Breeze – Cub Building Budapest 2017 September

A big Syrian country-side beehive dome, the adobe Cub is built at the Danube riverside between Szabadság bridge and Petőfi bridge at Műegyetem Rakpart.

The works start in the middle of September. The foundation needs to be very strong because the Danube river is near. This is causing unexpected costs and a lot of physical work.

After two weeks the work stops due to financial problems.  I am still waiting for volunteer workers and support and hope to finish the dome in spring 2018.

 

the beginning seemed hopeless, but then  some people came to help and we proceeded

Since I did not want to have only the basis of he unfinished house for the opening of Gaudiopolis- Off Biennale Budapest  I build quickly a small dome. which is approximately 160 cm high.  The technique is cyclops wall technique. There is no glue or mortal.  The statics is provided only by the game of the gravitating weights: At the bottom, I use very heavy rammed earth-blocks (adobe),  at the top light air-concrete ( Ytong).  The sones in the walls created further balance.

The  work Small Dome for Gaudiopolis  was inspired by an earlier work of mine, “The Gate” from the shown Future’s Dialect   Róza EL-Hassan and Martha Rosler in 2016.Here I used the first time adobe and Ytong  (environmental friendly light air concrete together.

The Gate, 2016:

Small Dome for Gaudiopolis, 2017

The lower parts are strong and stable the upper parts are light and therefore no burden for the lower parts.

SInce this building has no foundation, it has to be removed soon.

The structures are playful like a sketch in space, but they offer  a concept  for a real sustainable  dome and  combining adobe, stones ( or recycled bricks) and Ytong:

 

Róza El-Hassan

photos

copyright at Anna Csörgő and Róza El-Hassan

 

 

 

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Breeze 2017 – Dome, Sphere and Floating Garden

Breeze /Róza El-Hassan, location: Red Star Line Museum Antwerp, Belgium,   May 9, 2017 – September 17.

 

 

 

 

earlier drawings and concept for floating gardens, which does not need watering:

https://syrianvoicesmediationandart.wordpress.com/2016/05/15/hanging-gardens-inbetween-skyscrapers-semiramis-in-the-gulf/

 

 

design and drawing: Róza El-Hassan, 2017

photos: Róza El-Hassan and Victoriano Moreno

copyright with the authors

 

 

 

 

H O P E Adobe dome building in Samos based on the manuals and instructions, which were published on this blog

H O P E 🙂

a first adobe dome shelter model is build in Samos at the Greek-Turkish seaside border based on the instructions and drawings on this blog.

Big thanks to all!!!

curator Katerina Gregos

at Art Space Pythagorean – Schwarz Foundation – Samos

the adobe house dome building instructions, wich were published on this blog in the earlier article “how to build a Syrian  adobe dome” and in other articles on the Syrian adobe dome, are free to use,  the drawings can be printed. the guidelines  of creative commons” rules are valid.  So visit the articles and try how to build .

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Floating Gardens inbetween Skyscrapers – ” Semiramis in the Gulf”

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Hanging Gardens for Skylines, drawings 1-4, 42×59 cm 2016 April, Copyright Róza El-Hassan

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Hanging Gardens for Skylines, drawing 59×42 cm, 2016 April, Copyright Róza El-Hassan

 

 

 

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This was came into being, since the skylines of the Arab Gukf were so inspiring and so were the big constructions and utopian buildings.

My futuristic idea is to connect the skyscrapers also on the high level around the 30th or the 50th floor and to add hanging gardens , bicycle roads,  streets to walk to to the upper level. This way we have a skyline, which reminds me of the Hanging Gardens of Babylon., which King Nebuchadnezzar II build for his wife Queen Amytis , who missed the green hills so much, we know these seven wonders of the ancient word also as Semiramis Hanging Gardens.

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Hanging Gardens of Babylon, 19th century painting  by anonymous artist.

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Hanging Gardens, Singapore.

The question arises, could we build such sustainable gardens floating in the air between the skyscrapers?  And how could we water them? Today we know several technologies to get  water from the air.  So we do not need to build pipelines. These technologies I will introduce later.

There has been  already at the beginning of the 20th century several ideas to connect skyscrapers with  high-road,  but seldom realized. One of these utopian images we can see on Fritz Lang’s film scenery Metropolis.

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Fritz Lang, Metropolis film animation beginning of 20th  century

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Why Highroads instead of elevators only ,2016 April

When we want to walk from  the 50the floor of a skyscraper to visit the neighbor’s office or home, which is in the other skyscraper, on the 45th floor, we take the elevator, go 50  floors down and the we walk or drive to the other building and we go again 45 floors up with an elevator.

 

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Burj Al Khalifa Metro Station Dubai / Pedestrian highway

 

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Vertical Garden for Berlin

One example for a device, which extracts water from the air: Dew Bank by Kitea Pak — orogially designed for desert situation, but also useful among skyscrapers.

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Roza El-Hassan 2016 May All right reserved

 

 

 

 

 

 

 

 

 

 

Syrian Beehive Dome Building and Plans and basic Instruction how to build an Adobe House

How to build an adobe house – basic instruction.

please scroll down for German abstract/translation

The first step to build any adobe house is the production of the bricks.

It is basically a mixture of stray and mud(earth)  casted into a simple form and  dried in the sun.

In hot weather regions it needs only three or four days to dry . In Hungary it needs a week or two depending on the temperature and sunshine. It can be produces only in the summer!  Several tutorial videos exist on the internet. Still you have to try yourself,  try the local earth, straw and weather.  If you mix also a bit of cement into the earth it dries faster and harder but later while you r work, it is much more difficult to cut the bricks, if you need smaller pieces for the top of the dome or for edges. in the house. Fully organic bricks made of straw and earth can be cut easily with a handsaw and formed as needed.  It is a universal element for architecture and art.

Arabic  video made last summer:

 

 

The dome’s is placed on a stone socket, the walls are  very  big on the bottom, and thin on the top. This provides the statics.

The stone  part can consist of one layer only or of several layers, the stone basis is not necessary, if the dome is build on  concrete or pavement.

 

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basis

This basis can carry as well a house, wich has the form of a cube and a house, wich is  a dome.

The doors and windows can be made also of wood, metal or any other material, which is available, not just stone.  If you do not have any wood or metal for the doors, I recommend  to use textile.

Usually the door is not very big, not more then  150 cm high.  If the house is 250  or 270 cm high, the door can be between 120 and 150 cm high.  If bigger, the door is to dominant.

The window is places very low, only. 40 or 50  cm from the  floor.  the size of the window is about 45 cmx 45 cm .  This is better to get cool air into the house from lower levels.

 

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The Beehive is not like an arch, but like a wall with special statics and  character.

See drawing left side.

This drawing shows how to calculate the basic  proportions

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Der Dome ist zumeist auf einen steinernere Sockel gebaut, der 15 cm bis zu ein meter hoch sein sein. Die Höhe ist variabel.

Auf dem Steinsockel steht der Erbau.

Es ist unten ganz dick, mindestens  50 cm dick und oben ganz  dünn.

Somit sind die Seitenstützpfeiler, die z.B. bei einem gotischen Dom am Gebäude  an der Seite des Hauptschiffen als Rippen erscheinen, hier  in  die sich nach oben verjüngend Mauerbreiten mit einkalkuliert. Die unten dicken Mauern fangen den schrägen vertikalen Druck der Kuppel auf.

Da der Sockel quadratisch ist, und die Kuppel rund, entsteht eine kleine Konkave in den vier Ecken.

Die Zeichnungen und Photos  zeigen den Innenraum der Kuppel , der rote kreis den Übergang vom Quadrat zur Kuppel, Kugelform.

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the red circle show the very ancient problem  of builders to change from  a cube to a sphere:-)

and this photo shows how beautiful it is inside.

But to achieve this natural architectural  beauty it is better to ask a Syrian craftsmen or woman.

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upper photo: House: Breeze 9  , Antwerpen ,build by Róza El-Hassan, Hussine Ahmed Hamed, Dr. Nawaf El-Hassan,  in May  2015 organization, curatorial work: Anders Kreuger and the MUHKA team.  The adobe bricks were produced in Hungary at Tisza riverside.

to be continued….

 

 

selection of new sketches on paper and in space

title of the show

Architecture of Compassion

curator: Barnabás Bencsik

artist: Róza El-Hassan

more photos  will  follow soon

on display until the 29th of  April on display in Budapest at  INDA Galéria
H-1061 Budapest, Király utca 34. II/4.
telefon: +36 1 4131960
mobil: +36 70 4203124
e-mail: info@indagaleria.hu
http://www.indagaleria.hu

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photo Miklós Sulyok

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Skyscrapers on my desk with   pommegranate  on the top

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Portrait Charlotte Bühler 2015

 

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mushroom houses in the Gulf

 

 

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Architecture of Compassion photo Róza El-Hassan

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adobe house photo R.E.H.

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Backlight – Transition

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Backlight – Arrival 2016

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panel  with stars and holes

 

 

The Pioneers: Adobe Architecture since the Modernist Movement in 20th Century – Hassan Fathy – Cairo, Nader Khalili – Teheran , Anonymous Architects from Mexiko, black and white documentarist photo movement in Hungary – some of the most charismatic architects who worked with adobe , earth and sun-dried materials

Here follows some important links about the modernisation of adobe architecture in 20th century. The list is not alphabetic,  but ordered by the year of birth of the architects and archivists . They are all very important. This short list  includes  those  charismatic architects who were born and worked in the 20th century,  therefore those who followed  after 2010 are missing.

I did not add too much explanations and text  since I would like to show the beauty and the significant style of great architects like Hassan Fathy and  Nader Khalili.

Hassan Fathy – حسن فتحي 1900–1989

Cairo

Fathy is called the pioneer of sustainable architecture – he designed earth-brick houses in Egypt for poor people – he was a great and elegant modernist thinker and architect

 

https://www.pinterest.com/Yazzie_707/hassan-fathy/

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Hassan Fathy – drawing of natural air- condition methods and wind-fluctuation in traditional Arab windcatchers

 

Nader Khalili  –   نادر خلیلی 1936-2008

Born in Teheran,  departed in Los Angeles, California

Architect,  poet  and translator of Rumi literature.

Here are some of his  great buildings – light, spirituality and  important scientific inventions

hqdefault  RumiDomeInt1  adobe_on_moon

Khalili’s famous super-adobe idea  for astronauts, who could not carry bricks to the moon. The idea was to take empty sandbags up to the moon, fill them with moon-dust  and build a dome from sandbags.

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Mexico and New Mexiko

renovation works –  an new reconstructed buildings – often be anonymous architects. I did not find their names  on the internet, only the locations. San Geronimo Church at Taos Pueblo by Karol M. “This is the church at Taos Pueblo, the northernmost of the New Mexico pueblo’s and the most original and beautiful….the churh is the NEWEST building in the pueblo….having been built in 1850 and is a National Historic Landmark…it replaced the original pueblo church which was destroyed by the US army in 1847 after a revolt by the natives…” Source: http://www.flickr.com/photos/byrdiegyrl/35098783/

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earlier church, archives Taos Pueblo

1024px-Taos_Pueblo2 Taos Pueble, Mexiko

Tibor Sabján 1952  – 2009 born in Szekszárd, Hungary.

He is one of the important researchers of  the Hungarian anthropologist movement  of the 20th century.   He was architect,  photographer and ethnography capturing rural tradition and its details. Following his studies of architecture he  spend decades with  taking black and white photos  of rural architecture and design in  Central Europe and Hungary.    hagyomanyosfalak_STBM one of  his most important  books: Hagyományos falak (-Traditional Walls)   authors :Sabján Tíbor – Buzás Miklós ISBN: 9638630353 Oldalak száma: 140 Nyelv: magyar Formátum: 166 x 188 mm Kiadás éve: 2003 Kiadó: TERC Kft.  , László Kúnkovács’s   architecture  photos of preripherical buildings  and objects belongs also to his school http://tyukudvar.blog.hu/2012/04/20/elfeledett_kincsek_tyukolak_a_nepi_epiteszetben  http://2014.biennale.hu/osepitmenyek/

Kibbutz Lotan, Israel  since 1983

combines various structures of closed and open form, heavy and light structures, walls and windows

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to be continued with architects from Asia, Europe and Africa.

Breeze 9 – Antwerpen – artist : Róza El-Hassan

experts:

Hussein Hamen Ahmed , craftsman, bricklayer  interior designer for plaster-reliefs and  home-decoration,   from Antwerpen and Aleppo

Dr. Nawaf El-Hassan, expert for  cultural heritage, village architecture in Northern Syria and dome-building,  Latakia –  Budapest

Anders Kreuger – curator Stockholm-Vilnius _Antwerpen

and many others

 

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photos Christine Clinckx and Róza El-Hassan copyright with the authors

New – new – new :-) heat censors and leds

Adobe-dome house – new  experimental design with heat censors and leds please zoom in for details Biheeve1_terv-2 new plan:  heat censors  and leds  showing the temperature  idea by Andrea Stojanovits and inner ornamentics by Éva Köves   Beehive_house_syria__thermaoplan   Róza El-Hassan drawing from  2012  Thermo plan for  adobe dome house  –   The house was in the hot summer inside 25 degrees,  while it was outdoors 50 degrees  celsius – it is a natural air-condition machine –  The warm air is collected in the top of the building.  copyright with the author copyright with Breeze projects.

Selection of Articles on 3D Printer and Mud

These are just some link to 3D plotters, which work with mud and clay. It could be interesting while rebuilding Syria, although  it is built  in China and in Haiti or Peru  in the earth-quake regions.  So why not in Syria?

One of the reasons, why the research of mud- technologies and adobe is important is:   cement, the classical portland cement, as used in concrete needs to be burned at 1400 °C   during the production to receive the Portland cement granulates, its  basic material.  1400 °C , this means using a lot of fossile energy. 3D printers work not only with clay, but also with recycled material.  The biggest 3D plotted houses are build in China.

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in the labor  — small scale adobe domes build by robots  – image source:  http://i.ytimg.com/vi/J8lBdgzWHO0/maxresdefault.jpg

some links and recommendation :

on Aljazeera you find also in arabic

http://www.aljazeera.com/indepth/features/2014/10/3d-printing-future-disaster-relief-20141016825642208.html

development of 3D printed objects and houses in California in cooperation with Chinese researchers::

CENTER FOR RAPID AUTOMATED FABRICATION TECHNOLOGIES

http://www.craft-usc.com

 

An interesting article on 3D printer and mud presented in Italy last week by  the company WASP an earlier examples of 3 d printed houses made of waste material in China

http://www.iflscience.com/technology/3d-printer-uses-mud-natural-fibers-make-homes-impoverished-areas

 

https://www.youtube.com/watch?v=SObzNdyRTBs

 

https://www.youtube.com/watch?v=aQWSRpacNzY

 

https://www.youtube.com/watch?v=SObzNdyRTBs

 

NEW: Big dome 3d printed

http://inhabitat.com/worlds-largest-delta-style-3d-printer-can-print-nearly-zero-cost-housing-out-of-mud/

Have a good time while  reading and watching !

 

 

 

 

How to Build a Syrian Cub dome and how to start to build an adobe house – the foundation of a house near the Danube river in Budapest

How to Build an Adobe House – my experience in Budapest in September 2017

The first step is to even the ground and to remove the earth to make space for a foundation.

The walls of the adobe house should stand on a basis of stones, bricks or if nothing else is available on concrete.  The adobe walls should not stand directly on the earth in the wet ground, but on dry stones, because adobe bricks do not “like” water. If you build the adobe house on a rock, which is in the dry desert not much foundation is needed :-).

But if you start to build it at the Danube river you need really a lot! Be prepared for heavy work.

stones: recycled bricks and natural stones in the foundation. They are joined deep in the earth with water-resistant concrete and above the earth – where it is not so wet –  with mud.  SInce the ground-water level is very high near the Danube,  and floods happen often, I dare not use only mud and sones for the basis under the earth, but stones and concrete.

 

Stone basis and adobe bricks

 

I used recycled bricks. for the foundation, the foundation is appr. 60 cm deep in the ground and 50 cm wide.

To glue the adobe bricks together you need a lot of earth.  This we mixed with water and a hand mixer.

This is done in plastic bowls. This type of plastic bowls, which you can buy in OBI or Baumarkst are cheap, but they have after a few days crack if you work intensive.  Try to get special bowls to mix

 

straw absorbs unnecessary water – so we put it on the top of the wall in the evenings

the entrance is made of terracotta bricks, but it can be also wood.

 

This is the point where I stopped building and hoped to continue in spring

Tools you need:

Please note: you need also a lot of TIME! Earth is not concrete. Earth needs time to dry, shrink,  sink compress the lower layers and to find the final form.

 

 

Why colored? (short version)

Why Colored?

Why are the plans for  the installation so colored?

Today I read Roerich, cosmology – among others a text by a museum’s director, whom you probably know personally:

http://en.icr.su/evolution/ethics/papers/zov/index.php

They had a new vision of the human being embedded into the universe. The heart is the center of sun, cosmos and light.

I looked also at architects like Plecnik and the Hungarian “painter of the way to the sun ‘ (as he calls himself) Csontváry and it seems, that placing the colorful Orbit – Eden with dome and sphere- herb- garden is an adequate answer the the situation and the question of migration – even if it was an intuitive answer.

According to these the colored houses – and a space, where the visitor enters a painting are the only possible conceptual answer.

Of course we could call it East of Eden, West of Eden….

On one hand the installation could show of course the danger of aesthetisation of politics – as described in Walter Benjamin’s book Das Kunstwerk im Zeitalter seiner Reproduzierbarkeit. Benjamin called anaesthetization of politics fashism while politisation of asthetics is socialism – although this refers mainly to reproduces media, e.g. films and not to unique pieces with aura.

Compared to real shelter building in refugee camps my vision for the installation in the museum is rather beauty them function, but it takes places indoors in a museum, therefor the framework of aesthetics was given.

The question as described by Benjamin is open, because we do not know yet, if the museum is extended to a new function in politics (= politisation of aesthetics = socialist ) or if replaces social space of migration or shelter and eco-building (aesthetisation of politics = fashist according to Benjamin). I am optimistic and think, that the mental space is an extension of the idea of shelter and the fantasy does not replace real habitats for asylum seekers.

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Other aspect is the absolute need to have a clear and present image of Eden, Utopia, Paradise. Nobody would migrate or dare big changes without this imagination of a peaceful and happier life. Not only the cosmologist, but basically all the important artist and thinkers ask science and politics since hundred years for more tolerance to the spiritual or metaphysical world. (not always successful) .

Color is the metaphor for light.

So far my remarks, and an explanation why it is so colored.

Postscript:

The ecstasy of color and light as utopian formations we know from painter’s work, at the end of 19th century and in twenties century. Of course it is not only Russian cosmology, where we find the extra-scietific experience, but also in Van Gogh’s paintings and in Munch’s landscapes or Csontváry Koszka Tivadar, Hungarian painter.

The question arises in 2017: What happened to them later? What happened to the movement? It was not only a style to paint, but an eschatology – the end of ordinary reality and reunion with the Divine.

And why is it interesting today?

We can read in L. Shaposhnokiva’s text, that the supra-scientific, as the cosmologists called of cosmic consciousness and love, which assumed an evolution of cognition, beyond the simplified and mechanic reality of science, was prohibited by Stalin and only dialectic materialistic views of social states were aloud. Accoding the our history books, the prohibition was cruel and merciless, Pavel Florensky was killed, others like Alexander Chizhevsky were banned to remote places in detention camps in Asia.

The cosmologists, were special, because they had a truly ecstatic experience of nature and universe, we see in their paintings (A. Chizhevsky) but still they did not go crazy, one of the reasons might be, that most of them were scientists. They had a stable matrix, coordinates, rational mind- however we call it.

There was no contradiction between science and the mental space, human heart. Still their theories were prohibited by Soviet State, since it seemed to difficult to understand and doubt was wanted in the system. They were killed and a stagnation of philosophy followed.

I would risk the sentence, that other painters of ecstasy were not scientists, but mainly individualists living in ecstasy and in permanent eschatological state of mind and soul. They l were therefore no big danger to dialectic materialism and capitalism and socialist dictatorship. I mean painters: Van Gogh or Hungarian Csontváry Koszka Tivadar and Gulácsy. What happened to them? They went crazy? Their visions landed in the category of extremist subjectivity = that means in western culture craziness.

We could examine the question of the extension of mechanical materialism on uncountable examples in history – and extend eschatology to the question of the definition of humanity.

We can continue examining Van Gogh’s fate and Csontváry and artists’ visions not only in Eastern Europe, but also in the States, Ginsberg’s visionary revolts, his poem “The Howl” decades after Munch’s scream. Then later, the industrialization and planned usage of drugs and hallucinogens for broad masses in Californian and hippy culture. The camouflage actions by Andy Warhol and pop- artists: art went in camouflage as product. Art as thin surface of color.

We can turn to Germany, Switzerland Swiss mountains’ mystics – Amden, and painter Otto Meier-Amden, the great Steinerian schools – and the problem of kitsch production: the esotheric and theosophic ideas are domesticated to hand- knitted pullovers and herb- gardens problem and ginger- bread aesthetic- what is not harmful or dangerous, but a bit kitsch and domesticated if we compare it with Chiznevsky’s level of research and practice.

 

The individual is word-wide uniformed for the good and bad sides. Long descriptions have been produced about this tendencies political and social power- structures and its characteristics in Asia, Middle East and Europe which lead to far from this study. The colored magazine ‘s slogan is that “diversity is a value. “ Colors are life , besides the colors, easiness of forgiving is a basic element of tolerant societies and you simply feel better with less violence in your environment.

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sphere garden which does not need watering

 

Back to the supra- scientific or eschatological and its expression in art, culture and science.

The question arises, how will future’s societies deal with this? According to the cosmologists and the theoreticians of the post-internet-revolutions (we are one digital village, a rhizome, all humans form one entity, the age of the Anthropocene) the human supra-scientific and supra- natural cognition is under evolutionary development. According to cosmology, we have or we might have or we have already cognitive qualities, which used to be perceived earlier as supra-natural. This is caused by the inner development of human beings, intelligence and soul on one hand and on the other hand by the progress of scientific research on the highest level of knowledge in time and space? Will the artists and researchers be killed? Enslaved? Or will they form a protected social group of monks similar to Buddhists or similar to Druze examples of hermeneutic religions? Or will they be declared crazy? (this has the disadvantage of humiliation, but the advantage of more freedom in front of the law.) It brings the danger of being used as human experimental rabbit, if a judge orders enforced treatment by unknown medication or rays. Who will be the judge of the artists, decide if they stay alive or not – if public or not? And what is the source of the judge’s legitimacy, if the masses have no access to real information and basically the idea to allow them to vote is therefore false? Will the artists’ visions and knowledge be respected – as visions of tribal medicine man and women? Will it be kept secret? Will it be public? Will they be the object of laughter? Will they be an instrument of power? Or will they support power on a voluntary way? How deep or how broad is the real connection between imagined, subjective realm and utopia and rational science and the causality of reality? Is the connection a small narrow and difficult path or a broad highway? Is all what I write here true? Or is it folkloristic superstition?

And if power: is it a good or bad one? What about the manipulation and control of the masses?

All these questions, does not effect on first hand the artist, or the mystic, who can be martyred or respected or hidden and to serve the elite only, as it happened in monarchies. Or who can have power as an individual. It effects mainly the society and the public.

(If the artist and philosopher is killed or it is completely forbidden to work, he or she does not serve anybody.) If he or she can work, but the result is hidden, and the artist sits under a glass bubble, in ivory tower or in detention camps in remote places, castles it serves only the top power structures, even if he or she is part of these structures and equal partner. The question arises, what will happen then to the mass? Will machineries of media produce mass- culture for them? Something faked? And will they eat the faked stuff? They are not so stupid. How will the access to extra-science be distributed? – Does it need distribution similar to capitalist commodities? Maybe it will “distribute” itself. Will the power be mean or human? What will happen to civilization, what will happen to humanity the perspective is too broad to be discussed in one text, but we can say carefully, that there is indeed a tendency severe control of our imagination on one hand and a new broadened consciousness cognition and collectivity on the other. Who will win?

Róza EL-Hassan 2017

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