breathing can have a space of itself
there is this sort of discrepancy of what is plausible and what it possible
gliding though a city not body motion
so you can go through walls
motion sickness
4/10
The architecture of cyberspace offers the opportunity to mend the rupture
between how we know the world and how we conceive and execute architecture.
It allows a far greater latitude of experimentation than any previous
architectonic opportunity. It is once again possible to seek to know what is
known and to conceive a corresponding architecture, without always falling
back upon the sacred geometries of ages past. This engagement only makes
architecture more relevant to the world, more in keeping with what is sensed
as a new condition. In fact, architecture's role in articulating spatially
the outlook of an age is strongly reasserted. [1]
navigate areas
the problem of euclidean space it is not easy to discard that and come up with fanciful substitutes
reality ruptures
vr offers more perspectival depth
infinite regress
a perspective we venture into
alice in wonderland
not walking gliding
Of the various ways in which the futurists saw simultaneity and dynamism,
Umberto Boccioni's was perhaps the most prescient and applicable to the
conditions we are facing. Critical of Balla's literal depiction of forms in
motion, Boccioni sought to capture a sense of time that was implicit in
being. Like Bergson's notion of "duration" as the principle animating the
passage through time rather than the particular form at a given instant,
Boccioni's work observed the lifelessness of a form arrested from motion in
a single instant, and created forms that were condensed records of their own
becoming, past and future both being contained in the vector of the present.
It is perhaps not too surprising that Boccioni's sense of and Deleuze's
time-image would both draw upon, and thus be connected by, Bergson. What is
surprising is that Deleuze and Boccioni, especially the latter's Unique Form
of Continuity in Space of 1913 and related works both anticipate and can be
expressed by the tools and concepts of scientific visualization, especially
isosurfaces.[2]
fractal
infinite regression
something else happens
a fiction that goes beyond euclidean
we still think the sun rises and sets
workable models to understand phenomenon
more plausible explanation
modernism was a dead end
minimisation to the etherealisation
incestuous debate
technology energisers modernism
thinking about through the material
one single subjectivity
claiming high ground
the work station is common to various disciplines
aesthetic and art are separate things
why shouldn't an artist have a special ground
you have to have intent
boundaries are becoming blurred
context and intent
so much for cyberspace
internet advertising
richest space on earth
Our surprise is only the result of our forgetting; in his 1913 Manifesto,
Marinetti is explicit: "...we should express the infinite smallness that
surrounds us, the imperceptible, the invisible, the agitation of atoms, the
Brownian movements, all the exciting hypotheses and all the domains explored
by the high-powered microscope. To explain: I want to introduce the infinite
molecular life into poetry not as a scientific document but as an intuitive
element. It should mix, in the work of art, with the infinitely great
spectacles and dramas, because this fusion constitutes the integral
synthesis of life".[3]
wild fluctuations
filters
Marcos Novak transmitting Architecture: The Transphysical City
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Terminus = Paul Thomas Mark Cypher David Carson Brian Mckay Jeff Jones Barbara Bolt Theo Koning Jeremy Blank Alex Spremberg
E-Mail: p.thomas@curtin.edu.au
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