These successive indeterminate, improbable and uncertain aggregations will rearticulate the link between the individual and the collective. L'objet de ce mémoire est de vérifier si cette relation est bien vérifiée et d'identifier les freins à sa réalisation parfaite: Série de strips en BD pour le journal interne Objectif: Seule ombre au tableau, si les sites se suivent, ils ne se valent pas.
Their work was expunged of all its pathogenic elements, the sources of disorder, incompleteness and political and social unpredictability  that were the very reason for its existence. Doing political architecture politically, to rephrase Godard, means using aesthetic strategies diametrically opposed to the Fine Arts models of thought and transmission, i.
Thus architecture is reduced to a lovely object, painless, odorless and inoffensive, drawing its legitimacy from the experiments of the Sixties, not to interrogate their meaning for today and their non-synchronicity with our times, their naivety and toxicity, but to use them as historical and cultural excuses, as a shield to protect its autonomy.
He himself went deaf to the world, literally, thumbing his nose one last time, like a mischievous kid or a kind of self-protection against abusive appropriation… A dialog of the deaf.
This interlacing, a rational and well-ordered superstructure, is on standby, or, more precisely, suspended, in both meanings of the word. Literally, in that it hangs above the city whose aerial interstices it occupies, but also suspended pending a hypothetical human colonization, which, in contrast, is dedicated to the free will of one and all, the negotiated interfacing of individuals and groups that determine the modes of habitation and interrelation according to their impulses and moods, or in other words, to the disorder of human activities and the incompletion of the desires of the multitudes.
Precisely there and on two levels: The relationship between the mathematical enunciation and the anarchy of the modes of colonization generates a system of opposition that involves neither development nor correlation, nor organization in the sense of a co-functioning. It is not a symbiotic symbolic protocol, and there is no mutual affinity between the elements. The hierarchized chronologies of systemic-systematic permutations are not produced by the principles of contagion and epidemics  that would phagocytize and dissolve the previously established geometries.
The contact and development of the disordered entanglements of the human, all too filthily human multitude does not metabolize scientific causality. Thus one becomes a member of the now hyped and has-been sect called radical architecture. Are human relationships so tricky to take into account that they have to be ideologized, idealized, carefully eschewing and excluding their excessive nature, the combinations of misunderstanding, conflict and resignation that produce meaning and thought at the price of the defection of the latter?
This will only take three minutes. Relax and slide your hand into this box. It will set a baseline by measuring your bodily equilibrium over the next 30 seconds. Your body will react naturally to my voice. Let my voice soak into you. Just let yourself feel it and react. It helps us capture the changes in your emotions without being intrusive. Let it flow into you, breathe it in.
It is simultaneously your guide and your emotional indictor, your dynamic portrait. Its movements are directly influenced and affected by the nano-particles you will inhale and exhale. Breathe deeply and slowly…. You breathe in the atmosphere of this dwelling; you let it infuse you. You might feel more comfortable here or more uncomfortable. You took pleasure in this vertigo. In an unstable, tenuous equilibrium… you felt this dizziness like something that is still inhabits you… the void is right there, under your feet.
The family, your family, has become a conflict zone and you can no longer be in denial or calm things down. Not that space has the power to reduce and absorb those underlying, exhausting, gnawing conflicts, but it can offer layouts that encourage the morphology of the moment, and offer you choices in your relationships…. Synchronized to your own body, your arteries, blood and genitals, to your beating organism… and you are a thing, an element amid that whole ensemble, porous, able to merge, respiring and aspiring to be your own environment.
Just let yourself slip into this silky and strange sensation that terrifies and caresses you…. You might feel slightly confused for a few seconds while the nano-receptors are being expelled and reabsorbed. You can take a look at your physiological report on the screen in front of you.
Please leave the way you came in . Very different than the petrified Turbulences made after an unbelievable second round, a kind of administrative prank.
Developed by the mathematician Monge in the 18 th century. The program asked individuals for their special preferences, and then analyzed and processed this data based not only on the desires of their neighbors, but also light, access to ventilation, etc. He finally abandoned this project because he deemed that his computer could not understand the twists and turns and complexity of the process of human decision-making.
It means staging a break-in to the logic of things when language has to negotiate with the depths of the body, down to the bottom folds, like with Antonin Artaud and his compulsive catatonia. This physiological test above works like an emotion detector. It only takes seven minutes. The protocol is simple.
During the test, a sort of vapor of nanoparticles is emitted, so that we can detect the evolution of these emotions without noxious intrusion.
Le travail fut bien fait. La réécriture subjectivisée des temps Monarchiques par Michelet se voulait au service de la république. Lui-même étant devenu sourd au monde, littéralement….
Cela ne prendra que trois minutes. Et glissez votre main dans cet écrin…. Il va se calibrer sur votre équilibre corporel pendant les 30 prochaines secondes. Il va naturellement réagir à ma voix, laissez-la vous envahir, ne soyez pas inquiet……il vous appartient de la sentir et de la ressentir. Une machine constructive, une machine robotique est face à vous, elle est à la fois votre guide et votre indicateur émotionnel, votre portrait dynamique… ses mouvements sont directement affectés et influencés par les nanoparticules que vous allez inhaler et exhaler.
Respirez profondément et lentement…. Vous êtes dans votre habitat, votre futur habitat, celui que vous désirez sans encore le connaitre, mais vous le sentez, et vous en parcourez les lieux…. Vous avez tiré plaisir de ce vertige…. Synchronisé à votre propre corps, à vos artères, à votre sang, à votre sexe, à votre organisme palpitant…. Tout est là, en train de se faire, dans un mouvement en train de se faire … Laissez-vous emporter.
Ne pensez pas et glissez-vous dans cette sensation soyeuse, étrange, qui vous effraie et vous caresse …. Reprenez vos esprits et attendez pour vous lever que vous vous sentiez prêt à le faire.
La séance a pris fin. Je ne vous raccompagne pas, vous connaissez le chemin. Dan Schulz, Eleanor Tullock.
Terra Insola is a collective enterprise of scientific storytellers, speculative archeologists, regenerative engineering, deviant-mythologists and dirty-physiologist exploring the mythic figure of Ariadne as an archetype of a modern feminist, living within a suspended time between two stages of her life, in the time between her relationships with Theseus to Dionysus, between the macho-man and the alcoholic.
She is bound by a daytime routine and her perpetual commitment to a machine, releasing herself from all constraints and achieving self-sufficiency. She lives in an idyllic biotope without context or reference, extracting fluid sap from the eucalyptus tree that sustains her nourishment in an anthroposophic exchange, and mixes her physiological substances such as urine with the earth that surrounds her to secrete ceramic for the structure that shelters and interlaces her. The structure itself is a metaphor of an endlessness creation, an architectural process that emerges within an infinite loop.
The myriad of spiraling mazes and glazed clay components that wrap her body and her mind are developed by and with a machine tamed and domesticated by Ariadne to extend her desires and construct her needs in a reflexive, affective and contingent agenda. Ariadne is a woman divided by the pathology of multiple personality disorder, haunted by the echoes of her mythic past and her involuntary landing within the Schengen trap.
When she lands, the barrier of Schengen was already since a long time considered as a fortress. The physio-zones are an initial preparation, a shamanism ceremony to reach a point of emotional delivery. Clothing the shop of fashion design clothes, including prototyping on site. Faced with the autistic, blind, deaf and mute violence of our technological, industrial and mercantile machinery and our own human servo-mechanism, nature reacts… with violence and without warning, in a flattering of the original chaos… a mutiny against human organization… Gaia seems to take revenge Katrina, El Niño, Hurricane Jeanne, the cyclones Thomas and Nargis, the Xynthia storm and the Ewiniar typhoon, the Indonesian and Japanese earthquakes with their collateral tsunamis all the way to Fukujima… a chain of devastating incertitude, unpredictable despite our seismographic sciences.
Without delegating power to autocratic and aseptic technocratic experts instead of the chaotic emergences of the multitudes, the aleatory rhizomes, the arborescent growths that are simultaneously a factor for its transformation and its operational mode. This smearing is done through the recycling of industrial glass, mainly French wine bottles that are swallowed up and vomited out by a 12 metre-high machine in a process of staggering, scattering and stacking.
Random aggregation is part of this unpredictable transformation following the fuzzy logic of the vanishing point. In this move the character played be Richard Dreyfus reproduces it in his own living room, using soil, plant and mud materials acquired, in a raging fit of lucidity, by destroying a small decorative garden in the neighbourhood and taking these materials into his home. I am an imposter.
It comes in the form of a human group, a re-peopling of the social structure in the form of a dream. A dream of social climates, empty lots, existing forms of nature and people and enhanced intimacy. It alters what exists, it marks out vanishing lines, subjectivities, it throbs in the form of local stories and languages, little tales, the stuff of fables and narratives garnered by tacking together and tinkering.
It grows between , among other things. It tinkers, recycles, reconstructs in all historical senses of the term. The rhizomatic bad seed sown by the two philosopher friends that stocks us up again. When everything has once and for all suddenly descended into anything goes, the deep freeze, urban guerilla warfare, and the rest of the whole shamozzle, there remains that sixth sense, nerve endings and defensive reflexes.
It lives in broad daylight, not in the shadows, because the shadows are a refuge for jumpy activists living in the comfort of their ideals… clowns, as Zizek calls them. R2  In this violent antagonism, within the hollow of this personal disorder, this personal confict, we are facing two worlds facing each other: WEF versus WSF, Davos  versus Porto Alegre  … on one side, business and its operative economy, both financial and managerial; on the other, all the multitudes and their potential for organization from the bottom up — for a productive and operative resistance against the first.
How can the architect, artist, scientist, writer, and citizen absorb, swallow, and digest this Janus-like condition without favoring one over the other? Log 25 explores ways to navigate this antagonism, which could be negotiated in an un certain and ambiguous manner… nonhierarchical, nondeterministic, defining a path in which architectural protocols could fuse bottom-up and top-down, contingently, simultaneously, as if the ingredients were making recipes, and the recipes were modifying the substance of the ingredients… apparatuses of exchange,  which transform the game of power and the knowledge diffused through that game.
Contradictorily, the discipline of architecture in the time of now feigns ignorance of this genuine conflict, and concurrently legitimizes more and more its identity, or the illusion of an identity, at a condition of noninvasive, nonsubversive, nonpolemic, nonpolitical consequences.
The architect has become the mainspring, the cheville ouvrière , of this process in the literal sense: It produces systemic pathological effects: It is only in strategies of conflict, opposition, indignation, and occupation that the capitalist structure, an ectoplasm with an adaptable and variable geometry and contours, agrees to renegotiate its transactional modes… But for this malleability to operate, we first have to run the risk of confronting it, causing it to crack, biting it, in close combat, using tactical strategies of visibility and fallback… facades and dissimulation… offensive drives… occupation of turf, in the hollows of conflicts, in the hollows of speech utterances, their rescripting, their de-alienation — not in the cozy living-room idealism of the defeat of thought.
This particular form of masochism, which is not so much masochism as it is acceptance of the sadism of the system, is actually, height of irony, seen as… a performative act. In these conditions, and by default, it would be prudent to ask ourselves about the legal framework of such a submission, of the protocols of Sacher-Masoch, and even to define the mechanisms of exchange, domination, enslavement, eroticization and suffering, as a potentially contractual support element of this same transaction… and to redefine what constitutes the nature of that contract… not just in terms of the relationship between the parties, but in terms of the representation of this relationship: Faced with the autistic, blind, deaf and dumb violence of our mechanisms of technological, industrial, mercantile, and human domination, nature reacts… in a stuttering version of the original chaos… in a mutiny against human organization… Gaia seems to take its revenge.
Capitalism and Schizophrenia , trans. University of Minnesota Press, , The Forum organizes its annual meeting in Davos, a mountain resort in the eastern Alps region of Switzerland. The meeting brings together some 2, top business leaders, international political leaders, selected intellectuals and journalists to discuss the most pressing issues facing the world… as it should be.
Some consider the WSF to be a physical manifestation of global civil society, as it brings together NGO, advocacy campaigns as well as formal and informal social movements seeking international solidarity.
Resilience is most commonly understood as a process, not as a trait of an individual. Yet this new designer is very different from the old. One thing seems clear: Verso, , 17— Vouloir-faire , wanting to do, is substituted for savoir-faire , know-how kunstwollen vs kunstkönnen. It is no innocent matter, either, that the critical systems in charge of questioning their validity simply offer them a helping hand, fascinated by the power that these great strategists grant them in return for their dependence.
Jean McNeil New York: But the new world knows only resistance. When I bend in order to avoid accepting the rules of their authority, I am destroying the foundations, I am insulting their legitimacy. There is rage in the face of my madness, a ferocious rage as if they found themselves faced with an act of revolt.
University of Minnesota Press, Three ingredients of the sublime: You have to be sublime at least once a day; toxic could be the cure for it, if produced twice a day. A gravy for schmaltzy affect, effect, infects, faces, fooding facing realities and Trolls, in the childish meal of cruelty.
The grotesque as a romantic notion, framed by desires for beautiful, tasteful monsters, exquisite corpses and synthetic nature. Grotesque romanticizing cannot be cooked it can only be tested, so we can only hope for them, and them forget about the hope and we left with them.
A birthday cake for the temptation of sugar-ice-comput-DIY vomiting a back tomorrow lost tasty paradise. Chromatic pastry radiating in atmospheric hues, triggering the Geeks desire to explore the past? Therefore the alternative to paranoid delusion, paranoid atmospheres, so we are trading on an emergency of the now, maybe atmosphere becomes Lust, not a bad trade. Inky FR back tatooed for Log 25 issue.
It would have trapped……….. How a line of subjectivation is used as a strategy materializing in the physical world, in the tangible, touchable zone of our environment. It is an experiment, linked to the study circle existence and contents… how to extract from the multitude of books and knowledge stored in the site, a possibility of substantiation, a possibility of materialization…. A story of somebody which found the way to extract through signs and mathematical logic a shape, which passes from his mind to a cartography, from a cartography to a 3D object drifting slowly to a real construction at scale 1 by his own enlightening… he is himself becoming a fragment of this construction….
The pool was a pool, not any more…it turns into a deep, bottomless sinkhole, engraving and digging the ground to find the door to hell…. OPEN for architecture students application below. Call it madness, if you want. Two worlds face each other today: Davos and Porto Alegre. One represents business and the operative economy, both financial and managerial; the other, the multitudes and their potential for organization from the bottom up — for a productive and operative resistance against the first.
LOG 25 will explore ways to navigate this antagonism, which could be negotiated in an un certain and ambiguous manner. Like the car company producing cars, where a specific social organization has been created to manage production without diagnosing the structural and human alienation produced by that system, the discipline of architecture is going back to its own ghetto, constructing simultaneously an efficiency and legitimacy of knowledge from evaluation and expertise, which gather and target a high degree of professionalism.
Paradoxically the world is being pulled and pushed in so many directions, producing contradictory tensions, new conflicts, new nationalism, new local ideologies, even new El Dorados with flickering financial fireworks — mirages in the desert.
In this context, it is not innocently that a group of philosophers requestions the foundation of democracy, the validity of its structure and the procedures of delegation of power; requestions the notion of government, of governance. It fills emptiness, grows between, and amongst other things. The flower is beautiful, the cabbage useful, the poppy makes us mad, but grass is overflow.
We are at the crossroads, where, faced with the autistic, blind, deaf and mute violence of our mechanisms of technological, industrial, mercantile and human domination, nature reacts…with violence and without warning, in a faltering of the original chaos…in mutiny against the organization of men… Gaïa seems to take revenge Katrina, El Niño, Cyclone Jeanne, Tomas et Nargis, the Xynthia storm, Ewiniar typhoon, Indonesian and Japanese earthquakes, collateral Tsunamis all the way to Fukujima…chain of devastating incertitude, unpredictable in spite of our seismographic sciences.
The elements rage and the gods, so quick to pardon our folly, seem powerless to appease the rebellion, armed with infernal force…. This session is the occasion to rethink our relation, not in terms of moralist ecology, nor in terms of preservation, but rather in terms of transaction and of body and zone of exchanges….
The project must not hold back from crossing barriers because they are too morally predictable, from negotiating repulsions, anomalies, impulses of life and death, entanglement between Eros and Thanatos …the failure of a system is not a criteria of its devaluation and disqualification…but rather a system of knowledge…. This competition calls for a radical reimagination of the current relationship between humans and the built environment through the establishment of new architectural protocols of coexistence in the search of a new Partial-Total Ecology: In the past architecture has always operated as a mediator between humans and the built environment, within an anthropocentric ideological framework with a deterministic approach.
This competition seeks to escape this direct relationship and asks for submissions able to produce new socio-ecological scenarios able to reimagine our current ideas and preconceptions, in relation to notions of equilibrium and sustainability within Western Culture. Going beyond notions of moral ecology or fake sustainability, this competition asks for entries able to envision new architectural scenarios and moments of invention by looking into spaces of residual otherness to reconstitute canonical forms of thinking.
These new socioecological architectural visions will provide a new understanding and a new set of possible relations of humans with the planet. Each entry must submit a scenario for a new P artial-Total Ecology: In order to avoid direct anthropocentrism [that in essence is impossible to bypass], the competition asks to have as the subjects of inhabitation of these new scenarios a minimum of two different species [including human] and two different by-products [i.
Due to nature of the competition, based on relations and processes, the site is to be understood as a space of conflict, transaction and relations. The site will be identified through its own sharing protocols, evolutionary dynamics and transitory transactions. The project might be developed within spaces that go beyond current acceptable notions of correctness including disgusting, monstrous or repulsive. With a similar approach, notions of life or death, success or failure might be equally treated as value creators.
From the machinistic, passing by the chemical to the visceral, some of the processes that the entrant might consider in elaboration of this new Partial-Total Ecology are: The natural stone is on the middle of the stripe in the installation.
It is a radioactive natural element at the level of 0. A Geiger counter is set to control it. Normally the average duration of after glowing mix of phosphorescence and luminescence is about hours from the intensity of sun — 50 lx.
Swarm intelligence is a revolutionary new theory for explaining how the world operates. It has already transformed a number of disciplines from biology to economics.
But how can it contribute to the discipline of architecture? And what can architects learn from those working in swarm intelligence in other disciplines? It showcases some of the freshest and most inspirational digital design work to have emerged in recent months.
This exhibition is an attempt to chart this emerging phenomenon. To coincide with the exhibition, a major international book is being published, Neil Leach, Roland Snooks eds. Architectures of Multi-Agent Systems. Click on link — picture or here to get the 5mn speeches. In a restless moment near the end of their lives, Gilles Deleuze and Félix Guattari revealed their sensitivity to the uncertainty within their work, which was constantly being reformulated, by asking what it means to create.
While the act of creation is not a representation of something that already exists, it is also not an irruption of the uncontrolled or undefined; it is not born of pure chaos, nor does it refer to it. Chaos is the ultimate enemy of thought. This danger is based on the misleading understanding of creation as an expression either of transgression, breaking order, or madness. What cannot be thought is the nonrelational — those potentials or movements that fail to be actualized.
Creation is danger; however it is not the danger of madness, but rather the danger of exposing an abundant sanity. Deleuze and Guattari place creation in the field in which it is destroyed and trembles. Stuttering, where it cracks and fractures, enables us to see the door to the rabbit hole that leads not to what is beyond, not to the transcendental, but inward, to the immanent.
It is the act of creation, the necessary act of architecture — in its singularity — that can retain the access to this door. Each time, with each new utterance, architecture is again required to generate a new, real state of creation, to avoid being trapped in the net of empty words.
Stuttering is conflictual, it appears as a disruption of continuity between emotion and language — where they simultaneously corrupt each other, creating a synaesthetic rapprochement where the degree or level of confusion reveals the impossible negotiation between something that tries to articulate knowledge in the public sphere and the protest of the body against being reduced to its simple appearance.
It could appear as a field of battle, where the forces present produce noise and chaos, beauty and barbarism, Eros and Thanatos, impulses of life and death. But more to the point, it is the contradictory aesthetic generated from this field of battle that matters.
The catatonia of the stutter is similar — it is an articulation or de-articulation of a psychism and the production of a new physiology accessing public territories and repressed depths of consciousness derived from zones of paranoia and permanent disequilibrium. That is the main point. To stutter is a-social not because of the non-understandability aspect, but because it perverts the appearance of socialization — a shameless pornography.
We come before dimensions that deviate from language, but attempt to define how language should be considered as capable of internalizing this energy; pulling language by the tongue, and not allowing its dialectical closure. Voids open before us, wickets through which we meet expression in its raw state. The stuttering architect is the one who acknowledges his disability and accepts his fate, his senses, and bodily intuition. This architect is like the stuttering man who knows the pain of not being able to speak eloquently, of suffering from the sense of stammering incomprehensibly, trying not to confront certain syllables — fricatives and sibilants — since he knows too well the frustration this attempt will bring upon him.
Abandoning any grammatical semblance, the phrase falls apart. The body ceases to be an appendage, becoming instead that which makes it possible for us to have an immediate, pre-reflective familiarity with reality. This points us back to the source of creation, uncovering its finiteness in aphasia, all the while showing the greatness of what is human — that which contains the consciousness of infinity.
The act of architecture extends, deforms, and breaks the boundaries of language. It emphasizes and empowers the dryness and meagerness of architectural language. Creation is destruction; we must destroy language in its present form and create it in a different form, denying certain structures as we form a structure out of what other structures are not made of.
This new structure is certainly a reality; it can be seen and touched. It is certainly not nothing. Both the signifier and the signified are always present simultaneously; what is seen is a truth in presence. Therefore, for the architect, saying is doing. We need a measured intervention — a radical and eternal reassessment that seeks to give up the prophecy temptations to transcendence , while failing to stop stuttering time and time again.
To fail does not mean to represent successfully existential failures or existential meaninglessness; it means to refuse to represent. Thus, we preserve cracks through which we can feel the muted, endless infinity behind architectural things — an infinity more devious and secret, which rejects attempts at divisibility and striations, refuses the mere instrumentality of architecture. There is a need, an urgent and asymmetrical necessity, to act.
Not only was the bestiality increased, but I suspect that it was also the highest point of horror and pleasure for the barbarian — the combined malefaction and jouissance of human perversity.
We reached so high a level of monstrosity in the 20th century — from Verdun to the slaughters of Pol Pot to the recent atrocities in Rwanda — that it is now difficult to hierarchically re-qualify this notion of human bestiality and the industrial dimensions of terror.
But the musician playing and dancing in Hell cannot be compared to anything else. This unnamable amoral cultural artifact elicits repulsion and vomiting that cannot be framed or clearly unfolded; vomiting in this case to be read as the ultimate expression of language. The most uncomfortable aspect is that they are not developed from voyeurism at a distance , but are intrinsically embedded in our own bestial, individual schizophrenia.
These works force us to look at the devil, not in front of us, but contained in our own nervous sweat. Following your multiple trajectories, shadows of the catastrophe escape from our body, screams and sparks, like an animal we had been sheltering. I hear the other voices, the gnashing of the teeth of an animal in the agony of death. The voice is in me.
We meet the spirits that haunt us, that haunt creation. Stuttering dismantles the face and we rediscover the head, the teeth, and the flesh; it emerges from beneath discourse as brute fact and takes us to the threshold.
How can architecture think the moving gap as a movement of being itself? How can we cross the threshold that lies beyond the limit beyond language, beyond the wall , which is neither virtualization nor actualization, but rather the indiscernible middle? How can architecture move from report to experience?
The animal is waking up after a long hibernation. The development of the collective and individual moralism of the 20th century hygienism, positivism, modernism, progressivism, ecologism could be perceived as the Siamese-twin brother of the industrial potential for erasure and destruction of humans, biotopes, and entire territories.
This permanent disequilibrium destruction and preservation versus barbarism and humanism cannot be reduced to a simple theoretical or rhetorical game; it has been and still is, here and now, the preliminary condition of any emerging discourse and practice.
As a genesis, or a genetic illness, we were born out of these conditions and we have the choice, the irreducible and individual choice, to think the field of the battle, to take sides.
On one side of the battlefield are those who are driven by the illusion of elegant moralism, where we might wrap ourselves with the mantle of the right consciousness and the denunciation of a system that at the same time feeds and clothes us. But for exercer sa puissance , we have to go away, far away from these two evident and reductive symptoms, by moving simultaneously between the two sides of the battlefield, stuttering with the enemy as a permanent deforming mirror of ourselves.
The schizophrenic creative process of stuttering architecture that I seek to stress fundamentally resembles this indispensable failure or danger that you mention. But, like any defect, it has an advantage, a depth, which the shortcoming and the shortcoming alone may possess, losing something in order to add something else, decreasing in order to yearn.
The eloquent word, the eloquent structure the highest desire of the Modern Movement is lost in order to teach people to give birth to a new ear — to feel the stutter, the pain preceding the birth of a new word.
Stuttering architecture is never disconnected from reality, but rather planted in the very heart of reality. This is architecture that does not seek to eliminate the separation by creating an identity and by abolishing the paradoxes, but rather stresses the differences and confirms them, and therefore spreads a rhizomatic complexity, which we must cross continuously, without halting.
Each of these ways coincides with a task, an experiment, a way of feeling space. In Dustyrelief, an art museum project in Bangkok, you are reflecting this schizophrenia, constantly hanging between a breakthrough toward a new model and a breakdown into an old, used, and familiar model. The city and its surfaces and atmospheres are deeply polluted by carbon monoxide particles, which wrap the tropical environment in a gray, dusty coating.
The aesthetic protocol that is the genesis for the building transforms this preliminary chemical condition. Its operation arises from a multitude of contradictions — between hygiene and dirt, topological and Euclidian geometry, panoptic and heterotopian space — and a permanent schizoid vibration between the illusion of controlling an environment and the failure — the malentendu mishearing , of its application. This disruption of logic is a stuttering tool for developing narrative relationships, lines of subjectivization and apparatuses of de-identification.
There must always be an enigma. The reality of the building may not be achieved by its physical construction, as when a subject is frozen into an object.
In this case the construction will never accomplish its objective. I have to admit that this path was borrowed from a few other architects, specifically the strategy of the disruption of architectural logic.
One is Adolf Loos and his raumplan , with the disjunction between the external boxy illusion and the space within. The second is Ken Adams, the Berlin architect and set designer for some of the first James Bond films, with his strange interlocking worlds, combining exotic naturalism with glossy modernist mise en scéne. The adventures of Alice in Wonderland proceeded from the same stuttering.
But back to the Bangkok situation. The apparatus that collects the dirt and reveals the degree of pollution secreted and stored day after day, year after year , realizes its own extension from this atmospheric substance generated by the city, while becoming, simultaneously through embedding in the belly of this freak the hygiene of an art museum a refugee zone for international contemporary art.
We could complain how museums are becoming deterritorialized mausolea for art tourism Bilbao, etc. This double identity forces the museum to negotiate and articulate a strategy of stuttering, tripping over its own intrinsic contradictions. The collection of carbon monoxide particles is generated by several electrostatic machines , volts without any Ampere and intensity connected to a mesh 37 meters high.
It produces a negatively charged environment that is able to attract the positive voltage of the dust. A drainage system collects the detritus after the monsoon season washes it away.
As architects, we are always confronted with strange vibrations, composed by disaster and dream, by propaganda and illusion, by hypocrisies and realities.
We deeply consider architecture to be a tool that could reveal and manipulate this stuttering — to eroticize our paranoia. The future is a Faustian contract drawn up by Sacher-Masoch. Opening of satelite of Pompidou Center, Metz, 11 may Guiheux-Migayrou and Guignol-Rambert walk arm in arm, flaunting their self-satisfaction. But the most surprising thing is to see the former, who once long ago was a pioneer, so fully assuming his present role of conservator, acting like the museum equivalent of a nightclub bouncer or a cop.
In a position to write history,  he exploits it, helping make it congeal and turn to stone, with the illusion and fantasy of classification… something between a Creationist entomologist and the malicious comeback of an ambushing Alphonse Bertillon…. Anyway, here we are in this garrison city, with the carp and the rabbit strolling arm in arm, proud of their young friendship, with undisguised pleasure… or perhaps avowed obscenity. How did these two come to form such a perfect union?
These two might seem an unlikely match unless you happen to know them personally. What is the quiddity of their coitus non-interruptus? Of their wedding night?
It was the kiss of death at the eponymous institution: A clever move to take the whole pot. The two accomplices not only coolly planned out the whole thing, they claimed the prize as the dowry due them for their embrace.
The lip-smacking prospect of a funhouse mirror show bringing together the little water carrier and the pseudo-philosopher using radical architecture to rehabilitate the Boomers, on the backs of those they spit on and those they silence to keep their powers of postmodern creativity as the admen that they are.
No need to say another word about the Metz show, no sir. The architecture room is as mortiferous as they are. A cadaver not so exquisite and a series of tombstones, as gray as they are… as desperately gray as death… and scale models refurbished for the occasion. Double-dealing hypocrites and double agents.
Architecture has nothing to do with what they make it. But their union is sacred and consummated. Over the canopy hovered the specters of Frei Otto and Cecil Balmond, opening their cape like Mephisto in the Murnau movie, and what that cape covered and hid was labyrinthine, heterotopic and above all designed by Hans Poelzig….
But more on that another time. Components of after glowing as UV radiation sensor. Meeting someone means facing the unknown, the strange, or even confronting your own repulsion at negotiating unfamiliar surroundings. This involves consideration of risk and a determination of whether or not to go through with it. It means daring to risk the unknown together. The truce is unstable. Nothing can be discerned but sweat and silence, like climbers roped together, seeking to transgress the forbidden.
The fence simultaneously protects those who are still there, about whom we know nothing, and those who dare venture in without knowing how to make use of what they may find there.
The meeting point is not pretending to be safety. This building is a nocturnal observatory pivoting on itself. But at night this lab restores the light intensity of daytime by discharging UV sensor units located on all the exterior surfaces.
The components afterglow as a detector, an architectural Marker of the mutation of our environment and occur as a signal of UV human pathologies. The level of UV which has crossed the Ozone layer is only revealed with a gap of time, after people are plugged into the shadows of the day, in the death of the sunset, by the after glowing ghost, inter canem et lupum …. French version on http: There are two parts. Research unfolds in what we call the Process room, a pretty basic space. You have to take your time so that the interactions between physiology, robotics and computation fully emerge in their logic and interdependence.
The other part, the exhibition, is a suite of visual indices. Since these clues are neither didactic nor chronological nor pedagogical, visitors construct their own logic and subjectivities. Furthermore, this part has an immersion area, a physiological testing station, where visitors, called prospective purchasers by analogy to a sales office, are themselves experimental subject and object. This cognitive and immersive mechanism thus articulates a thirst for knowledge and a willingness to lose oneself in that quest.
That earlier piece sought to understand and write in the sense of writing code biological geometries that mimic natural ones. The predominant figure was that of coral and its growth. We wanted to get a better handle on something already sketched out at the MAM show: Until now the acquisition of information used in residence protocols has been based exclusively on visible, reductive data. In our research we want to add the corporalities and their own substances. They can provide information about the relationship between bodies and space, and especially about the social relationships of bodies, the relationships between them, of the self to the other, both inside a single housing unit and in terms of the osmosis of vicinity.
So visitors are put into a very particular psychological state. This physiological test works like an emotion detector. You are in absolutely no danger from this vapor… Your family has become a conflict zone and you can no longer calm things down.
But you can negotiate the distances by negotiating the details… The area where you live can react to your desires. It has the power… to allow you to experience this conflict without denying its existence or making up fantasies about it.
Your living area can be transformed into a morphology of the moment. Consequently the formulation of desires in language is inflected by another realty, another complexity, that of the acephalous body, the animal body, so that it can tell us about its adaptation, its sympathy and empathy, in the face of specific situations and environments.
We decided to take the preliminary step of revisiting the contradictions within the very expression of these desires, both those that traverse public space because of their ability to express a choice, a desire conveyed by language, on the surface of things, and those preexisting and perhaps more disturbing but equally valid desires that reflect the body as a desiring machine as Deleuze put it , with its own chemistry, imperceptibly anterior to the consciousness those substances generate.
The concept of free will may be simultaneously the most beautiful and the most corruptible of all. The cultural media pierce us to the core; their influence penetrates us everywhere, generating a conformism that can be considered obscene. We are both its vector and instrument. What we like to do is just the opposite, to seek out the dark side, our animal side, in order to subvert the other side using reactive and emotional data.
The proposals submitted by the architects selected by the city are puerile in that regard, and the plans for Greater Paris no less so. The politicians have largely sucked the lifeblood out of the past. You introduce the possibility of contradictory relational modes into the residential units themselves. The interviews at the physiological station make it possible to collect some seldom-seen materials.
I would have loved to be able to set up a sales office where people could make a purchase and concretize their bio-architecture in a collective aggregation.
The data obtained from the physiological interview tell us about: We use formulations taken from set theory to define these relationships. This branch of math was founded by the German mathematician Georg Cantor in the late 19 th century.
Its aim is to define the concepts of sets and belonging. It allows you to define all the properties of a situation as relational modes, both the relationships between the elements residential areas and those between these elements and the ensemble or ensembles they fit into.
The operators of belonging, union, inclusion, intersection and disjunction describe morphologies characterized by their dimensions and position and above all by the negotiations of distance they carry out with the other parts. This produces relational protocols, protocols of attraction, repulsion, contiguity, dependence, sharing, indifference, exclusion, etc.
Mathematical formulas aid the development of these combinations and thus become the matrix for the relational structure on which an inhabitable space is based.
In other words, you approach architecture as a dynamic principle, incorporating incompletion, incertitude and indetermination. Nature is basically made up of indetermination protocols. An urban structure based on these computational and robotic procedures, these vectors of variability and indetermination, makes visible the potential of these heterogeneous aggregations. One of the subjects of this research was to consider the bearing structure of these residential units, and thus the final the final shape of the building, as a product and not the starting point.
The fact that the bearing structure is not designed beforehand makes it necessary to constantly recalculate the segments and force trajectories that carry these inhabitable cells.
How did your partnership with the mathematician François Jouve start? Instead, it calculates form based on trajectories, the vectorization and intensity of forces, without that form being predetermined. In this particular case, the unknown is the form, the hidden part revealed only by the experiment itself.
Through the use of these computational, mathematical and mechanization procedures, the urban structure engenders successive, improbable and uncertain aggregations that constantly rearticulate the relationship between the individual and the collective. You emphasize the passage from an industrial era? More recently, what has science — especially math — and technological development — robotics and a biochemical understanding of raw materials — brought to the table in architecture?
What new speculative issues has it raised, particularly in France? Nothing is happening in France. The field of architecture is totally sclerotic and held on a leash by a dozen people. Regarding your question, it only takes a few years for technology to drain and absorb speculations that once seemed unreal. In five years what once was plausible has become possible. Since its opening in Le Laboratoire has sought to give visibility to research projects jointly undertaken by scientists and artists.
First of all, the software is available for anyone who wants to further mutate it. What do you expect from this stance, this renunciation of authorship and even copyleft? A script is above all a form of writing, a language. The melancholy of a fragment weeping its own substances. The pursuit of n certainties biotopes. The other partners on the two cessions are François Jouve, mathematician, Benoit Durandin, architect, Julien Blevarque, programmer, Natanel Elfassy, Winston Hampel, architect, Marc Fornes some rvb scripts in second opus.
The n certainties pursuit in Universities laboratories was the occasion to invite again Stephan Henrich at the origin of the research and some local involvement as David Benjamin in one course, Marc Fornes script rvb training in five courses, Manfred Herman and Mat Staudt in one course.
The master class laboratories are visible on: You asked if I had an portrait to go with the interview! The avatar de-personifies the architect. I can lead my daily life without being a representation of what I am expected to be. Do you see the avatar as a construction of a character, as in fiction? The character allows us to construct a schizophrenic identity that constantly changes its personality. There is an American movie from the 70s, Sybil , about a girl with sixteen different personalities that offer her the possibility of being multiplied many times over.
Schizophrenia is a strategy of resistance. Resistance is a term that I am borrowing from the French philosopher Gilles Deleuze. The tactic of using the multiple identity disorder allows one to speak from somewhere unpredictable using a language that is unpredictable and with an appearance that is unpredictable. So do you use this separation of the architect from his public representation as a way to create architectural narratives that escape one singular interpretation?
Architecture is a tool for articulating narrative. The albino buffalo labored in lieu of an engine to generate electricity that powered light bulbs and laptops.
We were interested in designing the animal into the architecture. So what was in reality a staged performance seemed traditional in this countryside setting. It looked like a ritual that blurred the boundary between the modern hygienic building and the animal that made it dirty. So the animal was constantly shitting and stinking, but it was also producing electricity. We could have put a photovoltaic cell in place of the animal, but it was more interesting to create this uncomfortable relationship.
And in the end, the juxtaposition of the animal and the building did not appear exotic; the ceremony seemed to be totally normal in the local situation. Could you talk about the scripts and whether you see them as parallel or contradictory to the narrative-based scenarios? Any algorithm has a fundamentally linguistic dimension.
This child problem is an algorithm, but with a non-deterministic approach, with a fuzzy logic. Badiou uses algorithms to develop a strategy that articulates subjectivities and fuzzy logic through the theory of belonging. Bluebeard and his five wives constitute a global system that cannot be reduced to the addition of any particular relation between the monster and its five victims.
The assembly of each element in this closed system is greater than the whole. The addition of indeterminacy to the choice of the next victim cannot be described by a probabilistic approach that considers the sum of its parts.
So are you treating the digital script as a verbal act of communication? It all depends on the input that drives the machine. Is it purely an input of trajectories which are totally predictable, totally computational?
Or can we integrate a strategy of conflict into the script, a strategy of disruption into the linear process? For example, in the s, Maurice Maeterlinck conducted research on the morphology of the termite mound. So the termites constantly close the door or open it to bring in fresh air or to isolate the chamber according to the outside temperature. Depending on the position of the sun, day after day, they modify the position of the chamber using a kind of pheromonal GPS.
They smell themselves; they smell their own trajectories and redefine their position or the conditions in which they are working. And because they are opening and closing the door all the time, the direction of the wind inside the mound is constantly changing. Of course, their pheromones are incredibly sensitive to the wind, and so the termites constantly struggle to redefine the zero point of their GPS, to regulate their own position.
They construct something that modifies the way they position themselves. This conflict produces incredible structures constantly reorganizing the shape of the termite mound because its construction can never be stabilized by a predictive design.
So, in a sense, you would need to collaborate with a termite to destabilize your own inputs! Your proposal is that machines can be imbued with intelligence. Could you describe what you mean by the skyzoid machine , a term that appears in the title of your lecture here at USC?
The skyzoid machine pretends to do something while doing something else, thus creating a confusion about the degree of its functionality, the extent by which it belongs to science. Immediately, it questions the limits of the technology and its place in production.
So the machine actually participates in creating a blurriness. Do you mean that even the machine participates in the production of culture? The machine is both a freak and an operating system at the same time.
In other words, the skyzoid machine completely changes your relationship to reality, leading to paranoia. Because all paranoia produces a parallel reality in your mind, filtering perception, you can perceive it and describe it through fiction. Malentendu — the wrongly heard or misunderstood — is a tool of linguistic exchange; it is a kind of stutter. We need misunderstanding or stuttering in order to communicate.
The stutter defines a moment of misunderstanding between the physiology of the brain and the structure of language, where something misfires. The machine breaks down. For the project Terra Incognita that you worked on with Pierre Huyghe, you created an automaton, an albino penguin, a machine with intelligence or with emotion, whose operational functions broke when they became rusty.
Do you see this as a contemporary version of the 18 th century Digesting Duck automaton by Jacques de Vaucanson? You know when he presented the Digesting Duck there was a huge debate about the mechanism inside. Is it possible to mechanically model the fantastic process of digestion? But after he revealed that there was no mechanism inside, that the duck automaton held two disconnected chambers for food and shit, that no chemical reaction took place, he was right away rejected by the scientific community.
Immediately, he was denounced as a charlatan. Before, he was a genius! Before, he was a prophet! But at the instant of disclosure, he went from prophet to impostor. Where is the real: Vaucanson went from a scientist to a cultural producer. Cet indice a été créé en décembre avec une valeur de base de points. Le CAC 40 aident les investisseurs à avoir une perspective des performances de la bourse en France, et des implications économiques liées à la performance de l'indice.
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