Sunday

Athens Cultivation Proposal - Part 1


Lophophora williamsii
Lophophora williamsii (Lem. ex Salm-Dyck) Coult.
[Peyote, mescal cactus]

IUCN Red List Status: Unknown
Habitat(s): Desert


Peyote is a type of spineless cactus which can be found in the deserts of Mexico and the Southwestern United States. The cactus produces a number of alkaloids, most notably mescaline, which cause hallucinogenic effects in humans when ingested. In Mexico it grows in the states of Chihuahua, Coahuila, Nuevo Leon, and Tamaulipas in the north to San Luis Potosi and Zacatecas. Lophophora williamsii is a small spineless cactus with a flattened, globose, blue-green stem divided by five to 13 ribs that are often tuberculate. The adult cactus measures 4-11 cm in diameter but only 2-6 cm tall. It features small areoles arranged along the ribs and bearing soft whitish hairs. The subterranean portion of the stem, which is as wide as the aerial portion, extends several cm below the surface of the ground and transitions smoothly into a large taproot, which may extend over 25 cm below ground level.

Peyote is one of the oldest psychedelic agents known. Aztecs of Pre-Columbian Mexico who considered the cactus magical and divine often used it. Peyote use then spread from Mexico to North America to other Native American groups who used it to treat illnesses, communicate with spirits, and for highly religious ceremonies. In 1918, The Native American Church was formed to preserve their right to use peyote.

The active substance in peyote is mescaline, one of several naturally occurring hallucinogenic drugs . An alkaloid, mescaline tastes bitter, causes an initial feeling of nausea, then produces visions and changes in perception, time sense, and mood. There are no uncomfortable aftereffects, and the drug is not physiologically habit-forming. It is important in the Native American Church , which fused Christian doctrine with peyote-eating tribal ritual. The use of peyote is said to produce a mental state that allows celebrants to feel closer to their ancestors and their Creator.

source: http://zoom50.wordpress.com/2011/04/08/peyote-mescal-buttonlophophora-williamsii/



"[...]I was surprised, not only by the enormous profusion of the imagery presented to my gaze, but still more by its variety. Perpetually some totally new kind of effect would appear in the field of vision; sometimes there was swift movement, sometimes dull, somber richness of color, sometimes glitter and sparkle, once a startling rain of gold, which seemed to approach me. Most usually there was a combination of rich, sober color, with jewel-like points of brilliant hue. Every color and tone conceivable to me appeared at some time or another. Sometimes all the different varieties of one color, as of red, with scarlets, crimsons, pinks, would spring up together, or in quick succession. But in spite of this immense profusion, there was always a certain parsimony and æsthetic value in the colors presented. They were usually associated with form, and never appeared in large masses, or if so, the tone was very delicate.[...]" 


a description of the hallucinations created by mezcalito, 

Sketches - Junya Ishigami







junya ishigami was born in 1974 and graduated as architect. he has worked with kazuyo sejima and ryue nishizawa of widely recognized firm SANAA before setting up his own tokyo-based atelier, junya.ishigami+associates, in 2004. since then, ishigami has worked on a number of installations and designs that have been exhibited on an international platform such as the venice architecture biennale in 2008, where he created a garden installation in the japanese pavilion space, and the same event in 2010, where he exhibited the 'chateau la coste' installation - a project that won him the golden lion award. 

Thursday

FFFF_Fuck for Forests Film

 
 Why do it sexy?

Our bodies, sexuality and nature are under suppression. FFF wants to reclaim nature & sexuality and show a sex positive culture. We need pleasure, not power! Masturbation does NOT lead to hell! Body and sexual suppression is the cause of many problems in our world. If we would make more love, maybe we would destroy less? Many times the rulers who are making moral issues against naked bodies and sex are the same fuckers making war and destroying our planet. We wish to get closer to nature by celebrating love and liberty. Fuck for forest or be nude for nature. You have it all, and nature needs our love. So use your sexual powers! If you like the idea and want give a donation for our ecological work, please join us now! Enjoy the magic! Get access to thousands of sexy photos and videos of true nature activists - showing you real erotic idealism! 

 Do not disturb the WILD life! There are no laws in LOVE. Love is the law! 


 







Saturday

Hortus Conclusus - Point Supreme


The new "Theater Square is dedicated to the magic of nature: an urban room realized as a ‘secret garden’. The tall palm trees create a landmark on at the scale of the city, while at street level the garden becomes a place for the imagination with local plants and flowers creating open and closed spaces of light and shadow.

The surrounding office buildings are converted into contemporary housing with new balconies facing the gardent. The streets are pedestrianised, cleared of obstacles and reoccupied with a series of playgrounds that service local families and activate the public space.

The three entrances to the garden are highlighted by metallic, entrance gates that are also planted. Planted at each entrance, Cypress trees and aromatic plants awaken the senses and announce the entrance."

source:

some more green:


Six D.o.g.s. "Στο βάθος κήπος"



Aktipis Flower Shop

via pointsupreme

Sunday

par.arch.sites_demetra vg


Open publication - Free publishing - More architecture

παρασιτικές σχέσεις και αρχιτεκτονική μέσα από το μύθο του Λύκου και της Κοκκινοσκουφίτσας..

Islands are Forever


Green Islands of Hong Kong_March 2012







Friday

The Forest@Bios_by Violet Luise







Bios, Ομάδα Universalia, The Forest
Δευ 31 Οκτ 2011 - Τρι 13 Δεκ 2011

Ομάδα Universalia
The Forest
Πρεμιέρα 31 Οκτωβρίου

Μια performance που έχει ως βασικά συστατικά το λόγο, την εικόνα και τον ήχο, η οποία αναδιαπραγματεύεται την έννοια της αγάπης, όχι με τυπικούς – κοινωνικούς όρους, αλλά μέσα από ένα βαθύτερο και πιο ουσιαστικό πρίσμα. Υπάρχει αληθινή αγάπη ή επίφαση αγάπης; Είναι ένα συναίσθημα απόλυτο ή έχει μία δυναμική που ο καθένας τη χρησιμοποιεί, όπως επιθυμεί, κατά περίσταση;
«Γιατί να μην μπορούμε να αγαπιόμαστε; Όλοι άνθρωποι είμαστε. Ο Θεός μας έπλασε από το ίδιο χώμα.»
Μια κοπέλα ζει απομονωμένη σε ένα «δάσος» που έχει φτιάξει μέσα στο δωμάτιό της. Καταγράφει ιστορίες αγάπης για να ξορκίσει το κακό που μεγαλώνει μέσα της. Παίζει με τη σιωπή, τις εικόνες, τους ήχους. Ένα high tech freak που κρύβει τα gadget της στα φυτά και παίζει με αυτά σαν να ήταν κούκλες . Κρύβεται πίσω από τις φυλλωσιές, αλλάζει μορφή για να αποφύγει την αλήθεια, όταν αυτή την πληγώνει. Και ένα μυστικό που έρχεται και ξανάρχεται, κρατώντας την εγκλωβισμένη ανάμεσα στο παρελθόν και το παρόν της.

Σκηνοθεσία/ Performance: Λουΐζα Κωστούλα
Κείμενο: Ομάδα Universalia
Ηχητικός σχεδιασμός: Βασίλης Κουντούρης (Studio 19)
Video: MANOSg
Photos: theotrian

parARCHsites_A parasitic green sprawl in the heart of Athens





a radical urban devellopment project based on the parARCHsites logic. An urban experiment on the heart of athens.

collaboration D.Vogiatzaki, T.Triantafyllidis

In the Woods





Two boys and a girl, archetypes on a paganistic journey in which nature guides the senses and emotions. Minimal dialogue, silence, sounds. Fear, freedom, instinct, desire, pansexuality and always the feeling that something’s looking down from above. Filmed using the video function of a digital photographic camera, imbued with the uncanny and packed with intense hues and violent forms, In the Woods is an existential fairytale red in tooth and claw. A film as elemental as stone, as water or the sky.

Director’s note

This is not a love song

…this sense of worship we always reserve for those who have
no qualms about exercising their ability to cause us pain


Marcel Proust
Swann’s Way

The babe in the cradle waves its arm and thinks the whole world’s moving. His mother’s singing and the baby does not know it’s silent. The world is one. Indivisibly. The babe will learn to distinguish in a while. To comprehend its needs. That it and its mother are separate creatures. The pain! Everything’s fragmented. Everyone’s alone.

Two boys and a girl. Quite alone. Trying to come together. To become one again. Around them, huge tree trunks, translucent rivers, an isolated beach, the mountains, and an uncanny red house buried deep in the woods. Why is it there? Who has abandoned them to innocently hurt each other so very much? What is this strange sexual urge exuding from the trees, the water, the leaves? Are they free or trapped? There are no answers. Their journey’s like an initiation. As our journey was when we made this film.

Like children abandoned in the woods by our parents, our experience in nature transcended us. For two months, we slept in tents and ate by the light of the campfire. Without a script, we made the film with the actors day by day, marking the passage of time on our own personal calendar. The trunks determined our thoughts and guided our gaze. A crew of five plus three actors. Our equipment: a consumer digital photographic camera (we used its video function to film the entire movie), a sound recorder and a laptop.

This instinctive approach to dramaturgy demanded an equivalent shooting method that left us free of technical restrictions.

The decision to use a lo-fi digital camera instead of a proper camera imposed a new mode of filming. It allowed me to get in ever closer with my little camera: reach-out-and-touch close, wanting-to become-one-with-them close. To lick the stones or make love to the sand. And other times to train a narrow-angle lens on the bodies, like a documentary on the senses. But making contact, not removed like a voyeur. With the same desire to touch, to kiss, to bite, to become one. To rapturously escape the bounds of oneness. A sexual recording mode for a film about the materiality of emotions. Like a Fauvist painting with its deliberate outlines, intense coloration and violent forms.

Angelos Frantzis

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