Académique Documents
Professionnel Documents
Culture Documents
ACKNOWLEDGEMENTS
Eva Woods
M Mark
Darcy Gordineer
Bill Hoynes
Gwen Broude
Ken Livingston
Karina
Harry
Pirilti
Noah
Lucas
Jake
Charlotte
Imara
Gordon
Lena
Bobby
Brendan
Sofia
Cat
Tomas
Lily
Athena
Gabby
Drew
Sanne
Otis
Ezra
Sara
Taylor
Esteban
Max
TABLE OF CONTENTS
PREFACE
RESEARCH QUESTIONS
GLOSSARY
IMAGINATIVE CYBERNETIC
ARCHITECTURES
10
VIRTUAL ARCHITECTS
14
18
PHOTOGRAMMETRY
22
23
27
30
SUBTERRANEAN VISIONS
34
THE COLONY
36
TECHNOTOPIC DREAMSCAPE
37
FABRICATING ALTERNATIVE
NETWORKS
40
PORTRAITS
47
BIBLIOGRAPHY
65
PREFACE
The impetus for this project began in several places,
and I cannot be sure which came first, because they are interdependent, feeding and growing from each others nodes as
a rhizome does beneath a tree. 1 Perhaps more accurate than
the image of a rhizome is to see a series of tunnels, with desire
beginning at the surface, where a pregnant mother begins to
burrow deep beneath the ground in order to give birth, multiplying and distributing pieces of herself from a lonely, fertile
organism, to a superorganism of distributed activity.
It began in dreams, in which I would look into the distance and see unrendered mountains, as in the edge of a videogame terrain. My sleep would be interrupted when I would
look above and see the airplane overhead flickering, in the
visual language of a screen glitch, and I would consider how
perhaps I wasnt actually awake. Even in my dreams I am using my computer to model impossible objects, and they come
spilling out from the screen, animated yet still less-than-alive,
still with that pixelated sheen. On this node, the beginning is
when the world of CGI merged with my dreams to create its
own mysterious universe of SGI (sleep-generated images).
It began in the lab, where I worked on robots, operating
between simulation and hardware, finding a host of variables
that do not translate. In this same lab, researching a method
to create a single robotic ant that could be replicated to fulfill
the needs of a colony. An unmanifested thought experiment, a
well-researched play of science. We desire to see ourselves in
everything. Valentino Braitenberg points out this piece of human narcissism in his short work of fictional science, Vehicles,
making a case for resistance to psychological language. 2
It began as the desire to create an environment that reimagines the ironic dream of a common language in the integrated circuit. 3 What has resulted from this labor of textual and
artistic research is not a clearly defined unity as the premise
may suggest, but a heterotopic weaving of fact and fiction that
illustrates and exaggerates the potential for fear and pleasure
when visualizing systems of control as opportunities for play
(and vice-versa).
We will be tempted,
then, to use psychological
language in describing [the
robots] behavior. And yet
we know very well that there
is nothing in these vehicles that we have not put
in ourselves. Braitenberg,
Valentino. Vehicles, Experiments in Synthetic Psychology. Cambridge, MA: MIT,
1984), 2.
3
RESEARCH QUESTIONS
What is a cybernetic organism in the age of digital imaging? Where can we find a historical nexus between the
methods used to model biological and mathematical systems and the increasing velocity of digital images? How is
it possible to remain consistently real when we have interfaced so far with simulated systems that might self-destruct? How do the structures of bodies hold up under
the pressure of hyperreal copying and material appropriation? How is the cycle of sublimation and condesnsation
between flesh bodies and data bodies, human beings
and data points, reflected in the organization or exploitation of physical labor? How do bodies fracture and congeal when integrated in such an environment? How does
image-based modeling move offline, producing and reproducing the systems it was meant to represent? When
does an imaginary architecture become real?
GLOSSARY
A few terms will come up once or several times in
this text that need preemptive clarification. System and
body are both terms embedded in the definition and discussion of cyborgs. Imaginative architecture and metadigital organism are two terms that I have made up in the
development of this framework to scaffold the feedback
loop I describe.
When I speak of bodies, it is context-dependent.
A body can be corporeal, as in the system of bones and
organs that are contained within the membrane-organ of
the epidermis. It can be psychological, as in our circumscribing of bodies in perceiving between self-and-other.
It can be social-- not only how ones body is perceived
in the social order, but also an idea of the social body
as community, a system structured by many interdependent individual humans. Knowledge has a body (body of
knowledge) but the body also has knowledge-- so although an ant cannot know the message it carries, its
body carries knowledge as a unit in a system.
A system is a structure of interrelated parts, which
function together in a unity. The function can be mechanical, chemical, physical, etc.
An imaginative architecture is an idea that is both
a conceptual space for specific thought and a potentially
functional physical structure, at once.
A metadigital organism is described as living in the
middle space that is the consequence of digital spaces
creating unreality and reality, and as a producer of digital
architectures and interfaces to occupy. It is an organism
that is like a cyborg, but defined primarily in its psychological dependence on images and data, both indexical
and pretend.
IMAGINATIVE CYBERNETIC
ARCHITECTURES
In 1947, Norbert Wiener coined the term cybernetics to describe the mathematical formalization of information systems, biological or mechanical. 4 In 1960, Kline
and Clynes appropriated the term into a discussion of the
possible modifications to bodies in order to be suitable
for life in space, in short, a guide to becoming a cybernetic organism. The Cyborg deliberately incorporates exogenous components extending the self-regulatory control
function of the organism in order to adapt to new environments. 5
The bodily modifications suggested by Kline and
Clynes spanned biochemical, physiological, and electronic. This is already a much broader field of play than is
suggested by the popular conception of cyborg as a human with a gun for an arm or a camera for an eye. However, there are further expansions to be made on the sorts
of exogenous components that may be incorporated into
adaptive body-based system dynamics. Any interaction
with technology is enough to affect ones adaptability to
a novel environment. In their paper, Kline and Clynes included a section dedicated to the social and psychological toll of technosymbiosis. The body may accept the the
new system components, but the mind, the unified self,
may still reject it. Changing physical components of a system can provide a profound expansion of the mind and
the psychology of a social body. Metadigital organisms
experience a reversal of this equation, in which immaterial components feedback into our collective culture as
images and data bodies, producing psychological states
and expectations that our corporeal bodies cannot perform.
In 1968, the exhibition Cybernetic Serendipity
opened at the Institute of Contemporary Arts in London.
Sponsored by IBM, it was curated to celebrate the collaboration and integration of contemporary arts and sci-
ences to the public. 6 The computer was the central artifact, and algorithms were the methodology. The show
sponsored some of the first examples of digital graphic
design and computer generated music. The results were
predominantly playful, with TIME magazine posing the
rhetorical question: Can computers create? Maybe not,
but many of their programmers have a lot of fun trying to
make them behave as if they could. 7
There was one piece that questioned this exhibits
idealization of the computer as sandbox for technoprogressive playtime. 8 Five Screens With A Computer was a
proposal of autodestructive capabilities. The installation
would include five enormous screens made from many
tightly fitted elements of stainless steel, which, with the
aid of a computer (or several), would eject up to 50,000 elements from the screens, steadily destroying the screens
themselves. Imagine the screen-like rectangle of a beekeepers honeycomb, in which the hexagons are individually ejected from its own structure, until nothing remains.
The screens would have projections mapped on to them,
graphically displaying the computer programs probabilistic workings. Some of the element ejections would be
coded to release at random, while others would be programmed into the code intentionally. It was never actually built, but the written proposal was still put on display.
It was the only such self-reflexive piece in a show dominated by a sense of a simulated future of kinetic wonder
sculptures and machinic symphonies. The first celebration of cybernetic art entered the feedback loop of rhetoric, returning as the first critique of itself.
Metzgers Manifesto of Auto-destructive Art speaks
to the necessity for art to appropriate and misuse the
methodologies of science in order to produce alternative points of entry into its vacuum-sealed epistemology. It is a statement advocating for a tactical assault on
a system of values aiming to quantify the questionable
abstractions of objective truth and societal progress, by
targeting its concrete foundations of capital and warfare. 9
Using the tools and methods provided by a system to dismantle it is what is suggested by Donna Haraway in her
Cyborg Manifesto, asserting the disloyalty of cyborgs to
Exhibitions: Cybernetic
Serendipity. Time, October 4, 1968. www.time.
com/time/magazine/article/0,9171,838821
8
Ibid.
11
Auto-destructive art and auto-creative art aim at the integration of art with the advances of science and technology. The
immediate objective is the creation, with the aid of computers,
of works of art whose movements are programmed and include
self-regulation. The spectator, by means of electronic devices,
can have a direct bearing on the action of these works. Auto-destructive art is an attack on capitalist values and the drive to
nuclear annihilation.
Gustav Metzger, Auto-Destructive Art, Machine Art, Auto-Creative Art, London, 23 June 1961
12
13
VIRTUAL ARCHITECTS
Ada Lovelace (1815-1852), known as the first computer programmer, may have been the first to write about
the computers potential as a creative machine.
[The Analytical Engine] might act upon other things
besides number, were objects found whose mutual fundamental relations could be expressed by those of the
abstract science of operations, and which should be also
susceptible of adaptations to the action of the operating
notation and mechanism of the engine Supposing, for instance, that the fundamental relations of pitched sounds
in the science of harmony and of musical composition
were susceptible of such expression and adaptations, the
engine might compose elaborate and scientific pieces of
music of any degree of complexity or extent. 10
Over a century later, the first collection of music
that contains pieces both performed and composed by
computers, along with a variety of other cybernetics techniques, was presented in Cybernetic Serendipity. This
was the very same exhibit that Gustav Metzger presented
his plan for Five Screens and a Computer, Composers at
the cutting-edge, from John Cage to Iannis Xenakis, used
a variety of explicitly mathematical methods, from stochastic procedures to compositions derived from game
theory, to realize complex sonic structures.
Lovelace never saw her program executed because
this computer was never built. The Analytical Engine was
a research project of Charles Babbage, the British mathematician and engineer with whom Lovelace assisted and
collaborated on many occasions, and was meant to engage in complex calculations using a series of gears and
levers which was based on the punch-card design of the
Jacquard loom. 11 Although theoretically sound, the engine
itself was never built in its entirety, only in fragments, with
components being rendered decades apart as funding
precipitated then evaporated. Inside of a mahogany case,
Babbage stored his most elaborate plans for building the
Analytical engine, entitling his work Plan 28 and Plan
10
11
12
John Graham-Cumming.
The 100-Year Leap. Radar.
OReilly Media Inc. Oct. 4
2010. http://radar.oreilly.
com/2010/10/the-100-yearleap.html
13
Ibid.
14
15
15
16
(above) John Cage Fontana Mix Use, 5 sheets of transparent paper. 1. sheet
with curved lines only 2. sheet with dots only 3. graph only 4. straight line only
5. superimposed sheet with straight line added as shown.
Cybernetic Serendipity booklet (25)
17
18
16
Magnetic resonance imaging (MRI) is a technique
that uses a magnetic field and radio waves to create
detailed images of the organs and tissues within your
body. 17 It is a type of body scanning. In a sense, it captures more of what an individual is than a photograph.
It scans in three dimensions, and an fMRI reads an individual by scanning the movement of their biomarkers
through space over time. It measures interiority. A scan
can be used to produce 3D models of the body, interactive using a screen interface. We are told to stay still
for the duration of the scan, realigning our protons to
the magnetic field as our body is fragmented across
so many images. Our diagnosis is dependent on a collaboration between body-modeling algorithms and the
attuned eye of a doctor. We are looking at data, or certain manifestations of data. We are living in the space in
between, defined increasingly less by the metaphysical
than by the metadigital.
17
19
http://lgalloway.dmu.ac.uk/ahrc.html
http://image.issuu.com/100116110031-b28d089957424c31891d58f55fbc92ed/jpg/page_7.jpg
20
scans by layla
21
PHOTOGRAMMETRY
Photogrammetry is an image-based science, a
methodology for making measurements from data derived from photographs. There are two classifications
based on camera use. Aerial photogrammetry utilizes aircraft positioning and camera verticality to gather data for
map-making, surveying, and, most likely, surveilling. But
what if the object or person of interest is too small to see
from an aerial view, or is obscured by a canopy of trees?
What if the subject is subterranean, a buried artifact, or a
mummified shell of a human, unsurfaced only when the
dirt is moved away? Close-range photogrammetry (CRP)
gathers data through photographs taken close to the
subject, deriving measurements to output drawings, 3D
models, and point clouds. 18
Mummification is the process of preserving the body
from the metabolizing force of death, but even mummies
are subject to time and oxygen, especially during excavation. Architectural preservation and restoration attempts
to save buildings from crumbling to the same fate. CRP is
used to preserve architectures and artifacts from deformation, damage, and permanent loss of heritage assets,
by preserving these assets digitally. Preservationists use
CPR to output 3D models of their subject. In realizing
imaginative architectures and finding occupants for their
structure, CRP is an invaluable tool. 19
22
18
http://www.photogrammetry.com/
19
https://www.researchgate.
net/publication/280737273_
Close-range_photogrammetry_enables_documentation_of_environment-induced_deformation_of_architectural_heritage
20
21
22
23
24
http://canadianart.ca/features/amy-luos-top-3-2014-poetic-politic/
http://www.whitelinehotels.com/blog/harun-farocki-serious-games/
Two stills from Harun Farockis video series Serious Games. The top image
documents a military training session, displaying the user and the tank-avatar
simultaneously. The image below that is a document of a therapeutic game,
used on soldiers with PTSD, which utilizes virtual reality to assist in handling
war time trauma.
25
http://aecmag.com/software-mainmenu-32/293-rhino-grasshopper
These architectural
projects are examples of the malfunctions that can occur
as the border between an imagined
space dissolves into
a system of working
bodies.
26
http://www.constructionweekonline.com/pictures/guggenheim.jpg
23
24
27
28
29
The study of ants has not always followed this communitarian model. The way field biologists and lay people
characterize the social organization of ants (and most animals for that matter) are reflections of idealized human
social relations. 27 The monarchist kingdom of past centuries, the totalitarian state of the cold war, and the Pixar/
Dreamworks-informed corporate control model are iterations of this. 28 Scientists, just like the images they create,
must claim a standpoint of objectivity while admitting to
looking for something. A model system or a model image,
both show not only what is there, but also what is being
looked for. The gaze of the observer produces the system
it gazes upon. 29
Gordon writes that she was searching for a system
that exhibited organization with non-hierarchal control. Is
this an example of a subject produced by a scientists
gaze? The careful emphasis on the visibility of the system
over its immediate mathematical formalization means
that she spent time with the system at hand instead of
30
25
Hofstadter, Douglas R.
Gdel, Escher, Bach: An Eternal Golden Braid. New York:
Basic, 1979.
26
27
30
31
http://www.taringa.net/post/ciencia-educacion/18898778/
32
http://www.taringa.net/post/ciencia-educacion/18898778/
http://antclub.org/node/4212
http://www.myrmecos.net/page/2/
33
SUBTERRANEAN VISIONS
Recently, radar technology has advanced to the
point of being able to penetrate the hidden world of ant
nests with such accuracy as to be viable for imaging
and study. No longer dependent on destructive material
methods, but instead contingent on electronic tools and
specific imaging software, this advancement is referred
to as hands-off mapping. 31 The radar, coupled with the
specialized software, output 3D graphics that are ready
for immersive exploration by scientists and amateur entomologists alike.
The GPR data are first spliced together and software
then fills in the finer textural details. The result is projected onto five screens arranged in a semicircle. Visitors then don stereo-vision glasses to give a true sense
of space and use a handheld controller to navigate the
virtual colony with an ants-eye view. 32
I have a personal suspicion about such a project.
Will objects begin to be ejected from the five screens
on display? What sort of technological personality is revealed in the details the software fills in? Is this virtual
reality inserting the viewer into the virtual reality, or allowing a point of escape for the images to crawl back into
the corporeal world?
We may imagine ways in which to incorporate aspects of social stochasticity into critical artistic models
for reimagining the integrated circuit we are embedded
within. We must dictate manifestos that specify structures, even if they are to forever remain a fiction. The simulation of such systems is both exciting in its novelty and
potential for community, and frightening in its threat of
gridlock and self-destruction. As we gaze down in a newfound curiosity at our feet, searching for tiny harbingers of
complexity, we may remember to take off our VR glasses,
look up in front of us, see five screens projected with 3D
models, and realize that what we see-- is ourselves.
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31
32
Ibid.
35
THE COLONY
There is a virtual reality called the colony-- or perhaps it is a social reality. Its not really a game, but it pretends to be a game, or party, or social event.
The more one accesses the colony, the more ones self is distributed among
the superorganism of the collective. The colony is somewhere between a collective, a commune, and a corporation. It advertises body uploading, in order
to immortalize the surface form of participants bodies.
The colony exists as a social reality, but it is also an imaginary architecture for metadigital organisms-- it is an inbetween space. All communications
are digital, via the digital interface and colony representative Layla Joon. Layla
Joon is a character and artistic persona I have been developing over various
digital projects for over a year. She (they) is not always the same across platforms-- facebook, instagram, email, and now the Colony. It is with this Colony project that Layla Joon has entered the material world for the first time.
However, no physical recording of the Colony event or of Layla Joon exists,
so it is uncertain if even this alter ego was real. She is more of a scanner than
a human, attempting to render herself invisible and objective as a flesh-andlight interface for observation. She verbally and gesturally interacted with all
participants at an absolute minimum, allowing them to choose their own poses, and rarely forcing groups. However, who knows how much control she truly
attempted to concede, or if coercian, or even exploitation, resulted? All that is
left is a digital paper trail, a collection of body scans, and the memories of the
participants.
The colony is not real.
Current research in systems theory suggests that we are not individual,
closed systems governed by classical mechanics but that we are made up of
and make up many complex and open systems. The concept of being an open
system must be accompanied by discussions of the dangers and opportunities
of border-crossing and hybridity in interfacing our varied bodies.
36
TECHNOTOPIC DREAMSCAPE
I have seen the shells of these structures a thousand times, existing as
monuments to a time when surveillance was conducted at close-range. These
architectures have turned to ruins. I dream of these ruins-- or maybe, I dream
of an image made from corrupted pixels. The mesh isnt quite right. The doors
dont work the way they should. The walls are fractured and the floor is breathing.
I chose the shed as my first subject to upload because it is hidden in
plain site. It is an above ground node to an underground history. Once you notice one, you begin to notice them everywhere, as if they have popped from
the soil overnight, fruiting bodies from the mycelium below.
It is safer to upload a structure than it is to upload a person. It is made of
straight lines and solid geometry, and translational mistakes do not evoke the
same horror of an uncanny face. I thought-- if I upload this model, it will leak
back into our dreams and visual lexicon, and we will notice these forgotten
shelters once again.
I revisited the site of the uploaded shed about a month after I performed
the original data gathering process. I needed to gather a greater variety of photographs in order to construct higher quality models. At the site of the upload,
the shed was gone. It had been removed. Or it had been swallowed by the
ground. The process of uploading had overextended its reach, It is no longer
archival. It seems to discourage redundancy in the system-- why keep it in the
real when it has been digitally preserved? A seemingly passive act of preservation might be an active force in destruction. I encourage you to investigate
this hypothesis for yourself.
37
HTTPS://VIMEO.COM/177857769
38
HTTPS://VIMEO.COM/177857769
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A MANIFESTO
THE COLONY IS
AN ADVANCED DISTRIBUTED ARCHITECTURE
A PROTOTYPICAL THREE-DIMENSIONAL ENVIRONMENT
A HOME FOR YOUR PROJECTED IMAGE
A VESSEL FOR BODIES AND PATTERNS OF INTERACTION.
A CRUCIBLE FOR COMMUNITY TRANSFORMATION
A VISUAL DATA NETWORK
A SOURCE OF EXTERIOR KNOWLEDGE
A SIMULATION OF SYNERGY AND COMMUNAL HARMONY
A SOCIAL FANTASY MANIFEST AS A FEEDBACK LOOP
AN IRONIC DREAM FOR A COMMON LANGUAGE IN THE INTEGRATED
CIRCUIT
46
Layla Joon
47
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
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https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
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https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
https://www.youtube.com/watch?v=1M029NjsgVQ
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