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We can see in Antonias behaviour the premises of this debate on hysteria, considered by Charcot as a neurocerebral disease, a pathological trouble, genital neurosis which would enable the disqualification of the feminine gender and its humours, associating it with convulsionary troubles, of pathological origins. Resorting to the idea of creation as chaotic and morbid, in which words lose their basis in a colorless, mute night and where we dont see any form and dont hear any sound, is one of the dangers that lurks in creation. This frees the architect and thinker from the endless pursuit of pointing to the catastrophe, realizing that it wont just disappear (if we only indicate it, if we only warn and inform, if we only pursue more information). It only takes seven minutes. The relationship between the mathematical enunciation and the anarchy of the modes of colonization generates a system of opposition that involves neither development nor correlation, nor organization in the sense of a co-functioning. Nature is not an ideological greenwashing in some cozy living-room politics, neither is it a millenarist eschatological Eden park, which weve been very lucky to escape from, liberating ourselves from the hedonist harvester so we can negotiate with the dark, hostile forces that were hiding. Architects as a whole have neglected to hunt the beast. The architect has become the mainspring, the cheville ouvrière, of this process in the literal sense: he is the worker on the city assembly line, from Detroit to Shanghai, producing the icons of triumphant, authoritarian capitalism (the new El Dorados of Asia!) via its exchange. It unleashes your corporal chemical reactions, principally molecules like dopamine, adrenalin, serotonin and hydrocortisone that feed us information about your animal reactions/degree of pleasure or repulsion, curiosity or disinterest, Consequently the formulation of desires in language is inflected by another realty, another complexity, that. These works force us to look at the devil, not in front of us, but contained in our own nervous sweat.

Credits production: New-Territories co-production: Nouveau Musée National de Monaco, Graham Foundation Chicago, CNC Dicream a film by: eIf/bt/c, Camille Lacadee  Francois Roche journalist and Ophelia : Camille Lacadee Creature (dancer  Sarut Komalittipong Interzone fisherman: Khun Pan set design: eIf/bt/c studio, with Katrin Hochschuh and with FabLab studio Thammasat University Bangkok, Samustpon Tanapant, Arisa Plapiriyakit, Nonsthorn Srisuphanraj, Trin Chanchaiprasong, Pongsakorn Sarunsatta, Supinda Bannapob, Nonglak Boonsang, Nuttapol. The WSF prefers to define itself as an opened space plural, diverse, nongovernmental, and nonpartisan that stimulates the decentralized debate, reflection, building exchange, and alliances among movements and organizations engaged in concrete actions toward a more democratic and fair world. We could have put a photovoltaic cell in place of the animal, but it was more interesting to create this uncomfortable relationship. After all, the former lives shut away in his refinery, fearing to face a world he can only see through the filters of the past, the battles that brought him the Pompidou scepter, and the latter well, were still wondering what exactly hes good for. The shadows of Bruno Taut and his Alpine Architecture are haunting the stations for the funicular railway up to the Hungerburg as glass memories of the shapes that remain after an ice storm. The development of the collective and individual moralism of the 20th century (hygienism, positivism, modernism, progressivism, ecologism) could be perceived as the Siamese-twin brother of the industrial potential for erasure and destruction of humans, biotopes, and entire territories.

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