GRGR(30): You will want cause and effect.

[David Morris]

>From: Mark Wright AIA

>--- Paul Mackin wrote:
> > Consider this: minimizing tension between inside and outside (having 
>them appropriate to each other) isn't nearly as radical a way to undermine  
>the hierarchical binary opposition (nearly as postmodernist presumably) as 
>deliberately generating conditions where the inside and outside of 
>buildings are in conflict with each other, as you say the postmodernists 
>might do. The former is happy harmony. (What reason has the outside to 
>complain when they have things just as good as us here on the inside?) 
>However the latter way--EMPHASIZING differences--is at least symbolically 
>dissident.
>
>So: would a German Baroque architect (let's say Balthazar Neumann at 
>Vierzehnheiligen) in 1747 become postmodern when he undermines the 
>hierarchical binary opposition by deliberately generating a condition where 
>the conflict between inside and outside is emphasised? Or only if his 
>intention is to be symbolically dissident?  (Or do you mean symbolically 
>dissonant?)  Is intentionality the key?

Yes, intended _dislocation_ is the key.  We've seen it in the numerous 
Russian carriages, toiletships, Cannibas trees, and Refridgerators created 
by TRP.  Inside and outside (or up & down) are diferent universes.  The 
portal between is all important, magic.

Back to Mannerism, the Post-Renaissance predecessor to PoMo.  Michaelangelo 
was a leading genius in this go-beyond-the-rules school.  Jokes (for 
knowledgable insiders only) abounded.  Later schools, Baroque & Rococco 
relied on illusion/fantasy for their new worlds.  Mannerism was more 
subversive, sly.  Things looked "correct" on the surface, but the joke's on 
you!  The artist emergent finds his feet having consumed the lessons of the 
past and makes new "paranoid" versions.

The recurrent pattern?:  From Renaissance (Modernism), to Mannerism (PoMo), 
to RoCocco (Jumping Universe)?


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