A lesson we talked about modernity, in the words the French philosopher and sociologist Jean Baudrillard, who called it that "the crisis is a value, a moral contradictory, and raises an aesthetics of rupture". It 'a definition that certainly unusual chronological or qualitative and are used to thinking, but that studies with more attention, captures their true essence. This quick formula binds to the crisis of modernity, in the sense required, or where in the first post I spoke of the "background noise" to describe the existing state of things, which allows the invention of the instrument, similar here-the buzz- is the crisis, and what flows from it-if-achieves the intent of the definition is modernity. Value, moral contradictory aesthetics of failure, they are words that evoke something to do with the avant-garde, a carrier of the extreme character of modernity. Them, starting with feelings of opposition (to the detection crisis) and experimental (symbol of a search is no longer assigned to the dogmas of tradition, and-in the words of Renzo Piano-crosses paths never beaten before), have identified ( probably marks the point of no return) an item that, by the CIAM conference today, was decisive: the dynamic, the dynamic (as opposed to static) that has penetrated not only in the "form" of things, but also in their material and spiritual substance.
If the dynamism stems systematically by the advent of machines in human life and, by unprecedented speed, then today, participants in the Third Wave (identified by futurist Alvin Toffler) with speed, barely images, software and with the advent of a new reality, the virtual one, then the concept of dynamism acquires a new force, probably not yet fully tested. And as Patrik Schumacher recalls writing about the nature of avant-garde, this "is to go beyond what you know and bring their proposals in the collective process of provocative testing in a more raw form, without wait for the entire cycle of experimentation, variation, selection, optimization and refinement is able to offer complete and precise results and secure. "
If the definition of dynamism that we have today (such as intensive movement, transformation , renewal) is affected by the events of a century ago (as mentioned above), this argument has much longer roots, coming to university greek. There was in fact in it, a real dynamic world (comparable to contemporary architecture without fear ) do not mean (obviously) to the Greek architecture, which remained almost unchanged for several centuries (such as Le Corbusier called the Parthenon-over machine-like emotions that change applied to the standard), but rather to point attention to the world of sculpture. I have in mind for example the group of Menelaus supporting the body of Patroclus, rather than the frieze of the Pergamon altar, where there's bas relief sculptures addirittua to become, in just two examples we can see how the Hellenic world to feel much more free-in-architecture to investigate dynamic effects, emotional.
back to periods closer to us, including the 1916-30 Russian formalism is developed, within which moves the writer Viktor Shklovsky proposes a poetics that no longer based on mimesis, but sull'ostraneine (The defamiliarization) doing odd. The aim of the poet is to fight the habit and familiarity, making "strange" the "normal". This reacts to what is the standardization of the industrial revolution, but an interesting concept is inherent and subtly dangerous, strange to say outside the norm (from extraneus , alien), to the tradition, which is not recognized as familiar, So break the rules. But we felt, and rightly so brilliant Zaha Hadid that "not enough to say or do anything as long as different from the norm," but the challenge to the habits, the development of a discovery, analysis changed from critical to serious investigations (Perhaps as suggested by Tolstoy, estrangement, to describe objects and events as if for the first time you saw) as well as carry out many of the avant-garde architects (the same architect as in Iraq) through very precise designs.
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