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[talks]

The Program is Not On The Floor

[07.2009]

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>Below are raw notes and some slides. This talk is on YouTube.
Good time. take the opportunity. Look back on what happened here. what i did.

I am now at ucsd. honored to have been here, one of the fecund and fertile laboratories for the design of human and material systems in the world. where mutuation of species is presumed as a virtue until proven otherwise.

(unrelated)
 2. because arch was a symbol of the bubble it is also a symbol of the bubble?s collapse. Architecture was not only a chief beneficiary of the speculative real estate bubble, but provided the spectacular decorative symbolics this conspicuous display of wealth rendered as urban hood ornaments, from Los Angeles to Dubai to Beijing to Bilbao to Kazakstan. Architecture?s run as repository and medium of bubble money meant that it sold it expertise less to the design of planetary space than to the rendering of global finance.

The question faced now by all those, who like those hear tonight is what now?
All of us who are concerned or obsessed by how human culture expresses itself through the medium of the material world?s own expression to us, arch may have to have to face up to the fact that the last 10 years may have been a waste of time. But I think not. I think there is much to salvage, leverage and use for their original intended purposes.

My talk is about some of these things. My own little way of taking stock and thinking out loud in public about what just happened and what comes next.

What are they?

-- biopolitics of HDA, xlab.
--the status of the programmatic image,
--- the ontological status of money, relation to the immiant image in art, and bck.
--the intrinsic and extrinsic logic of violence that inevitably constitutes the spatial partition,
---metadesign as interface design,
---and very specific recommended death and rebirth of architecture, a new generation more than a zombie architecture, but we will have to see.

MARK TIME STAMPS PER SECTION
 
XLab. Studio/Seminar (click through student project)
seen the changes at work here in the styleosophy that has come to define sciarc.

a place that sees the world through that lens, which means you can talk about anything.

Then: sciarc / which started as carpentry on acid, building directly with the world (image)
Now: working with the spinozan substance of mayan plasma in much the same way. (maya)

-----------------

studio seminar, (airports, home, animal, skyscraper/ image, YYY, football stadium, megachurch, scalarity/ bodily organs/ clothing, cannibal house))

Here we are almost exactly 6 years ago in NYC at the first studio midterm
nervously awaiting the reaction, trying to look bored and self-assured.
some students on the right, seemingly shocked that the assembled jury liked it.
Hani Rashid, Winka, Evan Douglis, zellner, others.

Where studio and seminar tried to share a common place, and by enrollment a shared audience. In the case of HDA and myself this is in no way a ?merging? or consensus, or really even a proper dialogue, but rather something less decidable, and more risky. something like an encounter between two poles of some spectrum or linked set of spectra.

Studio: On the one a willfully aestheticized obsession with technique and ?empty form? but not only with form but with, importantly, images of empty form or empty images of form, depending on your take. This was as is a virte. one pole, the intrinsic intensivity of the architectural drawing-object (one as the other)

Seminar: On the other, a sociological, philosophical, theoretical, metacritical fiction that locates the architectural project (less the form that results) as centripidal index of a vortex of forces, seen and unseeable, that may be induced and deduced as that which the project is about, and what extrinsic intensivities animate and limit the architectural drawing-projection.

The students then are forced to triangulate a middle, that isn?t even a middle, and forced to manage the unresolvability of these demands. Ideal training for those who would begin their own practices.

Not theory as preproduction (reframing of the potential issues at hand for critique and exacerbation, the ?project? that has vanished) nor theory as postproduction (retroactive expert historicizing and ranking of ideological efficacy or historical purity of an elite discourse, using art historical models, literary metacritical, or optical tendency) but a totally quixotic attempt to position the points and clicks of the design process as a mode of theorization, if not always critique, and of theory-critique as an instrinsic employment of extrinsic forces and conditions.

which is to say.... Basically hopeless when students ?hate reading and just want to do coke with Ross Lovegrove off of conference tables designed by Zaha Hadid for Ambra Medha to sell to Brad Pitt and Lehman Brothers.?

That?s why I show them Salo, 120 days of ddom and Makoviev before they try to program their single family home....(show images)

Fortunately, that is not always the case...and Perhaps with the crash that career ambition is off the tabe (sic)

(click through student project)

Maya, Program, Progress?
So when HDA arrived, is largely when Maya arrived, and I watched it displace other modes of represtenation and perhaps even other modes of thinking...as tschumi says, arch as a form of knowledge to arch as a knowledge of form.....Maya was after all not arch software. Its absorption as the medium of formal autonomy from other design mandates.. means that....other possibles are out there. (originally intended for the design of virtual bodies as an index of virtual forces, not as a description of a geometric solid)
 my interest was and is with HDA lack of a better erm. in the ?programmatic possibilities? of the new stuff. how new forms implied new programs via new modes of embodiment,.... (see airport text for wording)

I like think that some progress has been made.. not just increase in # of floating point....operations per semester.... trend continues and the intricacy of geometry, lighting, cinema layers in AE, multiple versions tested, etc.

GFLOPS/SEM (compare image)

do as handwritten index card..
((((((3.2 GFLOPS 2001 Itanium Merced
floating point operations

Deep Blue, 1997, cost $5mm and ran at 11GFLOPS

flops/semester      flops, cpu, 2009    flops/ semester....

Today Intel Core 2 runs at 38GFLOPS

604, 800 sec week

9,072,000 sec in a term

29,030,400 GFLOPS/SEM Then

344,736,000 GFLOPS/SEM Now

roughly 12 times X increase... 12 semesters (6 years not counting summer) at 2001 speeds to do the same number of calculations we now do in one semester.)))))

or other way around.. it took students all semester to do what we know do in a bit over a week.

Trend continues at this rate, we can expect students to ?design? in one week, what we know do in a term, etc...

Trend continues: ATI Radeon HD 4870X2 graphics card with two Radeon R770 GPUs totalling 2.4 teraFLOPs. or 24,000 GFLOPS in the graphics card..

Or moving to grid based supercomputing where rendering is done in the cloud so to speak then students may be modeling on these machines and rendering in realtime on petaflop monsters..not mention what having cheap programmable desktop fabrication systems will mean for prototyping...)))))))))))))))

How much is this responsible for what we take to be progress in the design?
I?m less enthusiastic, and as is sometimes the case, TV provides the answer.

Gehry: Of Bubbles and Blobs

when faced with hard questions, I look to TV

Gehry, Simpsons
If architecture is lost it is because it HAD a frenzy of opportunities...

in this what is lost is the ?project? the pre-production phase of intellectual work ...now buildings are rushed into production determined entirely by forces of production, it exists as a barely mediated figure of ?ideology?

Start with Gehry on the Simpsons... a real lesson here..

Other than the addition of a chain link fence perimeter, there are no critical transformations necessary to let the building move from one to the other, from a high culture concert hall to post-Bubble control machine of the Springfield nuclear power-prison complex.

I believe that this is, in its way a credible prophecy of the fate of this style.

Bubble Blobs
Post-Bilbao, the 00?s saw the unfortunate enrollment of architecture in the service of delusional speculative capital, and of the blobular (convolution, involution and continuous surface geometries) as perhaps the signature style of this culture of cancerous faux luxury.

Is the fate of blob to be forgotten as the look and feel of bubble culture?

However, I am also interested in the continued liberation of the XLab stylistic language from Bubble Culture. SCI_arc credibility is at stake.

Dassault (up front too?)
architecture is WRONG metaphor for architecture
show then. go over again...explaining..
Dassault systems. Oh Shit... oh my allergies...
zeez people..

well this project just lost its funding. why? because it was a stupid idea to begin with.
it was in the wrong part of the wrong city.
your company itself was built on a mountain of VC that actually didn?t exist... all of which paid for the black turtlenecks. Now what?

Let?s recap....

Koolhaas program.. junkspace...quote.. get good one.

Bilbao
Jerusalem optimism
Baubbles
generica spectacle
slumscrapers
burned..CCTV as icon, the anti-Bilbao
Gage/Clemanceau, very unfortunate and hopefully embarrassing for everyone involved.

This first decade was a failure. It was a failure because as of today it is a style linked directly to Bubble Culture. 

100 Year Arc (Black)
but it doesn?t have to be, and in the long run, won?t

the transformation from rectilinear lines to more natural forms.
We are for a 100 year arc in

A 100 year arc in the emergennce of computational media in the representation of potential objects, the moore?s law model above..

i hope suggests that amplification of capacity is not only amplificaction of the speed of the same, but that it has its own phase transition event-moments where truly new things happen.

Come back in the year 2089 and then let?s look at the practicality of involute biomorphic forms. what we?ll see is that what we today call program was itself reinvented for the ride.

Even if its a matter of we as a species having discovered (not invented) comp, riding the inevitable techno-historical emerengence of artifical algorhytmic machinery, then steering matters, and decoration and classicism really do not. same goes for architects themselves, they don?t really matter as much as other forces. Hernan knows
this and makes a virtue of this necessity and that?s why we get along.

But I belive its 100 years, not only because of computing power but because of pace of change in how society?s and cultures comprehnsion of their own embodiment of the world changes. And that change will emerge with the new architectural forms.

New Flesh
See phrasing from Flesh and Form...Find))

It?s about the emergence of new modes of Flesh. Both organic and inorganic.
genome, genetics, tissue culturing, robotics, prosthesis, neuronal computing modelling...flesh is redesignable.... (mouse ear)

HDA ((use him as an example though not the only)) says what he means. horrific, grotesque, immolation, an arch for postgenomic bodies... (surgery)

Not arbitrary, but hightly tuned. dead ringers, gynecological instruments in dead ringers.. are highly highly specialized, the funcationality that emerges from an obssession on function (Pitch Black)

biomodern systems:::its animality, its vegetivism, the point where one becomes the other... see wolf plant figure image...

As said... my interest was and is with HDA lack of a better term. in the programmatic possibilities of the new stuff. how new forms implied new programs via new modes of embodiment,.... ((Zipper Skin)

specify what i mean by program here

engaging the bodyk... habitat becomes habit. (villla savoye plan)

zones, curtailed, program is a function of partition, and zone.

seen from above, zones are the floor, program is a function then of feet

Plan: the floor, the bottom of your feet..

but instead surfaces.

maya, plan becomes section becomes wall becomes floor becomes roof.....

arch becomes furniture, becomes clothing, furniture and clothing..subspecies of clothing.....shift from furniture to arch. always a chocie....(Big Baby)

based as it is on the shifting divisions of human vs. animal, animal vs, vegetable, living vs. non-living. (deer in dress)

it?s not only that this shift is ?anthropological?

Agamben.. antrhopology is based on the separation of human and animal. in the inversino of furntiure into arch and back again, body into buidlling, this separation is repeated, inverted and undone..(Lion Gold)

?program possiblities: here is beyond what normal society could possibly recognize. show pictures. (Maite)

That is HDA?s work is not only biological, but biopolitical in ways that the others are not, and perhapsa in ways that a few of the XLab students don?t grasp, formalist-autonomist critics completely miss, but which others,many other students in particular, have grasped directly and internalized into their own thinking and working that go well beyond what they were taught.

-----
HDA?s work, once it is mass-produced stamped out like sunglasses, is meant to be touched and absorbed into the regular reality of everyday biology. LIke a flower it will whither and melt. That?s part of the beauty of its moment of bloom. Unlike the work of, and I will pick on them now unfairly because they are not here, a Mark Gage or Ali Rahim, whose work is really best when clinically unexposed to germs and flesh, Hernan?s work is meant to be sat on, climbed on, bitten, gummed, licked, hugged, and mounted. It is at home in the Merleau-Pontean phenomenology of embodiment not because it creates a sacred shell for God?s Vitruvian creation a la Stephen Holl, but becaust it itself is a body, you can and should do with it whatever it is atheists do with bodies. (Funny House wiht lady)

what ties all of the programs together is an interest in the shifting and shifted position of ?life? ...of both bios and XXos AS an architecture in itself and as a cipher through which to decode how received architectural modernities were always already dependent on a formulations of ?life? a bios without which they could not be, and yet suppressed these as a explicit mechanism of their telos. Such biology is so already coded into the architecture, so determining of its logic, that we can?t even see it. But now, as biology itself is changing, as the body itself emerges as a recominant genomic assemblage, what was once camouflaged by its ubiquity comes into partial view. (skin flag)

So this is really the opposite of biomimicry....an opposite of that whole tradition in Modernity from FLW to Saarenin to GLynn... the point is NOT that the building looks like an animal and therefore is an engagment with animality, or a flower.
Rather because the Project is an engagment with animality the design of building comes to BE the design of an architectural-animal, which only because is framed by the development process of the studio/seminar arrives finally as a building...a building which suggests itself soemthing half-articulated about how the architectural-skin-surface-body (which is both us AND the buildings) are things would not become animalian one fine day, but which always already are, and becoming more so in ways out of modernity?s own control. (creature in cage)

that is less a commentary on bios by arhcitecture, than on architecture by teh bios for which and of which architecture incorporates, architecture gives body to bios.

Let me read you a quote:
?The fragile empirical world, long resistant to our attempts to contain and catalog it, is disappearing beneath the relentless accumulations of late capitalist society and information technology. Data has replaced sensory pleasure, we are less interested in the taste of a fine wine than in the description on the bottle's label. What are we, and what do we really know, when we have forgotten that our senses can describe a taste more accurately than language ever could?? Serres.    (Parts diagram)

A first look at the work would imply that in its digital sterility, its apparent distance from the mundane economies of construction, gravity even, that HDA?s work is exactly what Serres is arguing against...But quite apparently the opposite is true, HDA is nothing if not an aesthete obsessed with renewal of the human-animal habitat in and for embodied sensation. If Maya had olfactory scripts I am certain that HDA?s work would be very very odiferous, perfumey, pungent, sour. (robot flowers)

projective not visionary
Further they are programs for bodies as we know them but for bodies as we may
come to know them. I want to argue that HDA is a hyperfunctionalist designer but for functions that are 1. sensual not productive and 2. don?t exist yet or that we do not know how to articulate and comprehend yet, even if we inhabit them.

NOT VISIONARY, because not about imaginary resolutions, or comprehensive resolution.. rather catching up already existent deformation...architecture trying to get back to the present.
 
what?s next: program and image, image and program.

Metadesign Eats Architecture 1 (black)

Tafuri?s warning against operative criticism. critic advocating one future over another, or predict which style will work... opposite of projetive practice?

In general I agree, but with theory and deisgn need get catch up with the present, then describing the future is something else again. what else is there to do?

Lay my cards on the table, more at the end....
Architectue needs to strategically disappear. Architecture needs to be absorbed into a Design modality that is larger and smaller than itself, that is computaitonal, integrative, a universal interface design.

Metadesign: dissolution of design objects from design professions, instrument driven. ..
This is were the AZP envelopes, Sloterdijk spheres, Latour ANT, projective rem stuff goes....but not envelope: interfaces

Needs to happen under the rubric of the revivification, reeroticiziation if you lke of ?program? the dryest of the dry... and of interfaciality.... and conversely what needs to happen to interface design is for it to properly encounter the Spinozean substance-surfaces of HDA,...

Begin with HDA, so as to depart...

Settle in, get comfortable, smoking in the back area.

Program, Program, Program

Program

polyseme of program
polysemiosis, polysemy of program.

?Programs -- architectural program, television programs, computational programs, political programs, and so on-- anticipate repetition in advance of themselves, and condition this as the arrangement of space and flow. Because habits wear grooves into the surfaces of habitat, to propose a collective habit?s becoming (this is what we should do) is to propose a collective habitat?s program (this is how and where we should do it). The activation of program is a performance of and/or against this condition, now revealed as a continuity of mimetic formation, evasion, and even incomprehension.?   (Munich attack)

Adorno: mediation....Paritition repeats program, benjamin and the mimetic. (office people)

Program boht emergent and projective. in both cases it is a mimetic economy.
 Architectural program is already a practical theorum of collective embodiment. Lefebvre?s
connotation of habitus, focusing on the production of space as a mimetic extension of bodily
movement, produces by its material repetition the contours of habitat. In the plural, such spatial
practice results in the channels, monuments and activities of the city, a collective artifact of spatial life (whereas architecural programming begins from the other position of this circuit, to conceptualize it in advance.)

Among (Constant
such collective habitual productions is the border and boundary of the city, the edge-system of
membranes that governs internalization and externalization. Some urbanisms identify such
interfaces as an effect of the cellular integrity of the collective spatial practices, and an organizing
force generated from within that gives form to the city, filling up its boundaries with internally
originated space. Others see urban form as a ?diagram of forces? from without that carve the city
according to their gravities.

Superstudio The resulting building serves a meta-interface for all of these. It is a tangible configuration of their ideal contact and interplay. So it is also to architecture, as a public discourse of imagining spatial alternatives, which we turn for imagery of socio-technical and aesthetic alternatives to how such interfaces may take
shape. The extant built form is then that highly aestheticized logistical machine in situ.

Before a building is a building, it is a project, and after it is a building it is a projection. (Black)

It is a projection of virtual possibility and, as a
proposal, a narrative display of imagery that would frame, clarify and narrate the organization of
forces.

koolhaas indeterminancy...

The question then, really the subject of my talk, is how program becomes an image, and perhaps more imporantly how images become programs. Is it possible for architecture to program itself out of the corner it has drawn itself into???

FF wipe at techniques of giving image to program
mies yes, corb no.. though that may be fine with me. (visible human)

Plan
utopia
fourier
NYC Grid

Section

Peter Cook, ?both a diagram and an image? ... ?image AS a diagram?
graphic novel as sectional view + time.

we have iconic sections...
panopticaon

doll house... (organic + systemic, interrelationality of bodies and the places in moiton in the world in motion)

hitchcock, rear window.d

Rear Window, SJ and JB, themselves rendered in Section and rotated, looking inexplicably not out the window but at the wall.

Ways of Diagramming and instrumentalizing Increasing Organizational Complexity...arch, and specifically zonal program as org metaphor ....
whether of hiearchy or a democratic transparency of bureaucratic, depersonalized power...

and therefore in a sense thereby iconic programs
possible to have iconic program? yes. of course.
plan libre, Mies
OMA sectional icons, Seattle sections. archigram, mies, OMA library 1 library 1,
Archigram?s secitons...+ entourage.

Guggenhaim, doll house, sections, seattle library
both are Donkey Kong Sections..

whereas villa savoye is a Pacman plan???

Section as Political Diagram
Godard, godard tout va bien
Weekend
Archigram

That is they are descriptive or projective images, both describing a programmatic
complexity or proposing and projecting a programmatic complexity, diagramminga possible arrangement of things.

Projection as Organizational Technology

Albrect Durer, Grand Arch of Maximilan 1515, British Museum

Pre-Darwinian view of the entirety of biology as a radial section *date and name!!!

What We Are Coming To, Grant Hamilton, 1895
This illustration by Grant E. Hamilton ran in the February 16, 1895 issue of Judge magazine and can be found in the book Out of Time by Norman Brosterman.
90?s era OMA strategy.... prefigures Rem?s delirious new york polyjuxtapositional thesis by 90 years.

Org Chart
replaceable persons, whcih in this case happen to have fixed architectural locaitons
but increasingly in t he modern org do not. who is doing what right now.
(depersonalized Weberin bureaucratic mode of authority)

Process Flow
what should happen in the future

Info Viz
Which becomes picture of what the hell happened.

New transparency
making the visible invisible
and the invisible visible , an org diagram in space.

Glass house, volkswagen, dan graham

(MVRDV?
AZP, iconic sectionality, function. MVRDV
meaning what now?
AZP, projective theory, dismissed by rem.
AZp?s iconic rep argument see program...narrate infrastructure.

less like this: volkswagen dresden factory
Archizoom, and Asymptote?s updating for digital city.

energy and security replace circulation and flow.. visibility of relationality not of coniguity more like this: Legrady, chris jordan, kansas

Programmatic Transparency, AZP >> Projective Theory

(Color boxes) To the extent that program is a projection of a future pattern, regularity, repetition of event and behavior, it is in essence a projection of the social into the future thorugh the figure of the image of the object-technology that would mediate, embody the social then and there...

sip of water.

The question then, really the subject of my talk, is how program becomes an image, and perhaps more imporantly how images become programs. Is it possible for architecture to program itself out of the corner it has drawn itself into???

Talk about the possibility and impossibilyt of program in terms of
3 modalities of the designed image.
imminant
projective
interfacial.

story of the image. more on...

Affect: Virtual/Real//Real/Virtual
parallel to art/arch, imminant and prophetic image 
Serres. affect of form and affect of image of form... sensation.

elizabeth Grosz. Explain, basic idea, ontology of arch precedes art,
describing dancing a territory...

the status of the image

edenmont

    But currency isn?t the only kind of money or source of money: art is money too. Art is other things too (Elizabeth Grosz has convinced me that art is rooted in the primordial evolution of mammalian sexual selection) but as any investor can tell you, art is today as purified a form of the speculative commodity as one can find. Damien Hirst is a pork belly and he knows it. Art objects, in their royal functionlessness, ?do? little but go up and down in resale value. The yearnings of sentimental archivists and unemployable aesthetes aside, art?s main purpose as commodity object is as a displayable reservoir of capital. In addition to registering an intensity of affect, art is a good place to park and launder money, which is partially why the sons, daughters, wives, boyfriends, and girlfriends of shady international arms dealers and junk debt financiers are such an important part of the scene. None of this, however, is exactly my point. (Edenmont)

    The circulation of bad money not only distorts carefully calibrated central bank monetary policy, it dilutes the authority of a state?s monopoly on the very value that binds an economy into a society! By doubling or tripling this into a polyopoly of competing substances and competing media, competing currencies of the ?real,? the very authority of money to author the system of value and exchange begins to unravel. And with that, so go the social ties it once bound. Nobody knows what any of it is worth. (Edenmont)

And as of today, this is not such an academic consideration. The bursting of the bubble is a bursting of the signified of money itself, the totemic ontology of objective value. Whatever money is, it is less that than it was last year. (Edenmont)

1. Immanant image: Art, real produces the virtual
affekt image...Find
affect as sterile or not sterile? see zizek.

the effect of digitalizaiton on the reality and affect of the image?
--thomas rush

--Mario sleeping, jesus swimming.com... soldier mad.

And yet no? the data-image is not only an image of data, its code as actual direct sensate substance of world, not about, but of.

but even in this the substantialization of the data-image is not what frees it from the abstractions of exchange value, nor is it what guarantees that abstraction.

For example...Kfoundation..Art=$ The $ of the image, and the image of $
money is data, art is data, art is money, money is nothing.. now what?

See Miltos
tear up bill.

    If you Google ?Jackson Pollock? the first result is site by the artist Miltos Manetas that uses Flash code by Stamen Design that uses a splatter method used by Jackson Pollock (and others). On that site, jacksonpollock.org, ?Jackson Pollock? is translated into a set of recognizable instructions, a range of gestural techniques simplified, transmitted and made available to any creature capable of poking and clicking a mouse. This is art as software more than software as art.

Also iPhone App What makes jacksonpollock.org more interesting is that it turns the agency back onto the audience. The artist, Manetas, doesn?t make Pollocks. He didn?t even make the Flash code. He makes the situation in which you make Pollocks, in which you can do nothing but make Pollocks no matter what you try to point, click or type. Just more Pollocks. The pun that unpuns the first. Here the software that had floated from Sobel to JP to Warhol to every postwar freshman painting major, is synthesized into a clear algorithmic frame that no longer relies on the artist to produce content, because that?s what users and audiences are for

Rockwell On the economy of art, this leaves us in an intractable situation. On the one hand, software wants to be free, and as the substance of the art object becomes procedural and/or informational, the singularity of that object as guarantee and guarantor of the authenticity of a work starts to dissolve (as it should). Art becomes more about ubiquity, replication and sensation than proximity, contiguity and temporality. Like all other software, the legal ownership of art becomes dispersed in the network, or that is, it would do so if it weren?t for the fact the both the producers and consumers of Art share the conspiratorial interest in protecting the fictions of origin and property, and therefore a closed economy of speculative value, even as the world changes around them.

    money What is the value at risk in this? Well try this: take a bank note from your pocket, tear it up into little pieces and stack those pieces into some nice pattern. What have you done? What have you destroyed? There is one less (Yen, Euro, Mark) Dollar in the world than there was a few seconds ago. But what are those really? Of course most dollars (to take the example) do not physically exist as currency, but as abstract blips in recombinant databases. So is that dollar bill really a dollar, or is/was it a representation of a ?dollar,? a flat green token of some metaphysical financial substance with remote origins and ontology? I don?t know, you tell me.     Currency (like money) is both substance and medium. It is value incarnate, and it mediates the value of the things we exchange through and as money. This note is equal to that car, or this note is equal to that chair, and so this car is equal to that chair: exchange value, currency as medium. Money and currency are both for the most part issued by national or transnational governments (Rem Koolhaas? ??$) and not cities, banks, museums, casinos, supermarkets, or nomadic warlords, though each of these can and do sponsor other kinds of loyalty currencies. Furthermore the legitimacy of the money and the legitimacy of the issuing nation are pretty much the same thing. As one goes so goes the other, and this is why counterfeit money is a such a big deal.



Conclusion: Virtual/Real Collapses????

Projection and Projective Image

Projective Image.

How Frued/Metz across art and arch??? If at all?

Junkyard in art then the image is an imminant copy, or is within a reprsentational logic..
it refers only to itself, or it refers as a ?copy? in the Platonic sense of a direct experience.

in arch...The building is the result of image. the actual habitat is a re-rendering of the virtual image now out of tangile molecular matter. It refers to something outside of itself., something projected forward into a diagrammable future.

architecture always a chain of translation and re-representation.

RMartin and Ideology and Utopia argument...
Projectivity and the status of the image of the virtual

Black
Virtual/Actual
This issue of causality of the actual and the representational, which causes which. the image as a copy of the real, or the real as a copy of the image
Raises the more fundamental issue, that lies, at the heart of the larger philsophical problematic of the productivity of the virtual.

Zizek on Deleuze (via De Landa)

Zizek: EITHER: The logic of sense, of the immaterial becoming as sense-event is the EFFECT of bodily-material processes-causes, the logic of the radical gap between generative process and its immaterial sense-effect

Or, the logic of becoming is/as PRODUCTION of beings.

EiTHER the sense-event, the flow of pure Becoming, is the immaterial effect (neutral, neither active or passive) of the intrication of bodily-material causes

OR

the positive bodily entities are themselves the product of the purfe flow of becoming..

EITHER the infinite field of virtuality is an immaterial effect of the interacting bodies OR the bodies themselves emerge, actualize themselves wihtin this field of virtuality.

Collapsing of Wave into Particle, of virtual possibility to realization

Do the interlacings of he Actual, the Real, the particle, the digital give rise to the EFFECT of AFFECT of the immaterial virtual that could arrive but is now only autonomous sensation... OR
Does the virtuality, a wave, an analog continuity , constitute a search field a phase operation of potential diagrams, of the Real that at and as an event collapse into actualization.

Does the real make the virtual OR does the virtual make the real. Idealist, Materialist debate all over again. Zizek wants this to be....Badiou has different purposes precisely as a critique of the univocity... a digital ontology vs. deleuze analog spinozan substance. . also 26.

For us we map this across the achitecture that is and the architectural image of what is to be

But what is projection?

the virtual is a projection of phase spaece of possibile permutations..

Two very well-known quotes on projection and dream...and their political consequences...

Marx?s Camera Obscura....Consciousness can never be anything else than conscious existence, and the existence of men is their actual life-process. If in all ideology men and their circumstances appear upside-down as in a camera obscura, this phenomenon arises just as much from their historical life-process as the inversion of objects on the retina does from their physical life-process. --
German Ideology ....the imagination is programmed, too dream like

Jerusalem cosmos ?Today, perhaps because we are too familiar with at least the existence, if not the operation, of machines for programming invention, we dream of reinventing invention on the far side of the programmed matrices. For is a programmed invention still an invention? Is it an event through which the future (l'avenir) comes to us?? (Derrida, 1989: 46) ....the imagination is programmed, not dream like enough

What is Projection then exactly?

Project in arch, Project
prophecy jerusalsm

Projection and violence
Tschumi

Law, form 1, law, form 2, projection...find original notes

Potis, Beneviste (benjamin, derrida)

New Jerusalem The Real, the cleaved, house and partition
that gives form to the law
the law is the representation of the house
= actual buidling

Jesus buildings The Imaginary, the prophetic house yet to come
that gives form to the law yet to be.
the law is the represtation of the house to be
=projective image

dissipation, dissasembly = convergence, assemblage, one presupposes the other.

Metz and Freud
Actual Camera Obscura, the movie theater...

(here black)
    In Freudian theory, ?projection? refers to a defense mechanism whereby forbidden thoughts and impulses are attributed or transferred to another person or thing, rather than to one?s self. The channeling of anxiety displaces some wish originating from within, relocating it onto the surface of something else, ascribing the agency of that wish to that surface as well. It is an identification process moving from the inside to the outside.

The cinema is another kind of projection. There the dark space of theater confuses the experience of interiority and exteriority, becomes a surrogate of both the mental space and the phenomenal world outside.     The act of viewership is itself a kind of forgetting of the world and a prostheticization of sight and thought into the projection apparatus, whereas the temporal and spatial flux of the cinematic image both screens (in both senses, concealing and revealing) and configures an embodied experience of the world. Christian Metz observed that the act of projection within the context of the cinema ?aside from the actual apparatus- is one in which the viewer identifies with a character within the film and comes to an experience of their own thought through the form and fate of that character. The motivations of the character become one?s own. Here then the arc of transference, of projection, is in essence reversed, inverted. Instead of projecting the wish from one?s self onto the surface of another, here the projection of the phenomenal analogue on the screen allows for an active transference of that character into one?s own experience. The arc moves from the outside to the inside here. (Marx)

how does freude vs. metz work in art an darch..

(((Here damage pix)))
    What is then unexpected about the future? Is the unexpected future that which arrives without having been already represented and demonstrated in advance of itself, and what is the power of the design of those representations-in-advance-of-themselves to conscript the program of anticipation in their image? In consideration of the unexpected, and how we might host it, Derrida laments a fatigue with the ?programmed matrices of invention? by which the ?the future? comes to us. The social machines by which the emergent is screened and enforced through its visual ubiquity serve to foreclose the unexpected. He suggests then, that there are at least two faces of futurity. " Fall down

        But there are several futures. There is a futures market. As suggested Benjamin?s ?pure violence? is not only a name for a messianic agency of agencies, but that purity is assured by the perpetual deferral of its arrival into a kind of pure future, both already known in advance and irreducibly exceptional in its quality from the everyday, even as its inevitability gives meta-historical order to the everyday. riots

The violent projection of the future of arch.... has also found common track with messianic teleologies, both secular and religious (the imminence of immanence.) The preordination of history whether in messianic eschatology or dialectical materialism, suggests or even demands vanguardist projection, first by image and then by ritual deed, to organize the present into the figure of things (that are inevitably) to come. Here the revelation of the terms of the present serve to reveal the terms of future, fulfilling the projection and its design. In this, the projection, also the core of the architect?s diagrams of space becomes the means by which the proposed future is given agency in the present, and by which the present is able to structure itself in that image, the repetition in advance of itself. new temple

Picture of the Future

Image of the Projection

Projective Theory(Where does this Go?) Black
Drawn from Robert Somol and Sarah Whiting?s essay Notes on the Doppler Effect, Pheory or projective practice based in a kind politicized pragmatism...to some extent with Speaks design intelligence, but without the anti-theoretical polemics, get quote....somol and whiting, doppler effect Speaks...

connected to NBourriaud?s altermodern.... non west modernity

perhaps best exemplified by AZP?s theory if not always his practice with and as FOA..

One can even get a degree in PT at Berlage with RVT. Roemer VanToern,
but what do we mean by projection?

Real House, IMage of New House Black
Project in arch, Project in arch is Image...
Picture, Law, House of the present and future..

Heidegger, being is becoming is projection.
Jameson, utopia as a becoming-projection....complexity requires visual narration.

Architecture as medium of popular projection of becoming....
futuro.. image of the future is an image of a building from the future.

Politcal imaginary, slides..
make simple.

theological prophecy
soviet industrialisation
capitalist teleology, ideological competition to colonize the territory of the future
>consumer convenience, a marketing model
from ideology to personal expression of leisure, control and convenience.
utopia, dystopia, perhaps after jameson, simply mapping

9/11

CNN
It has lead to a grotesque. Archiecgure since 9/11. 911 was the archi on stage
CNN?s proposals. ach living room.

VIA PIA
Cookie Monster
CNN WTC

Projection of the Image of Projection Prophetic Image: Arch, virtual produces the real
the generative remain in zizek?s deleuze. the affect that shows.
what arch never figured out in its discussion. the double bind of this....

mountain triangle architecture as a social proferssion is rooted in this. whereas the economy of art is the production of images that ostensibly exhaust their affective resonance,the architectural image consittutes an affectve resonance in refreence to the realization of what it as images only virtualizes in advance.

happy drug Architecture the image is an image that is also to invoke an affect in terms of what it suggests will be, an affective projection, that is not the sterile image but neither one produced by what come, instead one produced in the immediate by the sensation it provokes about what has not yet happened but which is inscribed here....New Jerusalem again...a compression algorythm expanded cognitively in the minds of the viewer...

sora It is in this a double affect. both a resonance of the image itself and secondarily in the deferred experience in the future, and yet is only for the realizaiton of this secondary, eventual reality that it is able to charge and monetize its imagemaking capacities.

andreas artists sell images, architects sell buildings by making images. one is about the event of seeing, the other the promise of an event of being.

also andreas this derference works through miniaturization and eventual decompression.

miniature into large..
Demand,
Angelidakis,
Wright and Broadacre

Demand?s miniature, what the arch image is... Demand next to NYTimes image. 
Broadacre city was presented to the world in model form in March 1935, ironically right in the heart of monopoly capitalism, and the urban congestion around- New York?s Rockefeller Center. The new city was to be New York reversed, spread out to the point that it would be ?everywhere and nowhere?, thus overcoming, as Marxism demanded, the contradiction would overcome by the new communication techniques ? telephone, radio, later TV- the new light industries and homee industry.

Art+Arch
is this transitino from art to arch??/
The Projection if arch, that is new percept-functive, is also highly monetized. but differently. in arch to invest money to translate affect image into affect...body-surface.

back to $$$ issue

If the projection is art, that is percept-concept, it is monetized as artifact unto itself, as already affective body-surface.

The interesting thing for our notion of projective program is how one turns into the other

Manetas, Asger Jorn, Warhol...all small potatoes....Repetition in advance, or repetition as imminance

The first exhibition of the SIs Industrial Painting took place in Turin in May 1958. Developed by Giuseppe Pinot-Gallizio and his son Giors Melanotte, Industrial Painting was painting in the style of abstract expressionism on giant rolls of canvas 70 to 90 feet long. The name was intended to highlight the scale of production of the paintings as opposed to their methods of production, which remained traditional. The rolls of canvas were sold by the yard and were meant to be sold to the public in retail shops. At the first exhibition of Industrial Painting models wore dresses made from the canvas.

Industrialization of technique, use of the medium of embodiment of art as money.

For example Kinkaide...project that is both. an arch/image that is also traded on Nasdaq.. a corp that sells nothing but utopian pictures of buildings. Stats Kincaide. 10mm people, 100mm per year, 15mm painings.
pounds of art, acrage of painting surface, simply no. 1.
$2mm worth of product in one hour on QVC...

Art Center alumni.

"My work is an icon of hope--an antidote to CNN,"

The Village, a Thomas Kinkade Community, near Vallejo, CA.

Populist to the core, Kinkade offers his work in a dizzying range of price points, from $10 coffee mugs and $20 screen savers all the way to $1,500 signed canvas prints highlighted by the master himself. And Kinkade, who lives in the Santa Cruz Mountains, has recently lent his name to a new, gated community development of $400,000 homes in Vallejo, where home and hearth look very much like, well, a safe and secure Kinkade reproduction.

Density of hte image, shift in expertise... Image (New City)

expertise in a certain complexity of the image...maya and after effects and the recominant cinematic object...arch object as a new media object in Manovich?s sense 5 criteria...

the project has been consumed by the market dictates of production, constuction and financing is the project.. project replaced by projection in the IF, Tronic, Digital Foundry, Nicholai JPG sort of way.. TV commercials for events, Bilbao effecg backwards.

The image as a way to motivate and employ, capital like a big magnet

Iconicprogram... image of program ,not image of surface.....
affect of direct sensation, merleau ponty

affect and image of future, the future we hope for is on with enough parking..jPG arch.

not affect of form but affect of image of form, not a image possibility but of the dubious possibility of possibility

New City, Lynn, MacDowell and IF

Inverse Bilbao effect

If the projection is art, that is percept-concept, it is monetized as artifact unto itself, as already affective body-surface.

The interesting thing for our notion of projective program is how one turns into the other

3. Interfacial Image
Digital City Programming
 3th mode of the image...(
mode of the image then... interface where real and virtual converge (intf not only image)

(((real into virtual= art, virtual in to real = arch))
a diagram not of something that has or will happen, neither imminant nor projective as much as instrumental. (though imminant an dprojective as well)

In fact I want to concentrate on this mode of the image, because I think it has the most potential for architecture and for architecture?s productive demise

Diagram

Show Canadians.

Godard
Digital City....extend from Vidler?s Banham,. technoenvironment...program..
here program and interface design excerpt...

Subway
Not a picture of a future city, but a city of interfaces...interfaces hard and soft, arch and software... arch as form of knowledge or knowledge of form...

Interfacial Image, elevator?
Projective Image, in that it is vicarious causality, not as picture of a form but as an actual image-instrument that you can use...

tangible image....Not an affective sensation of pictoral reference. Van Gogh...nor of a real to be, arch..
...but of sensual experience, directly into and onto the real as a surficial affect than is also functive directly, percept-functive converge.

(((where is hernan in this?))) arch becomes expertiese in the creation of images. but not images that do things. Yet. Image of programmatic function that cannot be known that the form would designate from virtual into real, into possiblity. that isn?t yet.

NOT virtual software, actual city...either can be virtual or actual, more about temporarlity and substaniality.

Program as the condition that links these interfaces....

FROM zonal to Interfacial transposition of condition

woman with phone
So if he program is not on the floor, then where is it? it?s in your hand.
4 square history of city, postpostindustrial

leads into Iphone City.. zonal explosion....

6.7bb people,
3.5bb, number of people with phone
Nokia sells a millino phones per week, works out to
16 phones per second,

phone is first computer for everyone... embodied, space.
not a Phone, it is a cognitive extention..

visible invisible, and invisible visible...

Iphone City

image, stuck in traffic glorious 80?s look. Weekend

    110 Sitting in traffic on a Los Angeles freeway, looking at my edits for this essay, I am reminded of Joan Didion?s revelation that this is the most authentic Angeleno social experience. We are not going to any place, all lined up behind our windshields, we are all already there.1 Today, bumper-to-bumper, we are now all also on our phones and PDA?s: taking meetings, texting, emailing, Googling, checking on this and that, editing essays on our iPhones. This is the home and office. We don't always need to arrive, because we're already there: if this was your home, you?d live here by now. This is a grid that segments and enables an inertial sort of mobility. Ensconced in our furtive provisional networks, the car isn't the primary technology of mobility anymore, even in L.A. It?s gone the way of the building. By the time Reyner Banham arrived, the car had eaten L.A.; now the phone is eating the car.

monkey How can we properly theorize the digital at the scale of the city, and the city rendered as digital media? 2 First, it?s not really about newness. Foundational, even primal conditions are now reanimated (layering effects, invisible information made visible, physical computation, collapsed distances, remote control, etc) that can?t be reduced to a new digital sheen on an old analog world. I think of Sanford Kwinter?s allegory of the digital Pleistocene.3 Humans, as a species, have evolved little in the last hundred thousand years, and hardly at all since the appearance of writing. Our senses, our inherited built-in media, are the same as those that allowed us to survive the predatory rhythms of the primordial savannah, and in the city?s very real landscape of information production and reception those same rhythms persist, in communication with our new media and augmented cognition. Architecture is at least partially tuned to these. The Modernist call for a more intense technologization of the disciplinary doxa, blending urban and cybernetic programs, is a now permanent feature of the discourse. 4 Any such programming of this perceptional space casts the digital city as a shared nervous system, and today the rupture of digital information networks through the membrane of the city into the open view of people and their mobile screens, relies on the body?s capacity to proprioceptively map its own displacement in real and imagined geographies.5

cockpit    If the first function of the city is proximity (to people, markets, goods, transit, information) the smart digital handset condenses the city itself into an extensible software+ hardware platform. Globally more people own mobile phones than regularly access the web, and for most of the world, their first computer will be a handheld computer, one that is also a mobile phone. Computation will not arrive as a desk-bound or even lap-bound experience, but as an active network linking speech to data for ambulant gesturing bodies moving through active worlds. 6 Phone+city is a composite read-write medium, allowing for realtime communication through multiple modes, now and in situ, and represents, in combination, an important infrastructure of any emergent global democratic society. It can do this not only because it enables physical, communicative and thereby social mobility, but because it dramatically reinserts specific location into digital space and does so by making location gestural, embodies.

    iphone appsThe foremost infrastructural projects of our generation have been the planetary proliferation of digital information networks, and now another that moves that infrastructure from an embedded sous-terrestrial network to a pervasive in-hand circuit of body and information cloud. Computation evolves from a rare, expensive backoffice asset to a cheap ubiquitous vapor. That stream?s orifice is the handheld phone, PDA, homing beacon, geiger counter, magic antenna, virtual goggles, scanning x-ray filter, field recording microphone and camera that makes hidden wisdom appear; the device becomes a window onto the hidden layers of data held in or about the user?s immediate environment.7 Urban and network diagrams are images now animated in hand, transformed from maps into image-instruments with which to connect and control the immediate and remote environment. Both distance and nearness erode under the weight of the interface?s imagery. 8

However it is the first to put it all together in a way that changes how a critical mass of consumers could envision a new genre of computing: interaction-in-the-wild.

CityNet
    The city as seen through the medium of that face oozes with living data to be touched and rewritten all over again. Interaction with this information is recursive; action taken with it on a micro-level is itself new information which in term informs what everyone else sees on a macro-level. In this recursion the presence of the information, good or bad information, can be directly disruptive of social behavior as people change their paths and decisions in the image of the actions and swerves of others that they see indexed in their at-hand interfaces. The graphical appearance of that interface then is less a figural representation than a direct urban event, part of bigger circuits of concrete movement. For the architect then, the digital city becomes a habitat, becomes a sphere in Sloterdijk?s sense, to the extent that it becomes the foundational layer of the designable software stack.

    This portends to both radically complicate and simplify architectural and urban programming strategies. Architectural programs and interfaces can reside in structure or furniture, fixed or unfixed.9 The same is true for software and the Turing City, where program becomes less ordered and more entropic, always shuttling between mobile and immobile interfaces. ?Programs? can be understood as ?modes of the social that require some supporting material culture to repeat themselves, and which were traditionally zoned within partitioned locations?.

Now as the work of that material is more available to the calculations of software, the program itself is as portable as the handset which, for one or many users, projects and transposes a program into a given locale at a given time. The principle: much of what we, as a societies, used to ask of architecture in the functional organization of people and organizations in space and time, we now ask of software.

As urban ?functions? are translated and transposed into ?apps,? they can be activated alone or in groups at a moment?s notice, providing a different interface to the same location and through this provide a specific urban program, one likely co-occupying that location with many others.10
    Locative media pose integrative design questions. Software program, architectural program (and political program) mix and merge in new ways.

Architecture?s programming expertise must participate wholeheartedly in this assignment, replicating, condensing, mobilizing, diverging and converging, the small and large interfaces that constitute the social. This is less the design of the network than of the computational mechanisms that formulate the nodal and edge conditions and the interfaces which provide the access or protection of these. It is both meticulously mechanical and broadly dramaturgical, a systematizing of the possibility of particular events appearing, both on schedule and off, and of the scenarios by which those events become residual social languages.

Tunnel
It is a geo-computational program, but one that calculates conditions of appearance more than it scripts or contains what finally emerges.

    As the channels of the city are compressed and revealed by the handset?s interfaces, the gravity and contiguity of architectural programs dissolve. Use is always mixed. The Turing City requires a logic of program that is less like an OMA sectional diagram and more like the iPhone deck itself. The sectional stacking of many discrete zones of behavior into a single envelope gives way to interior and exterior sites that can be activated in any number of different ways by different people using different software in-hand. The same is true of the urban scale. For the traditional urban zoning project, the rhythm of programmatic (social, behavioral) discontinuity is dense, but each is bound to its restricted zone in planimetric or sectional space.

In the Turing City, ?zoning? becomes a more problematic technique.11 Zoning, in the traditional sense, becomes less enforceable, and even self-defeating, when a whole section of the city interacts with a user or group differently depending on what software they are running. Ten minutes later, a different software activates a different program, and in this, architecture is to some extent relieved of the programmatic responsibility of functional instrumentality or even specific purpose. All those spatial logistics have been outsourced to much more liquid media.

    Protocols are the grammar, but the architecture of the software stack is the real framing possibility of program for designers. On the go, this is really a GeoStack, a set of tools that create and use the data of the geographically intelligent web, designing and tracing information from its point of creation through publication, sharing, aggregation, and finally, consumption. The stack?s verticality is an arrangement of relationally open and closed channels of information production, manipulation and accessibility. Plumbing into plumbing. Through this, designers designate where to place their services, identify synergies and develop extensible systems that can enhance their particular offerings. The range of services and opportunities for savvy urbanists is vast: location-aware augmented reality viewfinders, macrosensing an

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Published: 07.02.2009

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