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Radical Passivity

Peter Eisenman

[in italiano] Since Brunelleschi's introduction of perspective in the architecture of the 15th century, the relationship between the subject and the object of architecture has been based primarily in the optical, how the subject comes to understand, through sight, his or her experience of the building.

Even with the ebb and flow of the history of architecture and its changing styles, the dominance of the optical as the primary component of the subject/object relationship has remained intact. And while it can be argued that much of what modern architecture attempted was a critique of the optical through abstraction, today's building, with its concentration on the spectacular image and the signature icon, has only increased the power of the optical. But there is a problematic nature to this increased reliance on the optical sponsored in today's consumption of media. The more the optical dominates, the more passive the subject becomes.

Jasper Johns said that Marcel Duchamp freed painting from a reliance on the retinal, but no such change has been apparent in architecture. The idea of a radical passivity lies elsewhere. In film, for example, directors such as Robert Bresson, and today, Michael Haneke attempt to overcome the passivity induced by a sight narrative by withholding crucial action from the frame of the film.

In architecture of content, radical passivity proposes an object that is illegible, even unintelligible as a writing. Now, the subject is no longer active in reading for meaning, nor, on the other hand is he or she passive. Rather, the subject/object relationship produces a non-passive passivity, in other words, a radical passivity.

Peter Eisenman
[23mar2006]

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