‘He had gone barely half a mile when he met a lame Fox and a blind Cat, walking together like two good friends. The lame Fox leaned on the Cat, and the blind Cat let the Fox lead him along, so that no one knew who was helping whom.’
From The Adventures of Pinocchio, by C. Collodi

To offer support is an act of generosity; it allows and makes provision for something new to occur. Support is about the how rather than the what, the means over the end; it is critical to how things link and work together towards change. A support structure is an invitation.

Relating to specific notions of support, scaffolding is a temporary framework used to support people and material, an obvious visible example of support structures; scaffolding occurs before as well as after the building, or the making of architecture, and exists right against it in an uncomfortable proximity, right next to it but never within, so that it touches and cooperates from a certain exterior or without.

Support Structure (Celine Condoreli and Gavin Wade) for World Domination,
proposal for PEER publication - art and democracy

THE WORLD GAME: INTEGRATIVE RESOURCE UTILIZATION PLANNING TOOL By R. Buckminster Fuller

World Resources Inventory
Southern Illinois University
Carbondale, Illinois 62901
U.S.A.

C.2 Examples of Data Handling Techniques
The following flow charts are specific examples of data handling techniques and problem solving organization used by two World Game related projects. The first two are from the first World Game seminar in New York City in 1969; the second set of five is from a Design Science workshop held at the University of Southern California in Feb. of 1971. The charts are illustrations of the exploratory process and events that the participating students went through. They are linear, and hence suffer as the actual explorations were not quite this direct, but they are nevertheless a valuable aid and guideline to the student who wishes to know where to begin or where to go. This is how two groups of individuals did it; another groups’ efforts will of course, be different.

OCTOBER 110, Fall 2004, pp. 51–79. © 2004 October Magazine, Ltd. and Massachusetts Institute of Technology.

The Palais de Tokyo

On the occasion of its opening in 2002, the Palais de Tokyo immediately struck the visitor as different from other contemporary art venues that had recently opened in Europe. Although a budget of 4.75 million euros was spent on converting the former Japanese pavilion for the 1937 World’s Fair into a “site for contemporary creation,” most of this money had been used to reinforce (rather than renovate) the existing structure. Instead of clean white walls, discreetly installed lighting, and wooden floors, the interior was left bare and unfinished. This decision was important, as it reflected a key aspect of the venue’s curatorial ethos under its codirectorship by Jerôme Sans, an art critic and curator, and Nicolas Bourriaud, former curator at CAPC Bordeaux and editor of the journal Documents sur l’art. The Palais de Tokyo’s improvised relationship to its surroundings has subsequently become paradigmatic of a visible tendency among European art venues to reconceptualize the “white cube” model of displaying contemporary art as a studio or experimental “laboratory.” It is therefore in the tradition of what Lewis Kachur has described as the “ideological exhibitions” of the historical avantgarde: in these exhibitions (such as the 1920 International Dada Fair and the 1938 International Surrealist Exhibition), the hang sought to reinforce or epitomize the ideas contained within the work.

politics in the age of globalisation: space between economy and culture
Cognition Control, from the Archive of Stephen Willats, Materials 02, Institute of Visual Cultures, Cambridge, 2002