, students, thinkers, and practitioners from the fields of architecture, design, and technological innovation were invited to discuss the most pressing concerns regarding the built environment.

The forum successfully challenged preconceived ideas about the future of our cities through diverse points of view.

Forum – Future is Now | Norman Foster Foundation from Norman Foster Foundation on Vimeo.

More than 2,100 people attended the event, 1,057 of whom were students from 32 international universities.

To watch the complete forum go to Forum – Future is Now.

Address: Norman Foster Foundation, Monte Esquinza 48, 28020 Madrid, Spain

Architecture in Madrid

Madrid Architecture Design – chronological list

Madrid Architecture News

Madrid Architectural Tours by e-architect

Norman Foster – Key Projects

Featured Foster + Partners designs, alphabetical:

Chek Lap Kok, Hong Kong Norman Foster airport

Hong Kong & Shanghai Bank, Hong Kong HSBC Bank Building

Stansted Airport, London area Stansted Airport

Hotel Puerta America, Madrid, Spain Hotel Puerta America

Pritzker Prize Winner 1999

RIBA Gold Medal Winner 1983

Norman Foster Book

RIBA Norman Foster Travelling Scholarship

Carré d’Art-Nîmes Architecture Exhibition, France Carré d’Art-Nîmes Exhibition

Foster + Partners – Venice Architecture Biennale : Common Ground, Italy Venice Biennale British Pavilion

RIBA Norman Foster Travelling Scholarship – Winner News image of Norman Foster

Foster + Partners Prize

Architecture Studios

Buildings / photos for the Norman Foster Foundation Madrid page welcome

Website: www.fosterandpartners.com

The post Norman Foster Foundation Madrid appeared first on e-architect.

[objecteiespai]

Les maletes de Walter Benjamin. Dispositius migratoris

... con motivo del 125º aniversario del nacimiento de Benjamin en la capital alemana. Es una muestra de pequeño formato, pero densa e intensa. Reúne maletas llenas de recuerdos, secretos y esperanzas, artefactos imaginarios creados por jóvenes artistas a partir de la lectura de Las tesis de la Filosofía de la Historia, el principal ensayo del radical pensador, aun hoy crucial para entender la realidad. ¿Era una copia de este libro lo que llevaba Benjamin en su célebre maleta cuando huyó de Alemania perseguido por judío y marxista?

 https://ca.wikipedia.org/wiki/Angelus_Novus

Su idea era embarcarse para Estados Unidos, donde le esperaba el filósofo Theodor Adorno, pero al llegar a la frontera española fue identificado por la Gestapo. Para evitar que le deportasen al día siguiente, Benjamin se habría suicidado la noche del 26 de septiembre de 1940 en un anónimo cuarto del modesto Hotel de Francia. “Lo que contenía la maleta sigue siendo un enigma. Quizás fuera el manuscrito de Las tesis..., pero también podía ser la morfina a la que era adicto y que finalmente utilizó para provocarse una sobredosis”, explica la historiadora del arte Pilar Parcerisas, comisaria del proyecto, si bien muchos piensan que fue asesinado tal y como se recoge en el documental ¿Quién mató a Walter Benjamin?, de David Mauas...

https://www.ccma.cat/tv3/alacarta/el-documental/qui-va-matar-walter-benjamin-/video/5554696/

http://artssantamonica.gencat.cat/es/detall/Les-maletes-de-Walter-Benjamin.-Dispositius-migratoris

Bibliografia:

https://www.circulobellasartes.com/libros/atlas-constelaciones/

https://www.circulobellasartes.com/benjamin/

http://www.circulobellasartes.com/benjamin_constelaciones/

https://ca.wikipedia.org/wiki/Angelus_Novus

http://www.enriquevilamatas.com/obra/l_haliteraturaportatil.html

https://www.anagrama-ed.es/libro/narrativas-hispanicas/historia-abreviada-de-la-literatura-portatil/9788433917232/NH_23

en relació:

Màquines per pensar:el Bilderatlas Mnemosyne d'Aby Warburg: És un mètode d'investigació heurística sobre la memòria i les imatges i procediment d'exploració i presentació de sistemes de relacions no evidents mitjançant tècniques de collage i muntatge: el Bilderatlas Mnemosyne. El procés permet el reposicionament d'imatges o la introducció parcial de nous elements, per establir noves relacions, un procés obert i infinit que crea una cartografia personal possibilitant constants relectures. Tot just desenvolupades abans de la seva prematura mort, les lliçons d'Aby Warburg impregnen tota la cultura visual esdevenidora.

https://www.museoreinasofia.es/exposiciones/atlas-como-llevar-mundo-cuestas

https://warburg.sas.ac.uk/collections/warburg-institute-archive/bilderatlas-mnemosyne/mnemosyne-atlas-october-1929

[writing-after-the-disaster]

“I envisage as a description of the aims of my library the [following] formulation: a collection of documents relating to the psychology of human expression. The question is: how did verbal and pictorial expression originate; what are the feelings or points of view, conscious or unconscious, under which they are stored in the archives of memory? Are there laws to govern their formation or reemergence?” Aby Warburg

“The rhythmical change between the identification with the object and the return to detachment signifies that oscillation between the cosmology of images and that of signs which, in its adequacy or failure as an instrument of psychological orientation, determines the fate of human civilization. The artistic type who thus wavers between a religious and a mathematical conception of the world is, therefore, assisted in peculiar fashion both by the memories of the collective and of the general.” Warburg, quoted in  E.H. Gombrich, Aby Warburg: An Intellectual Biography (London: The Warburg Institute, 1970), 289.

“But every twilight needs its dawn. And here it is called the gay science or – in every sense of the word – the human science; that which never removes the subject from its object: ‘It will do to consider science as an attempt to humanize things as faithfully as possible; as we describe things and their one-after-another, we learn how to describe ourselves more and more precisely.… It is, also, to consent to the appearance of phenomena and thereby to ‘be able to stand above morality – and not only to stand with the anxious stiffness of a man who is afraid of slipping and falling any moment, but also to float above it and play!’

…Warburg’s two contemporaries who were also the thinkers and the practitioners of a genuine visual gay science. The first is Sergei Eisenstein who, in Film Forms: Essays in Film Theory, written between 1935 and 1937, evokes cinematographic montage in terms of a survival or an emotional reviviscence, very close to that of Heine’s Gods in Exile, as well as the Nachleben of Warburg.… The second is Georges Bataille, who sought to make the journal entitled Documents a genuine atlas of images – one that was exactly contemporary to Mnemosyne – animated by an energy of hierarchical reversals typical of the Nietzschean gay science.”

Georges Didi-Huberman, ed., Atlas: How to Carry the World on One's Back? Exhibition Catalogue (Madrid: Museo Nacional Centro de Arte Reina Sofía, 2010), 81.

[fabiansteinhauer]

Stewart House

Vorläufig woanders: Das WIA.

[websterdadahblog]

Please join us this Friday (2/22) for the DADAH Friday Forum lecture at noon in SV123.  This week, Brittany Luberda will discuss the psychiatric treatment and art historical projects of German art historian and cultural theorist Aby Warburg in her lecture “Warburg’s Object in Archive, Asylum, and ‘Atlas.’” Brittany Luberda is currently the Decorative Arts and Design Research Assistant at Saint Louis Art Museum, specializing in 18th and 19th century European and American objects. She holds degrees from the University of Chicago and Southern Methodist University. Prior to her position at SLAM, Luberda had curatorial experience at The Frick Collection in New York, the Art Institute of Chicago, and the Dallas Museum of Art. This event is free and open to the public.

[extendingmuseum]

Biblioteca warburg - niente ordine alfabetico – ma l’invito al lettore a costruirsi all’interno degli scaffali (ovviamente aperti, cosa anch’essa piuttosto innovativa per l’epoca) il proprio percorso di lettura e di scoperta del sapere, o meglio dei saperi. “la biblioteca warburg riflette il lavoro del suo fondatore, concepita come un itinerarium mentis che conduce lungo possibili sentieri, mai verso sbocchi predeterminati”. Mnemosyni nella mitologia greca il nome della Memoria, madre delle Muse Mnemosyne è un atlante figurativo composto da una serie di tavole, costituite da montaggi fotografici che assemblano riproduzioni di opere diverse.  

La giustapposizione di immagini, impaginate in modo da tessere più fili tematici attorno ai nuclei e ai dettagli di maggior rilievo, crea campi di energia e provoca lo spettatore a un processo interpretativo aperto. 

[khaos520-blog]

The inquiry, birth of the NWO in America

The inquiry

Woodrow wilson was a globalist who created wilsonianism which is liberal internationalism. The inquiry was the team col.house and woodrow wilson formed to create wilsons 14 points and to be delegates at the treaty of Versailles which called for the platform of a global government the league of nations covenant. They chopped up europe, imposed penalties including reparations on germany that was unsustainable and tons of other stipulations that hindered germany which lead to ww2 and destroyed the league of nations. The inquiry today is known as the infamous Council on Foreign Relations. The CFR is the promotional arm of the Ruling Elite in the United States of America. Most influential politicians, academics and media personalities are members, and it uses its influence to infiltrate the New World Order into American life. The Council on Foreign Relations (CFR) is also known as Pratt House. Created and funded by the richest and most powerful people in the United States and is more powerful than the federal government itself. jp Morgan, paul warburg, jacob schiff, otto kahn, allen dulles, david rockefeller, walter lippman, Herbert hoover, and many other notable figures created the CFR. The wealthist globalist internationalist bankers in the world created the council on foreign relations, they created the federal reserve, federal income tax, IRS, and controls the state department, CIA and much more, nearly everything, not to mention their media empire. The CFR dominates all media. Only 6 corporations owns over 90% of all media outlets and all are controlled by the CFR. Since 1966 every CIA Director has belonged to the Council on Foreign Relations. The CFR even controls the National Security Counsil.

Today the CFR is considered americas ruling establishment, they are the deep state that has been pushing marxist global governance since its inception. They have entire committes that makes propaganda . Sigmund freuds nephew edward barnays is known as the father of consumerism and public relations who worked on americas first propaganda campaign, the committee on public information, pioneer in the field of public relations and propaganda, and was a founding CFR member. Another propagandist and founding member of the CFR was Walter lippman. He wrote books on propaganda and coined the term "manufacturing consent," and was also instrumental in the committe on public information which was created to make americans more pro war and anti german, and it worked. Paul warburg of the Warburg banking dynasty is considered the father of the federal reserve, our economy and was a founding member of the globalist CFR, his brother in law jacob schiff was one of the richest people in america and his family has been partners with the rothchild banking dynasty since the 19th century, his father was a broker and the family shared a house with them. Schiff was a Rothschild agent.

Another founding influential member of the CFR is nelson aldrich who proposed the original name of the federal reserve, the aldrich plan but warburg came up with an ingenius name, the federal reserve which isnt federal and has no reserves. Nelson aldrich married into the rockefeller family and the culmination of power lead to nelson aldrich rockefeller as vice president of the united states. Both schiff and warburg married into the kuhn and loeb banking empire. Biden is CFR, bush jr is CFR, clinton is CFR, and bush sr was CFR, every administration has been filled with at least 100 globalist CFR members since woodrow wilson. The CFR is america, they dominate everything including the pentagon and homeland security, they are considered the secret government. The CFR utilizes the Tavistock institute for behavioral analysis for the social engineering of the population through mass media. The Tavistock institute was created for brainwashing techniques and psychological warfare with great success.

The CFR and its members have control of 2/3rds of americas wealth. Their goal has been to destroy america to be a subservient member of their marxist globalist government at the united nations. They have influential members and powerful corporate organizations throughout america, and like ive said they control the media, they teach our children in school, who do you think created the department of education and its curriculum? John Dewey is considered the father of progressive education was also a radical socialist and internationalist who worked closely with the globalist to indoctrinate children to their agenda with funding from the Rockefeller, Ford, and Carnegie foundations who created modern school curriculum and funded eugenics. They have the tools to indoctrinate every one. Jacob schiff gave millions to support communism in russia with the agreement that the bankers are in control over russia. These elitist bankers wish for global communism where only they have freedom. Its been going on for a century and has gained massively. The United Nations headquarters in New York City sits on 16 acres of land purchased with an $8 million donation made in 1946 by John D. Rockefeller Jr. Woodrow wilsons 2 closest friends were marxist and white supremacists, wilson watched the birth of a nation with best friend and director of the movie thomas dixon which is pro KKK and wilsons closest advisor col. house gave him a copy of his book "phillip dru administrator", which described a marxist takeover of america with government controlling and owning everything advocated for many marxist ideas, a private central bank, and for a federal income tax, and several more. col. House was also a marxist. So woodrow wilsons friends were marxist and klansmen, both bigots

Its clear these elitist are planning a new world order, CFR member, ex president, and ex CIA director bush sr said in a speech that the globalist will be successful in creating this NWO which he admits is the united nations. Hes a member of the deep state, and is a globalist. Theyve worked 24/7 for 100 years and probably spend a few hundred billion to complete their agenda of enslaving the rest of mankind under agenda 21/2030 system. The clintons are hardcore globalist and they are democrats, the bushes support globalism and they are republicans so its clear they have control over our political systems too. These are the people who fund and profit from war, they have enough money to end world poverty but instead spend it on trying to enslave us all under their tyrannical oligarchy. These same banks who have been sucking us dry for a century has plans for us, which is a life i want no part of. The banks were the first institutions to be internationalistic and they want control over the entire planet and its resources, with everyone and everything in it. 70 years ago all this was in the realm of conspiracy theory but today they dont deny it, global government is now legit conspiracy fact. They create policy in favor of globalism, not american interest which they wish to destroy so we're subservient to their tyrannical world government.

CFR member and bill clintons buddy strobe talbott who clinton chose to be deputy secretary of state under his administration. Talbott was founding director of the Yale Center for the Study of Globalization. Talbott was named by Secretary of State Hillary Clinton as chair of the U.S. State Department’s Foreign Affairs Policy Board. He also worked for time magazine where he published an article called, “birth of a global nation” which you can find it online where he goes into detail on how nations arent so great and globalization is better. He won the Global Impact Award signed by his buddy bill clinton who is a CFR member and a trilatteral commission member and Chelsea is CFR too. If you read the article he states america will cease to exist and the nation’s of the world will submit to a single global authority. Right out of mainstream Times magazine from a globalist and council on foreign relations leader. Strobe talbott was president of the brookings institute for 15 years. Cant get much more clear than this.

The bilderberg group, committee of 300, club of rome, trilateral commission, Rand corporation, and brookings institute are all globalist organization think tanks headed by CFR members, along with financial institutions like the IMF, Bank of international settlements, and the world bank. The Royal institute of International Affairs also called Chatham House is the CFR's sister organization in London. According to the grace commission report every nickel of our federal income tax goes directly to the shareholders of the federal reserve for printing money out of thin air and loaning to our government at interest. The fed is not part of the government its a private central bank which is directly from marxs 10 planks of the communist manifesto, which we have all 10 planks in place today here in america. With the help of the CFR, col. Houses book became reality a few years after the CFR was formed.

Professor Carrol Quigley was bill clintons mentor at Georgetown university and he was allowed by the CFR to research their secret archives. Clinton even acknowledged quigley at his presidential inauguration speech which you can find on YouTube . He wrote the book, "Tragedy and Hope", in favor of the globalist which he details the scope of the agenda of the CFR.

“The powers of financial capitalism had another far-reaching aim, nothing less than to create a world system of financial control in private hands able to dominate the political system of each country and the economy of the world as a whole. This system was to be controlled in a feudalist fashion by the central banks of the world acting in concert, by secret agreements arrived at in frequent meetings and conferences. The apex of the systems was to be the Bank for International Settlements in Basel, Switzerland, a private bank owned and controlled by the world’s central banks which were themselves private corporations. Each central bank…sought to dominate its government by its ability to control Treasury loans, to manipulate foreign exchanges, to influence the level of economic activity in the country, and to influence cooperative politicians by subsequent economic rewards in the business world.” (Georgetown University Professor Carroll Quigley,

“It is this power structure which the Radical Right in the United States has been attacking for years in the belief that they are attacking the Communists” - quigley

"The argument that the two parties should represent opposed ideals and policies… is a foolish idea. Instead, the two parties should be almost identical, so that the American people can throw the rascals out at any election without leading to any profound or extensive shifts in policy. Then it should be possible to replace it, every four years if necessary, by the other party which will be none of these things but will still pursue, with new vigor, approximately the same basic policies." -quigley

“There does exist, and has existed for a generation, an international Anglophile network which operates, to some extent, in the way the radical Right believes the Communists act. In fact, this network, which we may identify as the Round Table Groups, has no aversion to cooperating with the Communists, or any other groups, and frequently does so. I know of the operations of this network because I have studied it for twenty years and was permitted for two years, in the early 1960’s, to examine its papers and secret records. I have no aversion to it or to most of its instruments. I have objected, both in the past and recently, to a few of its policies…but in general my chief difference of opinion is that it wishes to remain unknown, and I believe its role in history is significant enough to be known.” (Georgetown University Professor Carroll Quigley,

Going through the historical and modern member roster which is full of asses like cheney and Kissinger among 100s of other corrupt elitist, you can see they're very powerful and influential people, its like looking at a list of the ruling class of America.

The fathers of modern democratic party was woodrow wilson and his protege FDR who were both globalist, FDR was a communist sympathizer, and both were known to be major bigots, the CFR was the evolution of wilsonianism which the main liberal internationalist organization is the CFR. These people rule america. George soros is a CFR member who has spent well over a billion in his lifetime to destroy america, our heritage and culture which stands in the way of their globalist plans. Soros is the democratic party, so for democrats to be marxist and globalist makes sense since the founders of modern democratic party were marxist, globalist and bigots. The CFR is powerful and they are the deep state which has killed to silence those who oppose their agenda. Wilson helped create the league of nations and FDR helped create the united nations. Both were globalist which makes them anti-American. FDR affectionately referred to the paranoid mass murderer maniac joseph stalin as, “ uncle joseph.” It’s sad when acting president supported communism which has killed over 100 million people throughout its attempts in China and russia alone. He was also the first president to be bugged by the communist, according to the CIA.

The federal reserve has been connected to the CFR since their inceptions and nearly all chairman of the federal reserve has been CFR members, alan greenspan for example and chairman of FED now is a CFR member, Jerome powell. Both organizations were made by the same people. FDRs uncle was vice governor of the federal reserve board. He was one of the five members appointed by President Woodrow Wilson to the first Board. Kinda funny wilson appointed FDRs uncle to this position. Total corruption. There has been several presidents who are CFR members, which barely has 5,000 members, even less back then. What are the odds right? Theres no getting around the fact the wealthiest people in the world are pushing global government under their control and they are definitley doing slimey things to achieve this goal theyve been working on for a century. Nothing but total control over the entire world.

FDR unconstitutionally seized all of american citizens gold, about 20,000 tons with executive order 6102. But of course you were able to trade in actual valued precious metals for worthless paper fiat money. Do you know why they did that? To bail out the federal reserve which drove our economy into the ground in less than 20 years, but dont worry about that just give us your valuables and we wont arrest you. The federal reserve destroyed our economy on purpose than america had to give up all its gold to the rich criminals who orchestrated the depression to begin with. We have been bankrupt and in debt to the fed since its creation, we do nothing. FDR was a hardcore globalist freemason who put the illuminati symbology with the pyramid with 13 steps and the all seeing eye above it on the dollar bill, which is secret society symbolism. Novus ordo seclorum translates to “A new order of the ages." Considering FDR helped create the united nations, this must be the new order as other globalist like bush has spoken about.

Again i reiterate we have ex president, CFR member and ex director of globalist CIA, George bush sr gave a speech speaking of the NWO and how they Will be successful which shows me this is a calculated agenda, he goes onto say the united nations is this new world order, you cant be any clearer on this, from an elitist himself which was a giant in the deep state . The evidence is here if you dont believe in the NWO than you need to wake up or else before you know it youll be living under their system, the same people who fund and profit from war. The united nations has called for a global government built on international socialism, which is communism.

"Some even believe we [Rockefeller family] are part of a secret cabal working against the best interests of the United States, characterizing my family and me as ‘internationalists’ and of conspiring with others around the world to build a more integrated global political and economic structure - One World, if you will.If that’s the charge, I stand guilty, and I am proud of it.” -David Rockefeller pg 405 of his memoirs.

With executive order 11110 Kennedy planned to end the federal reserve, he also was working on dismantling the CIA, “splinter the C.I.A. in a thousand pieces and scatter it to the winds.” the CIA and FED both internationalist organizations that was created and dominated by globalist. So these attacks on the CIA and FED would have affected the globalist agenda deeply. After his assassination both objectives were swept under the rug and forgot about entirely, which is highly suspicious and we still have the CIA and FED today as powerful as ever. LbJ worked with the CFR and had globalis throughout his administration that immedietly undid JFKs efforts to eliminating their power structure. Kennedy was the first to challenge the globalist power structure, and he was assassinated for it. From his speech there is only one organization thats fits the description and its the council on foreign relations which controls the CIA, which assassinated JFK. The CFR back in Kennedy's day was a secret organization, a secret government, and as professor quigley stated they wished to remain anonymous at that time . He speaks of the media which is also controlled by globalist. Here is a speech given by JFK who warned us of a vast conspiracy to overthrow the United states and our values which stands in the way of the internationalist taking over the United States.

"The very word "secrecy" is repugnant in a free and open society; and we are as a people inherently and historically opposed to secret societies, to secret oaths and to secret proceedings. We decided long ago that the dangers of excessive and unwarranted concealment of pertinent facts far outweighed the dangers which are cited to justify it. Even today, there is little value in opposing the threat of a closed society by imitating its arbitrary restrictions. Even today, there is little value in insuring the survival of our nation if our traditions do not survive with it. And there is very grave danger that an announced need for increased security will be seized upon by those anxious to expand its meaning to the very limits of official censorship and concealment. That I do not intend to permit to the extent that it is in my control. And no official of my Administration, whether his rank is high or low, civilian or military, should interpret my words here tonight as an excuse to censor the news, to stifle dissent, to cover up our mistakes or to withhold from the press and the public the facts they deserve to know.

For we are opposed around the world by a monolithic and ruthless conspiracy that relies primarily on covert means for expanding its sphere of influence--on infiltration instead of invasion, on subversion instead of elections, on intimidation instead of free choice, on guerrillas by night instead of armies by day. It is a system which has conscripted vast human and material resources into the building of a tightly knit, highly efficient machine that combines military, diplomatic, intelligence, economic, scientific and political operations. Its preparations are concealed, not published. Its mistakes are buried, not headlined. Its dissenters are silenced, not praised. No expenditure is questioned, no rumor is printed, no secret is revealed. It conducts the Cold War, in short, with a war-time discipline no democracy would ever hope or wish to match." - john f kennedy.

[nicoleignn]

GLOSSARY OF TERMS

ABY WARBURG

Abraham Moritz Warburg, known as Aby Warburg (June 13, 1866 – October 26, 1929), was a German art historian and cultural theorist who founded a private Library for Cultural Studies, the Kulturwissenschaftliche Bibliothek Warburg, which was later moved to the Warburg Institute, London. At the heart of his research was the legacy of the Classical World, and the transmission of classical representation, in the most varied areas of western culture through to the Renaissance.

Warburg most well-known project was ‘Mnemosyne Atlas’, which has long remained a legend, even after its publication in 1993. From 1924-1929, Warburg concentrated his entire knowledge in this collection of images, which ultimately spanned 63 panels and encompassed almost a thousand individual pieces. He mostly used photographs and included illustrations from books, picture files, original graphics and newspaper clippings. The Warburg Institute’ is one of the world’s leading centres for studying the interaction of ideas, images and society. It is dedicated to the survival and transmission of culture across time and space, with a special emphasis on the afterlife of antiquity. It was founded at the end of the 19th Century. 

Warburg became very active in Hamburg’s cultural life and expanded his collection of books. In a lecture on Dürer and antiquity, he coined the term “Pathosformel” [pathos formula]; soon he was speaking of “Bilderfahrzeuge” [image vehicles] as well, those portable carriers, such as carpets, prints, and oil paintings, that made images mobile and dominated international communication along the “Wanderstrassen der Kultur” [pathways of culture], another of his coinages. He discovered the writings of Franz Boll, which opened up the field of astrology to him and drew his attention to the long distances by which the knowledge of antiquity had passed through the Arab world before returning to the European cultural sphere. Building on this foundation, Warburg was able, in 1912, to solve the riddle of the frescoes at the Palazzo Schifanoia in Ferrara, Italy. No one before him had realized that they must have been painted according to a detailed plan including descriptions of all the characters: the gods and heroes of Greek mythology, retranslated from Arabic sources. 

AUTHORSHIP

What makes the art of an artist really his/hers? Nowadays it seems like everything has already been invented. There are no original, new inventions because even the smallest part of the product is made out of something already existing. Every new song has a riff that was years ago already recorded; every upcoming movie has at least one scene that, in the best case, resembles some classic one; and every art piece is a variation of a work by a known or unknown artist somewhere in the world. Knowing all this, how can we claim authorship over anything? Still, thinking this way is quite radical. It would mean that no one actually owns anything and the whole perspective on history would be changed. However, this certainly raises some interesting questions. In the art world, some of the today’s most famous and renewed artists have based their artwork on remaking existing art and went through numerous lawsuits with the authors of the pieces. If we accepted the previous premise, it would mean that every single person in the world is a plagiarist of sorts. Even though we all know that it’s not that simple, it brings us to another, similar problem – when does art turn into forgery?

BRUTALISM 

It is a French term that translates as ‘raw art’. This word was invented by artist, Jean Dubuffet to describe art such as graffiti or naive art which is made outside the academic tradition of fine art. This can therefore be seen as lowbrow. Brutalism within web design is intended to make an impression on a user by breaking rules on functionality and aesthetics. It is now a trend that is becoming more popular which is majority aimed towards the younger audience . Some of the biggest companies in the world are on board with these trends and are making it a success. Brutalist Websites- In its ruggedness and lack of concern to look comfortable or easy, Brutalism can be seen as a reaction by a younger generation to the lightness, optimism, and frivolity of today's web design. Brutalist architecture flourished from 1951 to 1975, having descended from the modernist architectural movement of the early 20th century.[1] Considered both an ethic and aesthetic, utilitarian designs are dictated by function over form with raw construction materials and mundane functions left exposed. Reinforced concrete is the most commonly recognized building material of Brutalist architecture but other materials such as brick, glass, steel, and rough-hewn stone may also be used.

FORENSIC ARCHITECTURE 

Forensic Architecture is a multidisciplinary research group based at the University of London that uses architectural techniques and technologies to investigate cases of state violence and violations of human rights around the world. The group is led by architect Eyal Weizman.

The agency develops new evidentiary techniques and undertakes advanced architectural and media research with and on behalf of communities affected by state violence, and routinely works in partnership with international prosecutors, human rights organisations and political and environmental justice groups.

The agency is an interdisciplinary team of investigators including architects, scholars, artists, filmmakers, software developers, investigative journalists, archaeologists, lawyers, and scientists. It undertakes investigations in human rights violations by states or corporations, on behalf of civil society groups.

The group uses advanced architectural and media techniques to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such as new media, remote sensing, material analysis, and witness testimony.

Forensic architecture is also an academic field and an emergent field of practice developed at the Centre for Research Architecture, at Goldsmiths, University of London. It refers to the production and presentation of architectural evidence, relating to buildings and urban environments and their media representations.

NOAM TORAN 

Noam Toran’s work involves the creation of intricate narratives developed as a means to disrupt hegemonic historiographies. Drawing from marginalized or neglected histories, Toran reflects upon the interrelations of memory, erasure, mythology, identity, and the essential force of storytelling as embodied in archives, film, literature, and performance. The work is materialized through dramatizations that take the form of installations, educational models, films, performances and scripts. 

ONKAR KULAR

Onkar Kular’s work investigates how contemporary design practice, its processes, methodologies and outputs, can be used as a medium to engage with and question the understanding of cultural and popular issues.  

TORAN AND KULAR COLLAB

Their first projects together were meticulous exercises in film taxonomy, such as the dark catalogues of explosion and demolition clips in Violence and Destruction. Through this work, the pair became interest in the cinematic object – the prop as protagonist.