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Famous Francesco Proto Quotes

“By symbolizing the end of elite privileges (culture was finally made available to the most), the Pompidou was being offered to the masses as a transparent (read: democratic), manipulable (read: empowering), enjoyable (read: ideology- free) and larger- then- life (read: inoffensive) Troy horse meant to defuse masses’ scepticism towards the government, which just ten years before had been contested in the street of Paris. Sounds good, right?”

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Book:Baudrillard for Architects
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“Baudrillard argues that there used to be a time when the role of objects was primarily to signify rather than to function. Thus, the symbolic structure of the traditional domestic ambience reflected the rituals and traditions of the socio-political order, arranged according to prescriptive and unchanging rules based on, and extracted from, ‘tradition and authority, and whose heart is the complex affective relationship that binds all the family members together […] Hence, the fixed and immovable meanings with which these objects were endowed: if mirrors and family portraits symbolized a particular sense of introspection and enclosure, the clock crowning the marble mantelpiece symbolized both the hierarchical structure of the family and the permanence of time. Linked to one meaning and one meaning only, every object of the traditional domestic interior can thus be understood as theatrical and ceremonial, thus occupying a specific place within the domestic interior exactly as family members occupy a specific position in their corresponding family tree.”

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Book:Baudrillard for Architects
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“Symbolically meaningful (and symbolically insignificant), glass intensifies all the contradictions at play in contemporary furniture: the inability of people to determine their own condition and destiny (Baudrillard, 2005: 42). By promising proximity, intimacy and transition (while at the same time promoting distance, detachment and immobility), glass reproduces in the microcosm of the domestic ambience the inequalities at work within the macrocosm of contemporary society. The happy ending embedded in its discourse is thus retracted by its ‘see- but- don’t- touch’ aesthetic quality.”

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Book:Baudrillard for Architects
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“A second way of interpreting Baudrillard’s hyperreality can therefore be found in his critique of the sign where consumer society, in its unstoppable process of deterritorialization, reduces objects to signs and the latter to empty signifiers. Hyperreality can eventually be understood as the pathway leading from a condition where the sign bears some semblance to reality to one where the sign becomes self-referential.”

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Book:Baudrillard for Architects
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“Barthes referred to semiology, the science of signs, in pursuing this task. He followed Ferdinand de Saussure’s claim that a sign is merely the outcome of an arbitrary relationship between a signifier (a word, picture, utterance) and a signified (a concept or mental image to which the signifier gives rise) – implying that the words we use have no fixed meanings in themselves. De Saussure called this ability of the sign to represent or convey meaning signification.”

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Book:Baudrillard for Architects
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“Baudrillard’s positioning of the first stage of simulation during the Renaissance: by reproducing appearances accurately, not only does the perspective window initiate the indefinite manipulation of the environment, but also the predominance of vision in the West. Now understood as a geometrical calculus of distances and proportions, space is born, a theatrical ambience where life unfolds according, and thanks to, the distance separating the viewer from the stage. ... On the other hand, no understanding of reality is possible in the absence of a gap distancing the subject from a world within which s/he used to feel completely merged and subjugated (Descartes, [1637] 2006); just as no understanding of the self is to the same extent possible in the absence of a gap distancing the subject from its own image in the looking glass (Lacan, [1936] 2006). An effect of representation, the perception of reality and individuality both owe to the perspective window their initiation and realization.”

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Book:Baudrillard for Architects
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