The artist is a collector. Not a hoarder, mind you, there’s a difference: Hoarders collect indiscriminately, artists collect selectively. They only collect things that they really love.
“Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic.”
Theirs is no vapid, irresponsible happiness. They know that they, like the child, are not free. They know compassion. It is the existence of the child, and their knowledge of its existence, that makes possible the nobility of their architecture, the poignancy of their music, the profundity of their science. It is because of the child that they are so gentle with children. They know that if the wretched one were not there snivelling in the dark, the other one, the flute-player, could make no joyful music as the young riders line up in their beauty for the race in the sunlight of the first morning of summer.
“Fakat mimarî mekânla doğrudan ilgilidir. Mekânı malzeme olarak kullanır ve bizi ortasına yerleştirir.”
|G.Scott, Architecture of Humanism, s.168
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Blog yazim
Title: Journeying into the Future with Artificial Intelligence: GPT-4 and Beyond
Introduction
Artificial Intelligence (AI) has been an ever-evolving frontier, shaping the way we interact with technology and revolutionizing numerous industries. One of the most groundbreaking innovations in this field is the development of language models like
You were more interested in the architecture of the universe, but you failed to recognize the great architect who constructed the universe.
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"Most of all, sketching technique is essential for architecture, embracing two distinct but complementary fields: one on the path of knowledge, approaching something that already exists, and the other on the path of conception, concerning what one has in mind to create."
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A project, precisely because it's a bearer of novelty, must solve contradictions and follow rules-its novelty is the "new" application of an existing rule, the extension of an existing rule to a "new" context, or the institution of a "new" rule.
Not just that: given that the rules in architecture are as numerous as they are different-we can think here of certain "laws" (static laws, hygienic/sanitary codes, morphologic influences, etc.) and cultural aspirations (ethical, philosophic,aesthetic, etc.)-the architect's puzzle becomes a sort of arbitration among the different viewpoints, each with various dimensions. Finally, a creative action must be triggered for the possible-to-actual transition to occur; an action that is not merely abstract but rather "competent and aware of the objective," as the theorist of problem solving Genrich Altshuller says.
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Istanbul'da Levanten İzleri
Levantine influences still visible in the architecture constructed between the 1930s and the 1960s, notably in Cihangir, Teşvikiye, Şişli and other parts of the older districts on the city’s European and Asian shores.
There was a kind of symbiosis in their relationship to these grand places: they gave life to the ancient architecture by making it the backdrop of their discourse, by refusing to worship at its altar as if it were a dead thing.
But the grand thing about people was that you could also choose to focus on particular faces, really see them, and find a wealth of stories. So many people with so many lives, each a separate little mystery. Infinite detail, like Pattern. Look close at his fractal lines, and you'd realize each little ridge had an entire architecture of its own. Look close at a given person, and you'd see their uniqueness-see that they didn't quite match whatever broad category you'd first put them in.
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En derin düzeyde aradığımız şey, güzellikleriyle bize dokunan nesnelere ve yerlere fiziksel olarak sahip olmaktan çok, içsel olarak benzemektir.
UCLA grubumuzun düzenli olarak probiyotikle zenginleştirilmiş yoğurt yiyen yetişkin kadın gönüllüler üzerinde yaptığı beyin görüntüleme çalışmasında, probiyotikler, Grossmann'ın çalışmasında emzirilen bebeklerde etkilenen aynı duygusal beyin bölgelerinin bazılarının aktivitesini etkiledi. Ve son araştırmalarda, belirli beyin bölgelerinin hacmi ile bağırsak mikrobiyotasının genel bileşimi arasında bir ilişki olduğunu bulduk. Beyin ve bağırsak mikropları arasındaki bu ilişkinin, yaşamın erken dönemlerinde, hem beyin mimarisinin hem de bağırsak mikrobiyal bileşiminin hâlâ geliştirilme aşamasında olduğu bir dönemde gelişmesi mümkün müdür? Bugün bildiklerimize dayanarak, insan milkoligosakkaritlerinin bebeğin bağırsaktaki metabolik mekanizmasına verilme miktarı ve süresi bu süreçte çok önemli bir rol oynayabilir.
In the brain-imaging study our UCLA group did on adult femalevolunteers who ate probiotic-enriched yogurt regularly, probiotics affectedthe activity of some of the same emotional brain regions that were affectedin the breastfed babies in Grossmann’s study . And in veryrecent studies, we found that there is a correlation between the volume ofcertain brain regions and the general composition of the gut microbiota. Is itpossible that this relationship between the brain and the gut microbesdevelops early in life, during the time when both brain architecture and gutmicrobial composition are still under development? Based on what weknow today, the amount and duration of delivery of human milkoligosaccharides to the infant’s metabolic machinery in the gut could play acrucial role in this process.
