Mass in Curved Space-Time by Rainich G.Y. PDF

By Rainich G.Y.

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In kitsch, as in the simulacrum city, in the city as theme-park, we might say the kitsch city, the ethical imperative to do a good job is replaced by the injunction to do a good job, to act for the effect, rather for the good effect, to therefore degrade beauty in itself, the objective of the infinite, inexhaustible value of art and of the city, to a realisable condition. The kitsch city, which operates by following the dictates of the good effect, brings what has already been up to date, borrows its own content and techniques from past works, seeking guaranteed, tested methods of production of the “beautiful”.

Thus the landscape plays a fundamental role as subject, “almost protagonist”, a sort of “superior character” that influences man, his habits, his emotions, his sentiments, his “non-communicability”, transforming him into a “non-man”, a sort of robot, that has finally lost all 7 humanity and sensibility, incapable of an active glance towards the future. This involution of the glance corresponds to the involution of the landscape in our contemporary post-cities, and represents a crisis of the project as the result of a passive, indeed contemplative, glance.

This naturally also poses spatial, urban and architectural implications of great importance as the traditional city is assumed to be the constructed expression of stability and permanence, safety and defence. The destructive power of what is mobile contrasts with the solidity of the urban fabric. The stable, constructive, productive, hierarchising order of the city can only see itself threatened, undermined by a destructive order: this is the logic of the non-city, characterised by the uprooted, the destructive, unproductive, ephemeral and changing, ultimately what is mobile and unstable.

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Mass in Curved Space-Time by Rainich G.Y.

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