architecture graduate form Croatia, recently moved to Finland. On a mission to become a great architect!
architecture, music, chocolate
finding an job/internship in an architecture office
When you are walking down the street and see a shit on your way you don't step in it, do you, instead you overstep it an move on. That's what you should do on your life path too.
there is a huge list but in general people who are passionate about their work, strive to learn and evolve and also people who use their skills to improve other lives. People who shine and make you want to grow. Rural Studio, Shigeru Ban, Peter Zumthor, tattoers like Grime or Freddy Corbin, Jamie Oliver and the "Two Greedy Italians"...
my secret playlist of "happy songs"
open a chocolate shop/bar :-)
how to tie a few useful knots
barbara’s CreativeMornings activity
Panu Mäenpää Panu Mäenpää
TIEN EAMAS The courage to know yourself
Jamie MacDonald Playing with reality
At Viva Erotica our audience may not be masturbating in the cinema but they are hopefully finding themselves in dialog and discovering keys that unlock the possibility of being shameless and being free.
By investigating our taboos rather than turning away from them, we might find keys to parts of ourselves we didn't know were locked. We don't have to fling the doors open, but it's good to know what's inside.
Our Taboos they mediate the access we have to ourselves, and so in order to understand ourselves we really have to learn to understand them.
I would argue that we have to allow our erotic desire to become intricate part of the body of stories we tell about ourselves, or else, I think we are at risk of loosing out on really interesting personal insights and sources of inspiration.
And I find that in my own fiction writing the more I pay attention to my erotic fantasies, who features in them, the power dynamics in play and so on, the more I sensitive I am to why I'm writing what I'm writing. And this certainly does not exclusively apply to when I'm writing about the topic of sex but also how I'm writing and thinking about people and the dynamics of relationships in the world.
In addition to the provocative framework, the trigger, I now look at this fantasy as a way for me to sort of take my temperature. How I fantasize tells me about how I'm feeling about myself and how I feel in the world at any given point. And I think this kind of increase sits alongside things like dream interpretation or psycho analysis, you know, places where you go in your life to discover new things about yourself.
So what does this solitary, anti social experience mean for our fantasy lives? I think, how we consume porn has changed our relationship to it. And because it's ubiquity it's much easier to treat it purely as a tool, a trigger and not much more. And as triggers, I don't think we really... If you are just going to something as a trigger, I don't think it needs to be of a particularly good quality. I think you just need a provocative framework that kind of does it for you... And I'm just talking from a personal experience.
Now days, I think most of us consume our porn all by our selves, with the rare exception of a festival like this or Cinekink in the States or the Porn Film Fest in Berlin - places that ask of the audience to consider the art of the sex film, not just it's utility.
When something is taboo there is a lot of baggage to contend with before we can start asking the really interesting questions. Taboo is, in the way we are talking about it today, a hurdle and apprehension, something that keeps us from communicating honestly and openly. And it can lead to us censuring ourselves.
When we think about those days, I think there is a sort of discrete social element to porn you had to know where to get it, you had to create a network of sharing, and you had to find a safe space to consume it in. Because of the conditions needed for watching a pron film - space and discretion, you might have had to share the experience. And however covert, this was a social process of discovering.
Nick de la Canal Serendipity
Hannah Pittard What if...?
So the idea is to give the visitors some space for deep sonic experience and see what it brings you. So when you are using artistic sound in the public space or in a half public space you can excite all the associations this person is having in the inner conversation they are having their whole life.
The guys who know how to treat sound are very valuable, like shamans or any tradition like that, that they use sound for religious experience
But the oral architect is a social force. So you have a lot of elements from the budget, from the decisions why the people, how many people you have to sit down there, what materials you are going to use, who decides that, and so on for years. So at the end you end up having this elements that are very intriguing as a sonic object but also a very socially form
There is his element parallel to our architecture that is the oral architecture. And with the difference between what is architect, in oral architecture you don't have one person. You can't pinpoint that this is the oral architect.
A cave is a very complex sonic device.