last week(end) before final presentations

Enjoy the last week(end) of the SandvikensExtrasUrban project. Try to re-view most of your material from the course, and scann all those A4 and A3 works into a continuous .pdf file. (you are also welcome to divide that material up into more than one .pdf /or divide the material up in chapters/sequenses, for more coherent understandings.
NOTE that this material is considered compulsory, and will be requested before your presentation.

Remember that the course is an urban course, so do not spend much time in the last week designing new complex interiors or other new fancy/arty installation in the last minute. Keep the overall urban view(s) on how the site (and the buildings) merge into a new coherent whole context, that also includes architectural material about your personal embedded space. All the work(s) from the course should be considered and should be testimonials of each project urban architectural discourse for Sandviken.

While it is expected that all projects would include an overal map of sandviken before and after, the various scopes of each project might be quite different and thus allow for different strategies for each of the participants.

It is expected that most works should be finished by late tuesday /early wednsday. The day before presenattions should be used for pin-ups and for manufacturing of eventual PP presentations. Remember to give the projects a title and subtitle and include a descriptive text of about 100 - 200 words.

More on the procedures and schedule of presentation(s) in a blogpost early next week.

In the meantime: HERE are some picts from week 49.

Pataphysics lecture on 4.12.

Of all the French cultural exports over the last 150 years or so, ‘pataphysics–the science of imaginary solutions and the laws governing exceptions--has proven to be one of the most durable. Originating in the wild imagination of French poet and playwright Alfred Jarry and his schoolmates, resisting clear definition, purposefully useless, and almost impossible to understand, ‘pataphysics nevertheless lies around the roots of Absurdism, Dada, futurism, surrealism, situationism, and other key cultural developments of the twentieth century. In this account of the evolution and influence of ‘pataphysics, Andrew Hugill offers an informed exposition of a rich and difficult territory, staying aloft on a tightrope stretched between the twin dangers of oversimplifying a serious subject and taking a joke too
seriously. 

Drawing on more than twenty-five years’ research, Hugill maps the ‘pataphysical presence (partly conscious and acknowledged but largely unconscious and unacknowledged) in literature, theater, music, the visual arts, and the culture at large, and even detects ‘pataphysical influence in the social sciences and the sciences. He offers many substantial excerpts (in English translation) from primary sources, intercalated with a thorough explication of key themes and events of ‘pataphysical history. In a Jarryesque touch, he provides these in reverse chronological order, beginning with a survey of ‘pataphysics in the digital age and working backward to Jarry and beyond. He looks specifically at the work of Jean Baudrillard, Georges Perec, Italo Calvino, J. G. Ballard, Asger Jorn, Gilles Deleuze, Roger Shattuck, Jacques Prévert, Antonin Artaud, René Clair, the Marx Brothers, Joan Miró, Max Ernst, Marcel Duchamp, James Joyce, Flann O’Brien, Raymond Roussel, Jean-Pierre Brisset, and many others. 

Andrew Hugill MA PhD (b. 1957) is a composer, writer, Professor and Director of Creative Computing at Bath Spa University, UK. He is also an Associate Researcher at the Université de la Sorbonne, Paris, and a National Teaching Fellow of the Higher Education Academy. In 2006 he was Highly Commended for the Most Imaginative Use of Distance Learning by the Times Higher Education Awards.