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1// I have found the definition of beauty – my concept of beauty. Something at the same time full of sadness and full of restrained glow, something floatingly inaccurate, which leaves room for conjecture. (Charles Baudelaire)

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2// It is possible that we often look at something similar without seeing it. We do not see what we perceive. We do not see what we are looking at. We do not see the extraordinary perspectives and the shortening of objects. We, who have been taught to see the ordinary and the acquired, we have to rediscover the world of the visible.

We have to revolutionize our optical recognition. We have to tear the veil from our eyes, which is called ‚from the navel‘. And the most interesting perspectives of the present are those from top to bottom and from bottom to top and their diagonals. (Alexander Rodtschenko)

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3// Back in the USSR – some press links:

Back to the Future; The surprising, delightful architecture of Soviet era bus stops

Present architecture without preselection

Wait! This is art!

DEZEEN

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4// The forgotten civilization

The nature of the wind has slowly but deeply caressed the genuine concrete. Memories of the past, and the indifference of the present, have left the Soviet Modernist constructions lost in time and behind the dust of a new generation that doesn’t want to look back. In the complex discourse of our cities, these objects remain like disconnected phrases, forgotten words, of a civilization that seems not to exist anymore.

Paradoxically, these massive architectural devices appear to our eyes, like objects that have landed from a former era, from a past that was able to breath the particles of the future, guided by a clear utopia. (Mane Tatoulian)

See more……https://manetatoulian.com/journal/the-forgotten-civilization

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5// Pictures are important areas

They point to something in space-time „out there“, which they are supposed to make us imagine as abstractions.

The world reflects suns – and other rays, which are captured by optical, chemical and mechanical devices on sensitive surfaces and as a result produce technical images, i.e. they seem to be on the same level of reality as their meaning.

The photographer creates, processes and stores symbols. The structure of the photographic gesture is quantitative: a doubt built up from point-like hesitation and point-like decision making.

Black and white photos are the magic of theoretical thinking, because they transform the theoretical linear discourse into surfaces. (Vilém Flusser)