Monday, May 30, 2011

101. Seven by Philip Zimbardo

Seven social Processes That Grease the Slippery Slope of Evil

- Mindlessly Taking the First Small Step
- Dehumanization of Others
- De-Individuation of Self (Anonimity)
- Diffusion of Personal Responsability
- Blind Obedience to Authority
- Uncritical Conformity to Group Norms
- Passive Tolerance of Evil Through Inaction, or Indifference

Taken from: Philip Zimbardo on the Psychology of Evil
http://www.ted.com/talks/philip_zimbardo_on_the_psychology_of_evil.html


By the way, I noticed I like a lot writing by hand on a piece of paper. It's a meaningful way of communication. Would it be possible to communicate in such way more? Or would be enough to invent your type of font?

100.Malcolm Gladwell

Three things - autonomy, complexity and connection between effort and reward are - most people agree, the three qualities that work has to have if it is to be satisfying. It is not that much the money we make that ultimately makes us happy between nine and five

Malcolm Gladwell

Maybe money doesn't make us happy but still it is one measurable quantity of how our work is important to the society. There might be many more things that could show us this relation. If you are willing to put it in general terms it is about the social range, the impact in the society that your work brings you.

Michal Kempinski

099. A Note about Bunker

Pojechałem do Bunkra.
Nie wiem, czemu zacząłem rysować mrowisko.
Nie. Wiem czemu.

098. Sample of Simple

097. Everything is everything

The culture is the nature
The object is the space
The cause is the effect
Allways is everywhere
Everything is everything

096. I was wrong

Wszystko można ubrać w jakąś skalę, jednak idzie za tym od razu wartościowanie. Liczby od razu pokazują, co jest dobre a co złe. Ale czy musimy wszystko wartościować? Jeśli nie jesteśmy w stanie wydać sądu, spójnej krytyki, lepiej wszystko jest akceptować takie, jakie jest? Po prostu opisywać świat. Czy liczby nie pozbawiają nas umiejętności lepszego zrozumienia, za duży skrót, zbyt duże uproszczenie?

Czytając Outliers Malcolm'a Gladwella trafiłem na PDI, Power Distance Index, który mierzy zależność pomiędzy podwładnymi a zwierzchnikami na tle kulturowym. PDI został wyodrębiony przez holenderskiego socjologa Geerta Hofstede jako jeden z parametrów, który opisuje zależności pomiędzy kulturą organizacyjną a kulturą narodową. Świat opisany w ten sposób można obejrzeć pod tym adresem: http://www.clearlycultural.com/geert-hofstede-cultural-dimensions/power-distance-index/

Jednym z parametrów jest Masculinity Index. Co to znaczy w praktyce, że Holandia ma wartość 11 a Szwajcaria aż 70?

Wednesday, May 18, 2011

095. Co porabiasz?

Bawię się taśmą klejącą, niebieską. Mam też kawałki styropianu na biurku i coś w nich rzeźbię z pomocą papieru ściernego, różne gramatury różnie ten styropian ścierają. Patrzę na swój cień.

Tuesday, May 17, 2011

094. Wywiad

http://www.tvnwarszawa.pl/rytm-miasta,news,warszawa-nigdy-nie-bedzie-nalezec-do-przyjezdnych,48197.html

093. A Word about Stasiuk

http://www.youtube.com/watch?v=ydnl74spyV4&feature=related

Pilch:

Najwyższym jak do tej pory osiągnięciem pisarskim Stasiuka jest książka pod tytułem Powieści Galicyjskie, która jest właściwie stopem bardzo różnych kruszców literackich, nad którymi moim zdaniem świadomość pisarza nie do końca panowała. To znaczy to jest po części jest to zaczęta powieść niedokończona, po części jest to zbiór opowiadań a po części jest to zbiór tekstów reportażowych pisanych do Tygodnika Powszechnego. I ten stop trzech gatunków literackich, prozy powieściowej, prozy nowelistycznej i prozy reportażowej, który ten stop był przez Stasiuka nie zamierzony, bo on poskładał rozmaite teksty, które złożone co się rzadko zdaża okazały dosyć intensywną integralność. Okazuje się, że to co poskładane z pozoru przypadkowych elementów rozmaitych, to nad tym wszystkim zatryumfowała siła pióra jego. Że pióro Stasiuka jest mocniejsze od podziałów gatunkowych, że jego osobowość człowieka piszącego, jest wyrazistsza od immanentnych porządków panujących w literaturze.

Stasiuk:
To żaden pomysł, wiesz, to po prostu odruch, opisywanie świata, który jest dookoła. A nie jakieś kombinowanie. Ja nie jestem postmodernistą, ja jestem z dziewiętnastego wieku.

Tuesday, May 10, 2011

092. Note from Herbert

"Brzmiało to przekonywająco. Znam dobrze, nadto dobrze, wszystkie męki i daremny trud
opisywactwa, a także zuchwalstwo tłumaczenia wspaniałego języka malarstwa na pojemny jak piekło
język, którym pisane są wyroki sądów i powieści miłosne."

How can we describe architecture in any other language than architecture? Architecture is space, it is being in space. Why should we translate this experience into different languages?

091. Lo

I always believed in numbers. But after a lifetime of such pursuit I ask - what is logic? Who decides reason My quest has taken me through the physical and metaphysical, the delusional and back. And I have made the most important discovery of my career, the most important discovery of my life. It is only in mysterious equations of love that any logical reasons can be found. And I am here only because of you, you're the only reason I am. You are all my reasons. Thank you.

Rusell Crowe as John Nash in Beautiful Mind

Friday, May 6, 2011

087. Contents of my head

This is the book I never read
These are the words I never said
This is the path I'll never tread
These are the dreams I'll dream instead
This is the joy that's seldom spread
These are the tears...
The tears we shed
This is the fear
This is the dread
These are the contents of my head
And these are the years that we have spent
And this is what they represent
And this is how I feel
Do you know how I feel ?
'cause i don't think you know how I feel
I don't think you know what I feel
I don't think you know what I feel
You don't know what I feel

086. "I love space so much"

- said Elisabeth Cha - "...so I want to be an architect"

Elisabeth Cha studies architecture in Liege in Belgium. She seems to be very talented and passionate about what she does but recently she had some downs and wasn't sure about the directions she wanted to take in her future carreer.

What she told me made me think. I also like space a lot but on the other hand I have a lot of problems with it. Sometimes it makes me feel lost, sometimes it frightens me when I discover lonelines in space. Sometimes space makes me happy when I am walking on a street I start seing it automatically in section as in a simple urban study that shows the proportions of space. Most of the times though I have difficulty in thourougly understanding the space. I only recall a couple of moments during, say, last 12 months, when I was deeply moved by the presence of the surrounding. Every time it happened it actually involved a couple of senses in the same time. Strong presence of people was also required for the overall experience. How do you call a state fo yourself when all your senses are hypeactive in the same time? One might argue that only then you truly feel a space when you experience that kind of state.

It might seem that more interesting are objects. Maybe not more interesting but easier to understand. I see objects everywhere, shapes appear and speak to me in most unexpected places. Shapes can be materialistic and durable or can be made out of shadows that overlap with glittering lights. Shapes also appear when something in the foreground is overlayed with other things in the background and then the small and distant parts dispersed in undefined space start composing a single entity. These shapes are oftentimes very strange. I feel most passionate about the shapes that are strange, that don't reveal their nature on the first encounter and also, when they don't let you know easily about the way they where rendered.

Experiencing space is something that requires a person's true presence in the concrete place. An objects nature is much more visual. Does experiencing an object require less the objects itself but more just an image of it? It is much easier to immortalize an image of an object then to find an equally efficient mean to communicate space? During last decade at least architecture has been dominated by experience of an image. Images have been over flooding us in such quantities that they have become meaningless, have become trash in a studio bin and spam in you mailbox. This makes me think about the concept of understanding media - extensions of man of Marshall McLuhan. We find ourselves in ever crazier pursue of extending our presence and every time we take a step in that direction we find ourselves even further away from fulfillment.

So space should be a multi-sensory experience as opposed to mono-sensory object. On the other hand to experience an object is advisable to touch it, smell it and sometimes for some objects to even taste them. This is something that I do very often since I was was a child. This sense of touch when experiencing objects remains especially strong for craftsmen who manufacture things with their own hands. The feeling of cutting material, assembling it, adjusting, sanding and refining has something to do with the divine creation.

They say space and objects have an intrinsic and never-ending relationship. Many questions arise. How to understand it in the daily life and practice? Sometimes it is rather easier to follow the opposite direction, namely to build up your architectural positions with regard to objects being something in opposition to space but not complementary. Maybe we are just lacking sufficient technological means to communicate space but we think we have sufficient language to talk about objects? This might be wrong when we stick to the assumption of equivalence of object and space. Maybe then experiences of an object and a space have the same principles. Maybe it is the quality of experience that should be taken into consideration. Sometimes it is simply shallow and temporal, in other times it is more enhanced through the activity of more senses?


The domination of the sense of sight in present day media is something that we should deal with. That one is too easy and longer exciting any more. Maybe we should rethink the position of Marshall McLuhan, assume that the media will never be sufficient for our dual psycho-somatic nature? Maybe finally the effort should be taken to let our whole bodies deal with more architecture, more objects and more spaces for better quality of experience and excitement? 

Thursday, May 5, 2011

085. Publish post

- You are a lonely wolf. But if you don't feel comfortable with that, it is never too late to change it.
- Should I become a dog then?
- There are very many positive things about dogs.