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what the fuck-What was the joke?

发布时间:2018-05-11 所属栏目:joke

一 : What was the joke?

  To end our special news bulletin, said the voice of the television announcer, we're going over to the macaroni fields of Calabria. Macaroni has been grown in this area for over six hundred years. Two of the leading growers, Giuseppe Moldova and Riccardo Brabante, tell me that they have been expecting a splendid crop this year and harvesting has begun earlier than usual. Here you can see two workers who, between them, have just finished cutting three cartloads of golden brown macaroni stalks. The whole village has been working day and night gathering and threshing this year's crop before the September rains. On the right, you can see Mrs. Brabante herself. She has been helping her husband for thirty years now. Mrs. Brabante is talking to the manager of the local factory where the crop is processed. This last scene shows you what will happen at the end of the harvest: the famous Calabrian macaroni-eating competition! Signor Fratelli, the present champion, has won it every year since 1991. And that ends our special bulletin for today, Thursday, April lst. We're now going back to the studio.
 

二 : WHAT THE FUCK AM I READING Ⅰ

what the fuck WHAT THE FUCK AM I READING Ⅰ

Power / Potential

If modernist architecture was an attempt to architecturally discipline the indomitable forces of industrial capitalism -- silos, factories and freeways turned into the new production models for the city, the architecture of the 1960's was amongst other things a critique of the sclerosis that the modernist models had started to develop.

如果现代主义建筑是一种同过建筑方式来惩罚工业化资本主义的顽固势力的尝试—— 竖井、工厂和高速公路则转变为新的城市的产品模型,60年代的建筑在其他东西之中是一种对于现代主义模型已经开始发展以至于僵化的批评。(www.61k.com]

An entire class of architects began to develop during this period. Team X, the Japanese post-metabolists and the American post-moderns subverted this identity between Power and Control in order to induce new potentialities.

一个全面的建筑师阶层在这个阶段之中开始发展。十次小组,日本后新陈代谢派 和 美国后现代派 颠覆了存在于权力和控制之间的一致性以达到引入新潜力的目的。

Perhaps the most radical case was Philip Johnson, who always worked via the uncontrolled revelation of power in order to unchain pure potential....while he used his feet to move some wooden blocks around a model under his desk, which appeared to be the place for a skyscraper comples. Philip Johnson, always prepared to sprint 100 metres in high heels, eliminates control in order to turn power into pure potential.

可能最极端的例子当属菲利浦约翰逊,他总是通过权力的失控的揭露来解放纯粹的潜力。当时他用他的脚来移动桌子底下模型周围的木块,那里恰好是一个高层综合体的位置。菲利浦约翰逊总是时刻准备穿着高跟鞋来百米冲刺,剔除一切控制以期将权力转化为纯粹的潜力。

In this disintegration of the correspondence between power and potential as a way of producing virtuality, one should first identify a series of critical practices which work by generating forms of resistance to power.

把在权力和潜力之间的通信瓦解作为通向产生虚拟现实的方式,一个人应该首先认明一系列批判性的实践,那些实践通过产生对权力的反抗的形式起作用。

'politically correct', feminist, regionalist, environmentalist and militant architectures, are examples of this form of practice. These 'critical' architectures are defined as negative feedback mechanisms, and tend to correct deviations or excesses of the predominant forms.

"政治正确",女权主义者,地方主义者,环境主义者和激进主义者建筑,是这种实践的形式的例子。 这些“批判的”建筑被定义为负面的反馈机制,以及意图去改变占主导的形式的偏离或者过量。

When Rafael Moneo, Kenneth Frampton or Steven Holl complain about the erosion of local or historical specificness of the architecture produced by commercial architecture, or when feminist theoreticians criticises phalocentric and fetishist architecture, they are trying to release potential from the consolidated forms of power through the construction of an alternative critical model, by encouraging the forms of difference.

当拉斐尔·莫尼奥,肯尼思·弗兰普顿或者斯提芬·霍尔抱怨本土的或者历史的特殊性被商业建筑生产的建筑所侵蚀,或者当女权主义理论家批评男性统治的及恋物癖的建筑,其实是他们试图从统一的权力形式下释放出有潜力的形式,通过构建一个另一种供选择的批判的模型,以鼓励形式上的不同的方式。

In an initial reading, Peter Eisenman would fit in this same group of resisters or critics of the established forms of power. Eisenman's resistance, however, works from within the discipline instead of becoming a vehicle for an external discourse. His proposal is a radical break between power and control by means of the exercise of arbitrary control, without a reference point extrinsic to the discipline itself.

在一开始的阅读中,彼得埃森曼大概能归入同一个对这个已经建立的形式的权力的抵抗者或批评者的群体中。然而,埃森曼的反抗从既有规则内部作用而非成为外部讨论的运输工具。他主张通过任意地控制这种方式激进地在权力和控制之间中断,不带一个对这规则本身而言的外部参照点。

As a speech to the AA in 1994, Eisenman began with an unequivocal statement: "I have never been interested in power, but rather in the possibility of exercising control over my work." His statement that the more difficult system's assimilation of a work of architecture, the greater its value, is a clear indicator of this position of 'resistance' through the application of a series of control mechanisms which, far from seeking an external meaning, are produced arbitrarily, thus negating the local, historical, political or psychological-specific nature that characterises the other resistant discourses.

在1994年对AA的讲话中,埃森曼一开始就毫不含糊地声明:“我从来不对权力感兴趣,反而对于实施对我作品的控制的可能性感兴趣。”在他的陈述中,建筑工作系统的同化越困难,它的价值就越大,则是一个通过一系列的控制机制的应用,对于这种‘反抗’的立场的明确的指示。这种控制机制根本不寻求一种外部意义,而是任意地产生的,因而是反 地域的,历史的,政治的或者特定心理的天性,这种天性标识了其他反抗者的讨论。

扩展:what is reading / what are you reading / the power of reading



The architects who have adopted what we might define as positive feedback might also include those who, instead of opposing dominant tendencies(globalisation, media control, complexity of production processes, etc...), have received them as the origin of unprecedented potentiality. Rem Koolhaas would fit in this group. He has perhaps been more capable than any other to articulate this position through the proposal of positive feedback as a producer of virtuality.
那些采取了被我们可能定义为积极的反馈的建筑师们可能也包含了那些,非但不反对主流(全球化,媒体控制,生产程序的复杂性等等),而是把他们接受为前所未有的潜力的起源。瑞姆库哈斯大概能归入这个群体。他可能已经比任何人更能胜任来阐明这种状态,通过像一个虚拟现实生产者来主张积极的反馈。

In a text published in the Harvard Architectural Review in 1996, Koolhaaas makes the following statement: "If we are in this job, it is because one way or another we are interested in power." His defence of the 'generic city', of banality, of linearity... proposes that an extreme, intensified practice of the forms of power may end up producing an enormous potential or imbalance, at least within the established forms of 'educated' architectural practice, which are shrouded in well stratified forms of resistance.
在一个1996年发表的哈佛建筑评图文本中,库哈斯做了如下申明:“如果我们处在这个职业中,那是因为不论如何我们都对权力感兴趣。” 他的对于“一般城市”的关于平庸、关于线性的辩护,提议了一个极端的、增强的关于权力形式的实践可能终结于生产一个巨大的潜能或者不平衡。至少在已确立的“被教导的”建筑实践的形式上,那是个被很好地分层了的反抗形式的裹尸布所包裹。

Although Jean Nouvel and Toyo Ito have less clearly articulated positions, they are very close to Koolhaas on this point, in the sense that it is the strategic intensification of the predominant trends that is capable of projecting new architectural potentials.

尽管让努维尔和伊东丰雄有相对没那么清楚的阐明的立场,但他们在这点上和库哈斯非常接近。在这个意义上,这是种策略上对主流的强化,并且这种强化能够突出新的建筑潜力。

Jaques Herzog & Pierre de Meuron, who are often mentioned by 'critical' architects as one of the best examples of resistance to the disappearance of the material qualities of contemporary architecture, are nevertheless in other aspects perfectly capable of avoiding friction between power and potential. In the discussion following a 1997 speech at the AA, a 'politically correct' member of the audience accused them of having become architects of refined, closed precincts for the powerful.

贾克斯 赫尔佐格 和 皮尔 德梅隆,经常作为“批判的”建筑师被提及,是对当代建筑中材料质量的消逝的抵抗的最好例子中的一个。然而从另一个方面来讲他们完美地避开了权力和潜力的摩擦。在1997年AA的一次演讲后的讨论中,一个“政治正确”的听众指责他们已经成为权力的精致的,范围封闭的建筑师。

He was answered by Herzog with disdain for the resistance: "We star architects often get amazing projects that enable us to explore fields that are unknown to the majority of architects." Herzog & De Meuron's ability to maintain a constantly experimental and accommodative practice at the same time is perhaps what has placed them amongst the most interesting figures on the contemporary scene.
赫尔佐格用对反抗的轻蔑回答了他的指责:“我们明星建筑师经常能够得到令人惊异的项目,让我们能够探索对大多数建筑师来说还是未知的领域。” 赫尔佐格和德梅隆能够在保持连续的实验性的同时保持实践的可行性的能力可能是把他们置于当代场景中最有意思的人物之中的原因。

In contrast to these positions of rupture between control and power as an instrument for the production of virtuality, there are several important cases of assimilation or 'capture' of certain architectural discourses that are adopted by forms of political or economic power, which do not exploit the disintegration between power and control but instead are capable of turning this correspondence into a productive process of architectural culture. The examples we shall now analyse lie at the opposite extreme from the group of virtual practices that have been described above.

控制与权力之间断裂的立场作为一个生产虚拟现实的仪器,与之相对的是,有一些重要的案例是对特定建筑讨论的同化或“捕获”被政治或者经济权力的形式所采纳。它们没有利用权力和控制的瓦解,反而把这个相互关系转化为建筑文化高产的过程。我们现在应该分析的案例在于与之前已经描述的虚拟现实实践团体的相反极端。

The first notable case is that of assimilation by the international corporate culture of the English high-tech architects' discourse. English high-tech architecture is clearly the heir to the modernist, functional, efficient lineage, although it contains a strong does of Anglo-Saxon pragmatism and Victorian strictness that distances architects like Foster, Grimshaw and Rogers from modern idealism.

第一个明显的案例就是英国的高技派建筑师的通过国际合作文化的同化的讨论。英国的高技派建筑是清晰的现代主义者的继承人,功能的、效率的后裔,尽管它包含了强烈的安格鲁萨克逊人的实用主义和维多利亚时代的严谨,把福斯特、格里姆肖、罗杰斯这样的建筑师远远地抛离开现代理想主义。

扩展:what is reading / what are you reading / the power of reading



The replacement of the modern ideological presumptions with this pragmatic, specific attitude to the conditions of each problem, without relinquishing technical efficiency as a fundamental stratum underlying architectural practice, drifted into the proposal for flexible, multifunctional structures, where the consideration of environmental and regional factors as part of the functional requirenments were the perfect recipe for their total assimilation by the new Thatcherian culture of economic and social deregulation, making them perfect architects for the implimentation of the new international corporate culture.

对现代意识形态的推测 的替换带着这种实用的、明确针对每个问题状况的态度,绝不放弃把技术上的效率作为建筑实践之下的基本组织层,漂移进了主张灵活的、多功能的结构,在那儿对环境和区域因素作为功能要求的一部分被考虑是完美的处方对于他们的彻底的通过新的撒切尔的关于经济和社会撤销管制的文化同化。使得他们成为完美的能实施新的国际化协作文化下的建筑师。

Another peculiar example of contemporary relations between architectural discipline and political power is what has been called the Berliner Clique, and active group of O.M. Ungers' disciples in Berlin such as Dudler, Kolhoff and Sawade. In the 1980's they became recognised as the architects of the new Berlin thanks to an aesthetic and ideological alliance with City Councillor Stimman.
另一个建筑学科和政治权利之间的当代关系的奇特例子是柏林党派,以及O.M.Ungers的柏林弟子组成的活跃团体,他们是杜德勒、柯霍夫和扎瓦德。在八十年代他们被认为是新柏林的建筑师,因为在美学上和意识形态上他们是市议员Stimman的同盟。

At a time when Germany had to forge a new post-reunification image that was to be synthesised in the new capital, this group of architects became a perfect product for the new urban image of united Germany. They synthesis of references to Schinkelian and Miesian architecture -- abstract, material and static--, along with Berlin metropolitanism and germuetlich, which reproduces tree-lined avenues and repetitive orders of spans on facades, is one of most consisten and powerful manifestos of contemporary architecture.

当时德国亟需打造一个和新的首都同步的新的重新团结后的形象。这群建筑师成为了团结的德国新的城市意象的完美的制造者。他们整合了申克尔式的和密斯式的建筑——抽象、材料和稳定——伴随一起的还有柏林的都市主义和闲适愉悦,他们复制了林荫大道和重复立面上的秩序,这是最坚定和有力的当代建筑宣言中的一种。

Attempts by Behnish, whose new building for the Bundestag was the first victim of the political process, or by Libeskind to establish alternatives to this crystallisation of the urban forms of repetition and stability, have hitherto been incapable of producing a consistent alternative.
Behnish的尝试,他为西德连邦议会做的新建筑是行政程序的第一个受害者。或者里伯斯金去建立不同于这种重复性、稳定性的城市形式结晶的尝试,到现在为止都不能生产一种持续的别样选择。

In an almost opposite architectural direction from Berlin, where the political requirement of architecture was the need to reconstruct an image of the power purportedly diluted ever since the end of W.W.II, Olympic Barcelona witnessed another coincidence between an emerging political and economic structure and a new architectural proposal. In contrast to Berlin, where the thrust was to unify, solidify and centralise, the political situation of Barcelona in the 1980's demanded an almost opposite structure which could provide a new independent identity to post-dictatorship Catalonia.
巴塞罗那在跟柏林几乎完全相反的建筑方向上,对建筑的政治性要求是重新构建一幅从二战结束以来逐渐消逝的权力的图景。巴塞罗那的奥林匹克见证了另一场政治和经济结构和新的建筑设计的同时发生。跟追求统一、稳定和集中化的柏林不同,巴塞罗那1980年代的政治环境需要一个几乎完全相反的结构,能提供一种崭新的独立的品质给后独裁时期的开泰罗尼亚。

Instead of an identity of repetition and centrality which had characterized the centralist Franc regime, the new identity of Catalan architecture was constructed on the basis of difference and periphery, through an out-ward-looking view towards the rest of Europe instead of inwards to the Iberian Peninsula. The Barcelona of Mayor Maragall provided the opportunity for a generation of architects to construct one of the most consistent urban manifestos of the second half of this century, through the production of an identity that was ambiguous and elusive, landscapist and geometrically complex.

不同于标志着法国中央政权统治的重复性、中心性,开泰罗尼亚建筑的新品质的基调是差异化、边缘化。通过一种往外展望欧洲其余部分的视角取代以往那种内向的伊利比亚半岛的视角。巴塞罗那的市长maragall

扩展:what is reading / what are you reading / the power of reading

三 : What was the joke?

  to end our special news bulletin, said the voice of the television announcer, we're going over to the macaroni fields of calabria. macaroni has been grown in this area for over six hundred years. two of the leading growers, giuseppe moldova and riccardo brabante, tell me that they have been expecting a splendid crop this year and harvesting has begun earlier than usual. here you can see two workers who, between them, have just finished cutting three cartloads of golden brown macaroni stalks. the whole village has been working day and night gathering and threshing this year's crop before the september rains. on the right, you can see mrs. brabante herself. she has been helping her husband for thirty years now. mrs. brabante is talking to the manager of the local factory where the crop is processed. this last scene shows you what will happen at the end of the harvest: the famous calabrian macaroni-eating competition! signor fratelli, the present champion, has won it every year since 1991. and that ends our special bulletin for today, thursday, april lst. we're now going back to the studio.
 

四 : what the xxoox moust

what the xxoox moust

what the xxoox moust的参考答案

您要找的是不是:

most adv.最;非常,极其;最多;几乎 | adj

must aux.

必须,一定;可以,应当;很可能 | n

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