:: STEF'S BLOG ::

:: Monday, April 28, 2003 ::

The Slow House project sets up the comparison between the fragmented, sabotaged image of the landscape using a 'picture window' (framing the landscape in the window) and places this opposite to the display of the same image using a TV monitor. Doing so the landscape is transformed to a hominess representation in two different ways. D+S declare the 'picture window' to be the ultimate advanced technology, since this cultural mechanism remains invisible, contrary to the TV-monitor.

:: Stephanie 1:10 AM [+] ::
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The work of our studio attempts to dismantle the qualitative distinctions between mediated and "real" experience that serve to separate architectural experience from that of contemporary media. We attempt to synthesize technology and architecture using bricks and pixels as irreducible units of construction.


:: Stephanie 11:55 PM [+] ::
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'The things that control people's lives are not the things that lie on the surface,' says Scofidio. 'It's the invisible things that influence us and make us perform in ways we don't think about. If you stay on the surface, you're sure to miss conditions that affect your personal life, your city, your environment and, yes, your architecture.'

:: Stephanie 11:46 PM [+] ::
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D+S 's fascination with all that 'gives us identity in a world of mass-produced images'

'Architecture has viewed itself in insular and autonomous terms, and in many ways this has limited its practice and theory. By re-examining ideas of architecture beyond itself and into/through/against, for example, the performative, the experiential, the filmic, the diaristic, and so on, Diller + Scofidio have greatly expanded the idea of architecture as a variegated(to give variety to; make varied) practice

Last year's Brasserie project, a restaurant in the windowless cellar of Mies van der Rohe's Seagram Building - arguably the 20th-century's most famous glass tower - plays with surveillance. Cameras record patrons as they enter, capturing their images on a series of monitors over the bar and visually re-enacting the formal ritual of 'being announced'. The space becomes theatrical as the monitors amplify the natural surveillance of 'seeing and being seen' that electrifies any trendy urban nightspot
:: Stephanie 11:42 PM [+] ::
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authentic-qualitative experience

But, whether motivated by the desire to preserve the real or to fabricate it, liveness is synonymous with the real, and the real is an object of uncritical desire for both techno-extremes. (technophile & technophobe)

"Live" is a broadcast term which means simply, now, at this very moment. Live cannot be thought if not in relation to the not-live

Liveness holds with it the titillation of the unmediated, the uncut, the uncensored, and the not fully controlled

For technophiles, liveness is the index of technology´s ability to simulate the real... in real-time

The difference between liveness in broadcast and liveness in surveillance is the diferrence between the act of witnessing and the act of monitoring

Surveillance technology has produced a transparent world in which its own presence has become transparent...glass

Perhaps, the paranoia has shifted in the last decades: the fear that someone is watching has shifted to the fear that no one may be watching.

http://www.prototypo.com/Essays/Essays1/001_3.htm

:: Stephanie 11:32 PM [+] ::
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Live-ness as the ultimate real-time experience has thoroughly been permeated in our society .......manipulating it until a hesitation about our observations appears. The uncensored, not completely controllable image of the action at the moment it happens transforms the passive viewer into a direct eye witness. The envision of the actions by using the media is the technological competence to simulate reality. It is the ultimate simulation of the real experience


http://www.classic.archined.nl/news/9802/diller_e.html
:: Stephanie 11:26 PM [+] ::
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live webcams...live cameras....a way of connecting real time...depicts how our ways of observing are changed, transformed, by these new visual techniques
:: Stephanie 11:23 PM [+] ::
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they attempt to make the conditions, the anonymous values and norms of the society visible, readable, audible and tangible
:: Stephanie 11:22 PM [+] ::
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'Architecture is to change what you expect from it'
:: Stephanie 11:21 PM [+] ::
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D+S


more than just buildings matter.........environments of thought.........content over form, mind over retina.


BadPress....The architects are pointing out that an industrial logic has infiltrated our houses and minds via notions of home economics. Our very bearing internalizes the machine, and we dress for the mechanized world like compliant little soldiers. Diller and Scofidio specialize in undoing packaged thought to expose underlying implications. The industrial revolution may have given us repressive take-home pseudo-science, but the digital age has compounded and intensified forms of cultural conformity


Master/Slave....Our lives are not only mechanized but also mediated: For each action, there’s an equal and opposite video display. We are never quite alone in this sinister Orwellian space.


http://www.newyorkmetro.com/nymetro/arts/architecture/reviews/n_8443/

:: Stephanie 11:20 PM [+] ::
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Concrete Is As Concrete Doesn't


The body as an "intrinsic connection between movement and sensation whereby each immediately summons the other?"
culture...the everyday...


"a subject without subjectivism:a subject "contructed" by external mechanisms. An emergent elf-organizational strategy without hierachical order. The Familiar.


position....movement.....place.....point......not the position which gives rise to movement rather the movements which give rise to position, the interactions and relationships which are formed and occur in the virtual bring about a reality.


talks about the grid, its points, and the relation of the body in terms of the beginings and the end, the points of reference, the start and end point, and not the in between, this is the manner inwhich we think of a grid as composed of points, movement is extracted from the equation. how do we change this grid? the grid is hiearachical and not emergent. topology?


"there is displacement but no transformation, its as if the body simply leaps from one definition to the other", leaps from one point to the next with no reference to the in-between, think about this from a cultural viewpoint, ....camera monitoring 24 hourse a day ( D+S) in rethinking about the way humans occupy time, a day is not merely composed of getting up, eating brekkie, lunch, work, it is not divided up so cleanly into separate segments rather there are crossovers. in mapping and observing, we gain a more detailed, and thorough insight into the life as a person, and the activities that happen throughout the day.


"movement is entirely subordinated to the position it connects"


"to think the body in movement thus means that there is an incorporeal dimension of the body.Of it but not it Real, Material but incorporeal. extend this mode of thought to the diagram and the familiar? the virtual and the real. that the relationship is not consisting of congruencies on either end but they exist together. the virtual is not independant of the real and vice versa, "in play, they are both equated and discriminated". we now have to think of architecture not as belonging to the threshold of the real but "in play", then the dilemma is gone!!perhaps eased.


"they are not abstract enough to grasp the incorporeality of the concrete" how true!


the arrow and the points. the journey is not composed of points, it is undefinable. the path is a "unity", to rethink architectural elements to be independant of movement is conventional but not throuroughly true.
:: Stephanie 9:55 PM [+] ::
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"both materializing the map and not materializing ( but alluding to ) the map, happily play between the map and the territory" rakatansky
:: Stephanie 9:21 PM [+] ::
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"its a question of whether the diagram is a means of exploring an idea or an end in and of itself"

"an image becomes a diagram only when you instrument it toward organizational effects"

the architecture will achieve believability, will be characterized by its limits.
"Your architectural characters, your architecture:by their limits. The limits say of mutability, which will give you the very possibility of enacting what might be perceivable as that which has mutated"
does this extend to the experience then?, to experience some sort of mutability?

rakatansky
:: Stephanie 9:13 PM [+] ::
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G.Bateson>map & territory



Epimenides’ Paradox.





All statements within this frame are untrue. Source : Bateson, 1972, p. 184.


I love you.


I hate you.


Bateson (1972) uses the paradox to look at the process of framing, how for example the play frame "implies a special combination of primary and secondary processes . . . In primary process, map and territory are equated; in secondary process, they can be discriminated. In play, they are both equated and discriminated" (p. 185). In other words, if acting is real and reality is good acting, then we are never sure what is real or what is a play. As an audience member at an organizational performance, how can I be sure of the authenticity of the performance?






In primary process, map and territory are equated......this refers to the collapsing of difference, in reference to the diagram, for example, the mode of circulation mapped out by the diagram is expressed in the architecture throught the real movements and circulation within the final outcome. As a consequence of collapsing the difference, this similarity can be expressed both in the diagram and in the architecture, thus, the virtual and the real fins their way into the context of the other.



in secondary process, they can be discriminated. this is the assertion of difference. relating back to the diagram, this is the assertion of potentials, which will remain in the diagram, in the virtual. likewise, the physical properties will remain in the real and in the built, this is the assertion of difference....im not too sure about this however



In play, they are both equated and discriminated" map & territory are both equated and discriminated.
:: Stephanie 9:01 PM [+] ::
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HIEARCHIES & FAMILIARITY


Because we like to see hierarchies. One reason we see hierarchies everywhere is because they are a tractable way of carving up the world for human beings. They introduce an order which unites a number of different (physical or computational) objects (those at one level) under a common descriptor. Thus even in situations in which the actual ('God's eye') complexity of a (computational or structural) phenomenon may not admit of a genuinely hierarchical description, we may fruitfully impose a hierarchical description which captures some aspects of the phenomenon.



The grammar that describes the behavior at a high level of a specified hierarchy need not have any application at all at a lower level of the same hierarchy



is this nescessarily successful though?, to impose upon an enity a relationship which may or may not be fit it.....its like the constant congruencing of relationships.

:: Stephanie 8:53 PM [+] ::
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INFORMATION
Gregory Bateson defined information as 'a difference that makes a difference'
similar expression extended to the use of the diagram, where it is the difference that finds itself onto the territory, in fact, a mimic would be futile,if the architecture displayed the difference, then would the translation have been successful?

The context of the diagram, the diagram has no context. The word 'context' comes from a Latin root meaning 'To weave together; to form, construct, or compose as by interweaving of parts'. When we say something has no context or is context-free, we mean that it is self-contained; that there is nothing more to understanding its operation than understanding its own contents. The diagram is a self-contained entity, that should be recognized for its infinite potentials in forming or revealing relationships rather than its aesthetic ( this goes back to what i said earlier about the colour-the excitement loss of the diagram)
:: Stephanie 8:48 PM [+] ::
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Gregory Bateson

Unconcious
:: Stephanie 8:43 PM [+] ::
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RAKATANSKY

"the diagram...a graphic design that explains rather than represents a drawing that showa arrangements and relations"

the object and its representation are not nescessarily one of the same, in fact, they are so not!.....thats the whole purpose of the translation

"its not how you begin-the how comes later-but with what?"

diagram=map..........representation(architecture)=territory
The map is not the territory

it is the difference in the territory that gets on the map

the object is always a representation, not of itself but of the diagram, the ideas of certain relationships and arrangements....quality of translation......architecture is the object, the physical built is the object. The diagram is the virtual and it should not be lost in the translation, though it will be nomatter how exact the mimic.......literally,

the architecture DOES not mimic the diagram!

collapsing difference...asserting difference ( see above)

to treat both the diagram and the architecture as two equal representations of realities through which relations are to be developed. not to make distinct the virtual and the real but appreciate them in their own rights.
:: Stephanie 8:42 PM [+] ::
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ive started the essay but i think im a bit stuck right now. not sure if anything in there is alluding to any specific point although i sort of do know what im talking about. tried to re read the handouts.....getting too iritated by them at the moment! dunno why im hesitant to talk about diagrams?....seem to have ideas on them but dont seem to be hitting on anything substantial in dealing with them!
:: Stephanie 8:18 AM [+] ::
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"architecture can be liquid but the building is solid......the building should be static but architecture should never be at rest" lars spuybroek
:: Stephanie 7:51 AM [+] ::
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how architecture can aid in increasing this dimension of tension and potentiality? of maximising this potentiality already existent.
:: Stephanie 7:50 AM [+] ::
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re-expereince the real
:: Stephanie 7:46 AM [+] ::
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meta-design designing with templates...already happening in industrial, graphic design.
diagramming as related to meta design. a move away from the actual process of design but the design of desing, ie the design of the template ....Spuybroek

parametric design..one change affects everything, the idea of the interactive fragments which compose the whole.."flexible interactive systems"

"I think the diagram is the best way of instrumentalising 'inspiration', while it is completely opposed to inspiration" L. Spuybroek

:: Stephanie 7:42 AM [+] ::
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iterative>Characterized by or involving repetition, recurrence, reiteration, or repetitiousness. Frequentative.
incunabula>an artifact of an early period.
kinesic>The study of nonlinguistic bodily movements, such as gestures and facial expressions, as a systematic mode of communication.
:: Stephanie 7:35 AM [+] ::
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kinesthetic>The sense that detects bodily position, weight, or movement of the muscles, tendons, and joints.


:: Stephanie 7:34 AM [+] ::
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virtual reality...."we may never be able to full comprehend that which we perceive" richard brown.....it is not our eyes that fool us at times, it is our inability to think outside the square. To be out of the familiar.
:: Stephanie 7:31 AM [+] ::
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its the relationships and the interactions which constitute form, this could be in relation to the approach taken through the use of diagrams. Rather than allow it to fully be the form, let it influence it, through the diagramatic technique of mapping circulation for example.
:: Stephanie 7:19 AM [+] ::
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MVRDV design entry for eyebeam provides a new way in thinking about floors and levels. This interweaving levels.The other interior pic below also suggests diffeerent ways of thinking about space and its compositional members.
:: Stephanie 5:32 AM [+] ::
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everything hopefulle will fall in place, the essay is a bit messy at the moment, have to re read and re organize, but the main idea is how architecture deals with issues of virtuality and the dillemma it faces when tryingt to bridge the translation, and i am arguing that these ideas need not manifest themselves through the built form, literally and physically but rather through the expereince or the senses. agreeing that virtuality does exist, and that it is imprtant to think of virtualities in other ways apart from what we are used to thinking about it.

There is also the idea of familiarity, one approach would be to 'remove ourselves from it' , that is to say, we extract ourselves from what we are familiar and try 'new' things, and the other approach is to rethink the familiar and push it to its limits, thus, we remain in the familiar but are able to view it through new light, the work of diller and scofidio are good examples to use, they re observe and re categorize existent relationships.

Using the second approach, perhaps there is hope for architecture, and the dillemma may be lessened, by re thinking architecture through not the physical but the experiential method, the translations are less literal and less of a problem, eg, trying to make the built lool like the render, and maybe architecture will be less disappointing, like Ben van Berkel's moebius house.
:: Stephanie 12:50 AM [+] ::
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what will the essay be about? The Potential in the Unfamiliar? Literally as well as not. The virtual as a budgeoning potential? Also possesing a sense of the unfamiliar?
:: Stephanie 11:11 AM [+] ::
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Putting The Virtual Back Into VR

"an object is transformesd into an event of 'continuous variation' "

an immersion in a computer-generated world, "and that sometimes, through that immersion, one is able to operate more effectively in the world"

"the fuzziness or inaccuracy is part of its expression of reality"

"meta-media"

it is not an increase in the "virtualization of the world but our ability to operate the virtual"

Virtual Reality and the threshold of Perception
I might as well take the period that follows the mechanical age and call it the virtual age.....virtual because the accustomed grounding of social interaction in the physical facticity of human bodies is changing

"treatment of technology on the basis of the imitation of an action"

"event"

"With VR, it is a question of a series of interactions between that registers"

The concept of dy/dx.... "each term exists absolutely only in its relation to the other"

"VR is merely reconfiguring the relations between micro- and macro-perceptions, bringing to light the possibility that these relations are subject to change, and that different social machines, different conceptual apparatus may make it possible to have different bodies, different souls, or different zones of clear expression without always having to submit then to a major reterritorialization"
"The body id deterritorialized-it's movement's significance is removed from its position in a small space and shifted to a virtual space of any size, which is largely perceived through the head( the eyes and the ears)"

"smooth spaces".....directional....filled by events.....a space of affects.....intensive rather than extensive..."


:: Stephanie 2:07 AM [+] ::
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Analog>

-Something that bears an analogy to something else

-Biology. An organ or structure that is similar in function to one in another kind of organism but is of dissimilar evolutionary origin.

-Chemistry. A structural derivative of a parent compound that often differs from it by a single element.

-Of, relating to, or being a device in which data are represented by continuously variable, measurable, physical quantities, such as length, width, voltage, or pressure.

-Of or relating to an analog computer.

:: Stephanie 6:29 AM [+] ::
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On The Superiority Of The Analog



"The appearance of the virtual is in the twists and folds of formed content"


"Topology is the science of self-varying deformation. A topological figure is defined as the continuous transformation of one geometrical figure into another"


"Topological unity is, in and of itself, multiple"


"...there is no model. Only infolding and unfolding; self-referential transformation"


"A topological image center virtually makes the virtual appear, in felt thought" what does this mean? felt thought?


"Variable continuity across the qualitatively different: continuity of transformation"


"The body, sensor of change, is a transducer of the virtual"


"Potential doesn't "apply" to the event either:it makes it." potentials make the event.


"Potential strikes like a motor force, a momentum driving a serial unfolding of events.The immanence of that forcing to each event in the series was termed a virtual center. The virtual center is like a reserve of differentiation or qualitative transformation in every event.....Each event in a serial unfolding is a sensible analog of that unexpressed effecting:it's sensible ( embodied) concept."


"The actual occurs at the intersection of the possible, the potential, and the virtual: three modes of thought."


"No actuality can be fully imaged, since it emerges from, projects into, and recedes into inactuality."





:: Stephanie 6:28 AM [+] ::
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virtuality is suggested in the folds of an image, any given still taken from a topological process is architecturally viable to be constructed, as such, a virtuality is expressed in the real. This then contradicts the comparison of potential-virtual-actual-real relationship where the virtual lies in the realm of the potential. In toppological processes, at every moment, exists potential, potential is present throughout the whole process. The virtual then occurs at the instant when a change from one form to the next. Topological processes are both potential and actual throughout, only when stills are extracted ie. images taken from a particular transformation, does the potential break away from the actual, even then, it is slippery!
:: Stephanie 6:23 AM [+] ::
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ripples....affective
:: Stephanie 4:26 AM [+] ::
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parametric links

CustomObjects
process of design through adjustments of parameters via a defined set of variables

ParametricOrder

:: Stephanie 4:23 AM [+] ::
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blur as we don't often see it.....

The notion of a 'pavilion' is reversed. 'Rather than make a muscular, heroic architecture that does what it does acrobatically,' says Diller, 'we tried to make an architecture of nothing.' It's a building that denies the eye perspective, depth, surfaces, context and mass. It turns architecture into atmosphere.Usually Diller + Scofidio use imagery to ask us to consider a culture overly saturated with imagery. One of Blur's triumphs is its ability to challenge senses other than sight.Blur reminds us of how culturally dependent we are on the sense of sight.

:: Stephanie 3:52 AM [+] ::
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"you realized that while the sea has always been there, only man can make a view." Slow House D+S

man create the confines of space in which to 'house' himself. real space, in essence, is similar to virtual space, it a vastness of an entity for man to encapsulate.We build in real space by dealing with 'real' things, we architecture re-eoders and re-organizes space. space isn't actually created at all.Likewise in the virtual framework, the notion of space is infinite because it exists on another level, we re-order this virtual space in the forms of web space, information systems etc.

Why do we order space? How do we order space? Can the theory of self-organization apply here? By allowing the bottom-up to affect this ordering of space, what do we end up with? Upon entering the a built environment, it is not the surrounding which dictates or affects, rather, the person and its interactions with others and with the envoronment itself forms the makeup. movement?
:: Stephanie 3:39 AM [+] ::
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Surveillance
Surveillance may be the signature subject of Diller + Scofidio’s work. In 1999 they created the installation Master/Slave to display a private toy robot collection. The robots moved along on a 300-foot-long conveyor belt, through an immense raised vitrine, positioned at eye-level... and the size of a gallery. The path of the conveyor belt placed the robots in bureaucratic situations, keeping them lined up and releasing them arbitrarily. The robots were subjected to the scrutiny of an invasive security surveillance system... viewers watched the images on monitors around the gallery, transformed from spectators into inspectors.


model of the panopticon. rigour of stretching the notion of surveillance

:: Stephanie 1:10 AM [+] ::
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exteroception > involving our five senses, situated on the surface of the body and exposed to to the exterior world
proprioception >related to our sense of balance and proper positioning in space, and to muscular tensions
interoception >refers to all sensations of the visceral organs situated in the body's interior
:: Stephanie 12:56 AM [+] ::
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The work of Diller + Scofidio removes from architecture the notion that it is about shelter, comfort and functionality
what else can it be about?
"FAMILIARITY" another way of breaking the boundaries of the familiar may be not to remove oneself from it in actuality as i have been thinking all along and cracking my head up! but, maybe another way to succesfully be exposed to the unfaliliar is by a rigorous and thorough re-examination of what is already familar, and by bringing that to its extremes, boundaries may be broken. In this way, the constant struggle of what defines a real architecture becomes easier because we can despite stable and familiar environments which we are accustomes to, we may somehow find a way to express beyond the familiar. to stretch it to its limits?

By re-examining what technology does to us, and its effects, along the same train of thought, what does architecture do to us, aparts from a provision of shelter, how does it affect our perception of our world around and does it affect our proprioception, as in does it lend itself in our bodies process of recognizing its relations in space?, and if so, can we stretch this even further, not so much as to bring about a new way of perceiving space, btu to be more acutely aware of how we do just that?
:: Stephanie 12:39 AM [+] ::
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Elizabeth Diller and Ricardo Scofidio are less concerned with traditional architectural work and construction than with re-imagining what it means to make things in a society obsessed with media and technology. In the style of Marcel Duchamp or the surrealists, their conceptual projects explore the avant-garde tradition of making the familiar strange, even ominous, by creating environments in which the objects and modern comforts of our everyday world are made to reveal their contradictions, ironies, and inefficiencies. Diller + Scofidio also toy with the notions of spectatorship, participation, and audience, using emerging technologies in surveillance, information, and entertainment in order to register the impact of these forces on our lives.

ominous>Menacing; threatening: ominous black clouds; ominous rumblings of discontent. Of or being an omen, especially an evil one.

:: Stephanie 12:34 AM [+] ::
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the blur effect of the blur building, reminiscent of the temp installtion Tall Ships by Gary Hill, i was just looking at a rendering of an internal space where the people were rendered translucent and likewise for the walls and floors and other elements, and just thinking how that could posiibly be possible. i mean, translucency can be achieved in architecture but actual translucency in humans? so maybe this blur effect would be one solution. but then, is it a rational solution? can we actually exist in an environment of lessened visibility? constantly?, it'd be ok for a once off thing but widespread use is absurd!
:: Stephanie 12:31 AM [+] ::
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can we begin to envision space as not composed of flat floors, levels, series of stacked levels? a way of removing ourselves from the familiar?
:: Stephanie 12:22 AM [+] ::
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The work of Asymptote includes architectural design of all scales: furniture, interior, building and urban design, but also extends beyond these into the realms of digital environments ad installations.
Where the crossovers between the field of architecture extended generally to include mostly art, scultpture and the like, nowadays, the boundaries are getting less and less distinct so much so that asymptote can dabble in virtual, semi-virtual, virtual-real, real space all at once. to me this crossovers suggest that the infiltration of technologies are happening at and may probably increase at a higher rate, not sure what this has anything to do with anything. i think i am legitimizing the fact that it is the way to go, but am i questioning the way they do it? like, if the end product is successful enough? how do these spaces relate to 'affect'? or should i even be thinking in terms of spaces? what about applications and skin. treatments and materials?
:: Stephanie 12:14 AM [+] ::
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asymptote
:: Stephanie 12:05 AM [+] ::
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MVRDV design competition, an interior shot. the make up of the interior makes the space seemingly unreadable, the walls, elevators? and pathways?, all these come together in an abstract composition that forces the person within the space to draw on their own perceptions in order to render the space around them legible. lighting and media treatment of the walls furthur intrudes on the sense of the legible and rational. From the exterior, the building looks as if composed of 'floating' levels and the floors are indistinct, the skin.....semi-permanence quality to it. but then again, it is a rendering!
:: Stephanie 11:56 PM [+] ::
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Diller Scofidio Links

eyebeam building New York City.
Eyebeam Museum of Art & Technology. The building, a new-media arts institution to be built in New York City, is scheduled to begin construction in 2005. It will house a 90,000-square foot new media art center where exhibitions, educational facilities and artists’ studios will exist side by side along a curving, space-defining, concrete ribbon.

scanning abberant architectures of D+S

slow house A weekend retreat on the Long Island waterfront, it was designed in 1989 for a Japanese art investor, invloving issues on the view.

The Slow House project sets up the comparison between the fragmented, sabotaged image of the landscape using a 'picture window' (framing the landscape in the window) and places this opposite to the display of the same image using a TV monitor. Doing so the landscape is transformed to a hominess representation in two different ways. D+S declare the 'picture window' to be the ultimate advanced technology, since this cultural mechanism remains invisible, contrary to the TV-monitor.



projects



:: Stephanie 11:52 PM [+] ::
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Diller & Scofidio


A different acoustic tile disappeared from the ceiling each day, leaving a single black void in the smooth, gridded surface. Now, several tiles may disappear in the course of a day in ever-shifting patterns of black on white. The dark-haired woman is the first to arrive in the morning. She pedals her ergonomic chair along the counter, stopping briefly at each work station. After each successive monitor displays a start-up screen she moves to the next. As her co-workers start to arrive, she settles in position for the rest of the day, sometimes directly under a black void.



this is literally moving and shifting acoustic panels from some maintainence job, but could a space constantly shift? light plays a part in changing a space as the day progresses, any other ways?



:: Stephanie 5:30 AM [+] ::
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perception... a act of faculty of preceiving....an instance of this....a intuitive recognition of a truth, aesthetic quality, etc....an instance of this

affect... produce an effect on b. (of disease etc.) attack (it affected his liver)....move emotionally (much affected by the film)...pretend (affected ignorance)....pose as or use for effect (affects the aesthete; affects fancy hats).

effect....result or consequence of an action etc....efficacy (had lettle effect)....impression produced on a spectator,hearer, etc. (lights gave a pretty effect; said it just for effect).....(in pl) personal property....(in pl) lighting, sound, etc., giving realism to a play, film, etc. 6 physical phenomenon (greenhouse effect).. bring about; accomplish (a change, cure, etc.)(effected a cure using traditional aboriginal medical lore).

:: Stephanie 4:41 AM [+] ::
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parametric diller & scofidio asymptote movement deep space familiar
:: Stephanie 2:44 AM [+] ::
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deja vu...information meant to be stored in the sensory memory ( temporal), accidentally finds itself in the long term memory...more?
:: Stephanie 2:44 AM [+] ::
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the relationship of the fragment to the whole, while the whole is composed of the fragments and the fragmetns make up the whole and they have an inter-related relationship, does the fragment 'know' the whole and vice versa?
:: Stephanie 2:42 AM [+] ::
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in dealing with the "micro to the macro", if we are in the condition of the micro, or within the process of micro to the macro, we cannot deal with the macro, ie. if it is not reached we cannot imagine it?....arguable!....no...its about , in order to understand the macro while being within the condition, we have to remove ourselves from where we are....
:: Stephanie 2:41 AM [+] ::
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the world around us , and the way everything within it is contained IS anthropocentric, thus, the spatial relation is always referenced back to the human scale...it is what we are familiar with, and accustomed to...it allows us to digest imformation inrelation to what we know....doesn't seem like a big deal actually, this human scale thing
:: Stephanie 2:34 AM [+] ::
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"FAMILIARITY"

taking one out a condition of familiarity where one can be exposed to potentials of infinite dimensions, how are we traditionally accustomed to space and its ideas on solidity, materiality, and this constant engagement with architecture as complying with these notions?, can the experience of space somehow take precedence over its traditional ideals? somehow, affective architecture become more recognized. definitely, the virtual is the way to go...supportive reasons why this is so?
technological emphasis, the emergence of virtuality, media implications so on so forth.
:: Stephanie 2:31 AM [+] ::
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smooth space....micro.....striated space....macro...?
:: Stephanie 2:29 AM [+] ::
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urban social planning, the idea of hierachical control, we believe it to be a top-down order, but is it really? "control" i think the two exist together, the ones in 'control' organize and 'give out orders' that is plannig stategies based on existent conditions and activities of the masses, likewise, the public are governed by some sort of control...i think there's a sense of comfort in knowing that there is a 'pacemaker'...or do i think that because of what we are accustomed to thinking...about the order of organizations?.......this is probably diverging, but maybe. comforting ourselves in knowing there's an authority head leaves us somewhat 'free' of responsibilities?
:: Stephanie 2:28 AM [+] ::
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"ignorance is useful" it encourages new encounters.....ants colonies...self-organization, bottom-up organization, it is "without predefined order" ants and humans alike, possess an ability for "pattern discernment"

what are the implications of adopting this new thinking of bottom-up organization? condition of emergence? what is the implication of removing ourselves from the familiar? how would we react? how would we proceed? does this then inturn, affect how we view architecture, its design, processes, outcomes, its spatiality? how can this be related?
:: Stephanie 2:23 AM [+] ::
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non-literal diagrams
:: Stephanie 10:26 PM [+] ::
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hmmmm.....before the advent of the animated image, it was not possible to visually see with your own eyes, this type of transformations....you know how things, if they can be physically experienced, visually or otherwise, tend to be a bit more believable?....now, to us, ideas of morphing, transformations, etc, are digested more easily than before.....i can't imagine my grandfather thinking a thing like that possible!....i feel kinda technophilia right now.

:: Stephanie 10:15 PM [+] ::
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we constantly try to order or find order, to categorize the world around us according to what is familiar to us, how do we look beyond?....Flowspace 10 000 diagrams?

the diagram...its a potential container filled to the brim, but during its interpretation and translation into architecture, if we stick to what is familiar, like thinking of architecture in terms of its materiality, corporeality and such that we are familiar with, thenthe diagram goes stale, less exciting....and then we complain about inadequateness of the translation of the virtual into the built, about the architecture being insufficient to meet the diagram, but unless we can think beyond what architecture can be, then maybe the diagram can live up to its full potential...this is all very well, but at the end of the day, there's still this cynical view about the fact that we live in the real world where everything is 'solid' or something to that effect.......is this true though?.....aren't we already partially living in the virtual world of the internet?...isn't this seminar proof of that?...if so, then what could be the alternatives in envisioning architecture?





the virtual guggenheim, despite this, it is still being envisioned as a "building" is there NO OTHER WAY??

:: Stephanie 10:29 AM [+] ::
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a virtual kiosk


:: Stephanie 10:03 AM [+] ::
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to imagine a condition without pacemakers, an organization which emerges from its own internal interactions ( proprioceptive?)...points?....position emerges from movement and not the other way around...i think i have this written down somewhere! .... an unconcious series of interactions or movement/s or both from which emerges a position.....makes me think of the letter "E" at Delphi form Paul Carter's lecture where a presence or a relationship between the person and the place emerges from an interaction between the letter inscribed on the gateway and the person entering it.... not sure if it has anything to do with anything
:: Stephanie 9:56 AM [+] ::
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"microbehaviour" versus " overall behaviour" "emergent, self-organizing systems" "bottom-up" "non-existent pacemakers" "inter-connected web"
:: Stephanie 9:52 AM [+] ::
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this is how it feels right now
:: Stephanie 7:24 AM [+] ::
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a blind man?...holding 4 walking canes....does a blind man 'see' better with more canes?....a box with legs?...can it walk?...blue car int he background....stationary....a man painting a strip of red paint ...marking?
this picture depicts a representation of an unreality, or a questionable reality....it's title is "CONFUSION IN A CITY" ......during that transition phase between the virtual and the real, the state where 'affect' is supposed to occur, perhaps there are feelings of confusion?
:: Stephanie 7:20 AM [+] ::
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:: Stephanie 7:16 AM [+] ::
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too many antonyms...potential makes reference to the virtual, to be a virtuality, affect as refered to as being virtual...too many studies....perhaps, rather than equate vituality as the other side of reality, affect lies in-between, within the emergent state where a virtual can become actual and the important thing is that both of these sides exist...i feel like i'm not making much sense even to myself.
:: Stephanie 7:15 AM [+] ::
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technophobia "Fear of or aversion to technology, especially computers and high technology"
technophilia " One who has a love of or enthusiasm for technology, especially computers and high technology"
:: Stephanie 7:11 AM [+] ::
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affect...effect....diagrams....virtuality....reality....potentiality....actuality....possibilities....
:: Stephanie 7:09 AM [+] ::
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proprioception, is "the unconscious perception of movement and spatial orientation arising from stimuli within the body itself"
:: Stephanie 7:08 AM [+] ::
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:: Stephanie 11:38 PM [+] ::
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[+] ::
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"synesthesia"
:: Stephanie 11:32 PM [+] ::
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"A person moving through a tactically posed surround will be led to perform procedures that may or may not be recognizable to her as procedures. All of a sudden, what seemed a group of disparate actions, the doing of this and that, may strike her as the steps of a procedure, If these procedures, which have a lot in common with medical procedures, elude their performers, they do so openly, or are constitutionally elusive. Always invented/reinvented on the spot, they exist in the tense of the supremely iffy. Not a fixed set of called-for actions, an architectural procedure is a spatiotemporal collaboration between a moving body and a tactically posed surround."

:: Stephanie 11:04 PM [+] ::
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"Architecture will come into its own when it becomes thoroughly associated and aligned with the body, that active other tentative constructing toward a holding in place, the ever-on-the-move body.
The tense of architecture should be not that of "This is this" or "Here is this" but instead that of "What's going on?" " Gin & Arakawa

:: Stephanie 11:02 PM [+] ::
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