Archi<tech>body by Chrisanthi Karta

Aristotle University of Thessaloniki Faculty of Engineering School of Architecture June 2018

archi < tech> body Technological diversions and transformational architecture

master dissertation

CHRYSANTHI KARTA

Supervising professor

KIRIAKI TSOUKALA

Preface

Body : Selective Retrospect

Technology : Selective Retrospect

Interpretation Dipole

Technologization of the Body

Virtualization of the Body

Digital Reflections

Archi Tech Body Archi Tech Body

Sociopolitical concerns

A new era

Parallels between body and architecture

A new (cyber)space

108

Architectural Digitalization

120

The role of the Architect

130

Conclusion

138

PREFACE

There is one fact that

should

be now clarified;

technology

should be not

taken for granted.

rather a matter open to discussion.

New questions about the consequences of technology in the

identity, the society and the future of humanity have been risen up, due to the current developments in the sociology of technology, the intelligent prosthetics, the interconnections of human brain-computer and the technological accomplishments. New developments cannot be examined, without taking into consideration their cultural framework. Meanwhile, the relationships made with -our bodies or the bodies of others- are of crucial importance for the comprehension of the private and public sphere. The human form, as an allegory, as a way of expressing the identity and depicting the differences and the similarities of human kind, keeps creating a sense of allure.

Similarly, focusing on the body, as a place, where a combination of human-machine takes place, influences the broader place that the body moves. Architecture, the body of the structured space, is being mutated, dematerialized, programmed and digitalized with the help of technology. The emergence and fusion of different realities, through digitally activated combinations of the unexpected and the progressive, encourage the architectural approach of space. How does the body react to this new atopic spatial-temporal situation? Respectively, how does the new architecture change in order to keep up with the changes and set new visions of future residence? 7

archi<tech>body

Regardless of the technophobe perceptions and the possible demonization, technology should be considered as an integral part of todayâ&#x20AC;&#x2122;s world. Adopting a critical eye, this specific research monograph, tries to analyze the variant interactions between people and technology and examines the extent to which this technological extension to the sacred place of human flesh can be considered a translocation from the human to the post-human. How do all the technological developments affect the society and how does the body perceive and reacts to these changes?

BODY SELECTIVE RETROSPECT

We are all the same, but in different words, in different bodies, and different versions. Andrzej Zulawski

The philosopher Rene Descartes (1596-1650) was selected as

The destabilization of the Cartesian theory occurs in post-neoteric critiques, where the body is considered as a fluid, potential, and changing surface of meaning production. Basically, Maurice Merleau-Ponty transfers the point of interest from the ‘cogito ergo sum’ of Descartes to the body. According to Merleau-Ponty, perceptual behavior, as a combination of a physical ego and a critical thinking being, emerges from the relationships that each entity acquires with the world and the things around him. Body is more than just a means or an organ. : «is our expression in the world,

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[1] The philosophical approach of Descartes has clear influences in his theory of Ideas, in which the perceptible world constitutes a source of illusion and is a constantly changing universe, without stability, contrary to Platonic Ideas, which are objects of clear thought, certainty, reason. [2] Hegel, The philosophy of History, Dover, σελ.82.

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a starting point so as to attribute philosophical extensions to the concern regarding the body. According to Descartes, body and cognition are incompatible. The subject’s set of abilities is presented as a manifestation of a unique predisposition, which enables the subject itself to think. There is no ultimate certainty, just the fact that there is thought[1]. The rest are considered systemic doubts, namely the illusion of sensory criteria. There is such an intense gap and cutting off of his class. It is from the representations, where the question regarding the reality of the outside world is marginalized. Descarte analyzes a hyper-intellectualism, where he is unable to predict the sources of experiential philology and phenomenology that are developed. Hegel mentions that the Reasonable, causes: : “Every philosophy, because of its particular degree of development, depends on its area and is limited to its limits”[2]. The division of brain and senses, in the neoteric period, sets the body marginalized, in a secondary importance existence.

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the visible form of our intentions[3]». The way in which things are perceived in human experience, presupposes that coordinates already exist in the world and that those coordinates are not products of a mind process that comes afterwards, but are determined by the nature of the human body: the body determines the “here” and “there” and every time it settles the “horizon”, in which it can move, thus, pointing out the hidden aspects of things, before they are identified in well-established objects[4]. Respectively, the body is not a clear spontaneity, but follows the signs and the directions that things themselves are submitting. The body learns to be led by them, to get acquainted with their existence in the place. On the one hand, the body is considered as an extension of oneself and on the other, it is defined by the sensory variances. Meanwhile, things that come into contact with the body cannot be considered obsolete, but they are unlimited units, in a constant struggle for externalization and exploration. According to Michel Foucault, the body does not lie beyond power relations in anticipation of an investigative and interpretative look, but on the contrary it compromises through those interrelations. Basically, it is trapped in a system of restrictions and deprivations, obligations and prohibitions and functions as a mediator: they invest in it, scar it, master it, torture it, and subject it to mandatory duty, force it to participate in rituals, impose semantics on it.[5]. Even the body definitions, in categories like “white”, “male” or “homosexual”, create an interrelation of powers. Meanwhile, the beliefs of each society, do not just cover, justify or maintain those power relations • they are interrelated by producing them and

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[3] Maurice Merleau-Ponty, Phenomenology of Perception, Routledge, p.56. [4] Pavlos Kontos, The philosopher - a body into the world, Electronic preview of “Everyday” newspaper in greek : [http://www.kathimerini.gr/244217/article/politismos/arxeio-politismoy/o-filosofos-ena-swma-ston-kosmo]. [5] Michael Foucault, Discipline and Punish - The Birth of the Prison, Vintage, σελ.16.

Wallpaper Magazine

by Martin PaperParr

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being produced by them- by these relationships between bodies, words, between words and bodies in a subjugation system. Hence, a compulsion policy is formed, which consists of the body processing, the calculated handling of its facts, the move and behaviors. The “obedient” human[6] body enters into a power mechanism, which investigates, dismantles and reformulates it. Finally, the body ends up being more than a natural phenomenon: it articulates a social construction. Eventually, if the body is “constructed” in a way, what happens with the apriori[7] natural body? The intense theorization of the body, being always in a distance from its physical issues, tries to set limits to its domain in a remote way. What happens with the body’s[8] materiality? Would it be possible for the arbitrary social role-imposition to represent all the bodies in the same way? Would it be possible to similarly characterize the physical experiences of «men» and «women»? Foucault’s approach to the body, as if it was a unity, was criticized by feministic approaches. Following Judith Butler’s stream of thought, the ignorance of the submission forms that the feminine body produces, leads to the perpetuation of silence and weakness of those on which discipline was imposed. So, regardless of the liberating tone that Foucault’s criticism in power sounds, his whole analysis reproduces an endemic tone in the whole western politic theory. Certainly, the body can be neither a deterministically determined product of social relationships nor a passive and unhistorical raw material. It is no longer comprehensible as an unhistorical, biologically defined, uncivilized object of the structuralism era. It is 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[6] The term «obedient» is used by Foucault, as the body, which is unable to resist to the power that is imposed on it. [7] The term apriori refers to any kind of knowledge that can be obtained before-namely independently or without knowledge. It has no temporal extensions. [8] Judith Butler, Bodies than matter, Routledge, σελ.36.

Monty Pythonâ&#x20AC;&#x2122;s The Meaning of Life Part I: The Miracle of Birth

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deconstructed, shaped and represented in specific ways, in specific cultures, through different normalization techniques. This repeated norm inculcation is socially constructed through a process of performatives, which uses the power of speech in order to produce, control and convey identities. Just through the daily, repetitive act of speech, performatives carry out a specific act and show a specific power level. The action of someone, the act that he performs, is in a sense, an action that happens before someone reaches the scene. Thus, the sex is not a «being» but it is considered as an «act», which is culturally constructed during the continuous repetition of formative practices. The family, the school, the social environment as well as techiniques that are established through post-neoteric activities could be listed among those practices. Gradually, the established dipoles that support the discrimination between men\women[9], heterosexuals\homosexuals etc, are starting to be turned down, not due to the comprehension of their failure, but due to the disintegration of the person. The person, as a single form, exists only virtually. The ego, namely the subject that was wrongly regarded as an instance of liberty, has been now fully divided. A generalized situation, where pretence predominates the being, signifies the forthcoming capitalistic society of the spectacle. According to Baudrillard, through mythological and psychological mechanisms that focus on the body, a basic definition starts disappearing: What is the body? What is its definition and which are the data that delimit it? Meanwhile, moving to postmodern frames, Deleuze’s body can be almost everything if it wants to: an animal, a body of sounds, a linguistic point, and a social body. Everyone goes through so many bodies inside everyone[10] and the 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[9] Butler refers to «compulsory heterosexuality». This system (heterosexual template), is established in all of the social and cultural practices. It demands the existence of two distinct and opposite sexes, man-woman. Sex has no physical existence; it is created through the performative acts, a gender identity is created through gender-related expressions. [10] Gilles Deleuze - Felix Guattari, Capitalism and Schizophrenia, Penguin.

person goes around without a permanent identity or otherwise with multiple contradictory identities. The moves and the reactions of different bodies constitute a rhizome[11], which forms an escape line against a set of ordered ultimate meanings, reflecting pictures of lasting transformation and changeability of the social field.

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During this search for meaning, it is discovered that the material is understood in many ways or better yet, it exists with different tropisms, that everyone, after everything that is said and done, have their roots in the â&#x20AC;&#x2DC;naturalâ&#x20AC;&#x2122; material. The way that the body is organized reflects the way that things are organized and the way that the social relationships are structured. As materiality that is intentionally organized, the body is a somatization of abilities, which are determined and restricted by historical conventions. Those abilities will be further broaden out, by describing a dynamic relationship between the imaginary body and the physical body.

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[11] Deleuzeâ&#x20AC;&#x2122;s neologism. Dominant in his philosophy.

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A long long time ago, you didnâ&#x20AC;&#x2122;t need a body. You played among the sta rs, happy and free; long before bodies were eve n invented.

Technology is not neutral. We are inside of what we make, and it is inside us. We are living in a world of connections and it matters which ones get made and unmade. Donna Haraway

the Aristotelian perception of technology that dominated the

Western thought for about 3000 years, stipulated that technology, is just a set of tools that is used for the accomplishment of different goals. Machines are considered predictable, programmed in an endless cycle of repairs and modifications. People are considered more complex and directly opposed to technology. The mind, the free will, the soul. What is the differentiation between the person and the machine? Does the operative substance that makes people so unique exist?

The main weaknesses of the technophobic criticism of the 20th century were the intense relativisations and the wrong determinism, which was attributed to mechanization, without blaming the main perpetrators, which replaced the working hands with the machines for the increase of profit. Technology was wrongly treated as a mechanism, which develops independently and in a linear manner. On the contrary, the evolutionary ability of technology does not 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[12] The production line and the intense consequences of industrialization can be seen through Charlotâ&#x20AC;&#x2122;s eyes in the movie â&#x20AC;&#x153;Modern timesâ&#x20AC;? (1936).

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Technology was mainly understood as a form of isolation: According to Martin Heidegger, technology isolated human beings, by preventing them to come into contact with their authentic existence. This negative criticism can be combined with the historical temporal period, during which it was first expressed. In the first half of the 20th century, society witnessed rapid changes, due to the development of industrialization. The monotonous, repetitive character of the production line appeared to declare a new form of mass society and homogenous existence: cold and anomimous industrial groups appeared to signify a schism in the dipole of human-world[12]. However, the classical diagnosis of the philosophers of that era was proven to be hasty and failed to predict the ways in which technological society and culture was developed.

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follow a specific form but it is a potential result of a row of complex and interactive processes, which were realized by humans.Every development comes from a set of decisions, which were taken by humans in specific sociopolitical phases. [13]. Technology should be regarded as a social construction, not as something self-luminous. Every technology “comes” into life through a potential process of social interactions. Those interactions and interplays may not be obvious but they exist and are revealed every time that a problem in the function of a system comes up. The role of technology in people’s daily lives is understood, only at its deficiency. Today, more than half a century later, it is proved that humanity has not been fully integrated in a demonic mechanism and it can approach multiple realities not just through analogical means. The main differentiation of today’s approach towards technology comes from the displacement of the philosophical interest from the prerequisites and conditions of technology in technology itself – in the technological devices and machines, which are present everywhere in our everyday lives. The intention of today’s views is to consider technology not as an object against people, but as a mediator between people and the world. More specifically, material artifacts in combination with the human body play a significant role in the mediation between reality and consciousness: observing the stars with an unaided eye is different from observing them through a telescope. Organizing the social life based on diaries and clocks is experienced in a different way in comparison to the social life that is organized according to the movement of the sun and the appearance of the moon. A pedestrian perceives reality in a different way compared to a sprinter. As far as science is concerned, in the field of quantum science, scientists are developing mathematical forms, which are readable and visually recognizable in order to describe spaces of eight and ten dimensions. Meanwhile, in biolo010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[13] Mainly, the development of technology happens for political and economical goals, before citizens could take advantage of it.

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gy, there are enlarged images of bacteria, which are accomplished through the use of electronic telescopes. In those occasions, scientists use perceptual, visual, technological objects in order to describe and interpret realities, which diverge from human perceptual ability. Scientists examine the world by using technological objects and those objects help, so that the character of how people perceive the world is formed. In the current past, the title of a critical theory of technology lacked in seriousness. More specifically, Bruno Latour mentions, that since the Enlightment, the division between the world of humanistic and social sciences (symbolic) and the world of technical sciences (material) [14],has been existed, creating a sense of functionality against the social impact. Technology was excluded from a humanistic examination, as it was considered that its essence lies in an explanation of technical function rather than in a meaning that can be clearly explained. According to Latour, those dualisms between the symbolic and the material could be conflated anew in a hybrid mechanism, in a union of things and points, as he calls. In today’s era technology cannot be regarded any longer a collection of devices, or more generally a set of logic items. Considering that machine was something paranoid. The differences and the dividing lines between the technical and the natural, the cognitive and the physical, the self-development and the external design have been made obscure due to the technological means. Meanwhile, the appearance of a cultural turn towards sciences- with the advance of biotechnology, cloning, trangene and so on- led to new academic fields that examine the new technological developments such as Digital Humanities, Cybory Anthropology, SST, etc. Technology is starting to intrude in the depths of consciousness and affects it in ways that become more understandable right now. 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[14] Bruno Latour, We have never been Modern, Harvard University Press, σελ.135.

Those issues become more complex, as devices are programmed, in order to increase the interaction with people and become gradually potential extensions of the body or interpolations of it. In his influential work, Marshall McLuhan “Understanding Media”, describes that the new forms of media (radio, television, telephone, and computer) have become technological extensions of people. The idea of additionality is not considered a replacement of a lost function, but a boost and an extension of human abilities, an expansion of perceptual range beyond its direct, natural environment. Objects themselves, technological or not, create a different composed condition, just with their existence. Considering technology as «extensions of the human», allowed the reconsideration of internal-external discrimination that had to divide humans from technology.

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[15]The current and most basic trend this moment is things to become smarter, namely the creation of perception, known as artificial intelligence. In addition, the creation of different and new types of thought with the help of artificial intelligence is considered to be quite helpful in the solution of problems in the fields of business and science, which are quite hard and human way of thinking cannot solve them. [16] Remembering Rimbaud’s words, “Why does progress not mean going backwards”?

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If half a century ago, the means was the message, now, since dozens of new means have expanded the ways of interaction, we cannot but ask this question: Is the equation still so simple? Does the message remain exclusively a product of the means? Does the continuous appearance of new means-mainly smart [15] and digital-equate with progression? [16]Was the selection made by everyone or was it guided? The deepest problem of the humanistic studies in the field of technology is to predict the impact of the emerging technologies. This arises from the unpredicted uses of technology, which differ from the initially predicted ones. This prediction difficulty is defined by Don Ihde, as a technological multi-stability, which undermines the long-term extrapolation of inferences and case studies.

All media are

extensions of some human faculty - psychic or physical.

The book is an

extension of the eye. Clothing, an

extension of the skin

an extension of the central nervous system

Electric circuitry

However, is it possible to refer to a technological determinism, that lets the body unaffected? Is it possible for technology to be independent and uncontrolled by the social and political influences? Without succumbing in a technophobic frenzy or a hyper-humanistic euphoria, technology and the objects influence and transmit the awareness and what is considered to be possible and desirable. Technological objects end up forming the limits and the restrictions of reality. Approaching technology is considered to be necessary, in order for its multiple roles in interaction, communication and society to become better comprehensible.

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interpretation dipole

Idealism: Only my mind exists. Materialism: Only matter exists. Dualism: Both mind and matter exist. Existentialism: God damnit, who cares? Canâ&#x20AC;&#x2122;t you see that we are going to die any second now?!

Two are the main issues that arise since objects as products of the

technological development are constantly changing. How is technology constantly affecting and changing the human body? What is the role of technology in the relationship between people and reality? Having left the first digital revolution in the past and since experiencing the post digital era, the current situation does not aim at the description of life after the digital, but tries to describe the consequences of digital technological world to the natural. On the one side the digital era has offered the human ability with super-natural ways of addition, and on the other side the post-digital era provides a variety of examples and applications through which the examination and the comprehension of this improvement could be achieved.

The aforementioned questions can be answered by the general perception that there is nothing as undefined as the truth and the direct perception of the world and nature « just the way it is». New technologies are starting to question the idea of the authentic human experience. Although the interaction of human with ma27

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It is considered even in a premature level that as the time passes by, the modern human being or its close descendant will have the ability to overcome the biological restrictions, the intellectual and physical ability that define its existence. Moreover, self0inrement can be achieved through the use of high technology, by using a genetic code or through the interaction with antibiological machines. Such an issue may sound extravagant, however it should be noted that all of the above hasve been addressed since the 18th century. Nevertheless, could these things take place in real life? If reality refers to something substantial and stable, unless its transformation is something impossible, could this be considered as a hubris, as it was pointed out in a philological and artistic way, by «Frankenstein» of Mary Shelly in 1818 (technologization) until the «Matrix» of Wachowski brothers, in 1999 (potentiation)? Thus, is the fear of a general derealization justified?

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chines seems like a paradox, the same oddity is cancelled if we take into consideration the connection of the technological items with humans (from the screwdriver till the cell phone) and how the meaning «human» is formed physically and intellectually by the unlimited external powers[17]. Technical objects are inherited from hand to hand, from body to body, common uses are produced, and these objects become sectors of expertise, messengers of collective memory and catalysts for cooperation. It is through objects and artifacts that the human being is defined as a social subject with a sense of social and cognitive identity. Through a continuous critical process, pieces of knowledge on the technological accomplishments and the human, physical practice are expanded and interact with each other, producing new pieces of knowledge, which in succession, when applied, will constitute the background for new experiments. What may be crucial, is not an ontological reclassification of the human, but a careful study and examination of the «place» from which the human comes: the place of the individual and the body as a processing object. Bodies become even more hybrid units, in which intelligence and intentionality are spread between the humanistic and the technical with even more ways. The analysis above leads to further divisions. Is the body defined as an idea or as an object? Is the form or the meaning its core? Certainly, each idea illustrates a specific way of the depiction of the body, but the division above was considered intentional for the further continuity of the syllogism. As a result, we cannot omit the bisection and the body exposure in the wide range of technology in two ways, which are based on its dual separation: 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[17] Alfred North Whitehead claimed that reality consists of processes and not of material objects. Reality is not constructed by material pieces that exist independently from one another, but by processes that are defined through their relations with other processes. The process over the materiality (process philosophy).

<tech>body The technological forces that shape our society.

technologization of the body, body as an object and the potentiality of the body, body as an idea. Those specific terms should be studied individually, so that a broader sense of technology in the human body will be given. The different opinions, which are expressed regarding the intellectual body and the material body, are not strictly restricted to scientific data, it also trough literature and art that an interdisciplinary character is obtained.

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technologization of the body The machine is simply the succession of little 0s and 1s, so that the question whether it is human or not is obviously entirely settled - it isnâ&#x20AC;&#x2122;t. Except, thereâ&#x20AC;&#x2122;s also the question of knowing whether the human, in the sense in which you understand it, is as human as all that. Jacques Lacan 32

Elon musk, the general manager and technology director of the

company SpaceX and Tesla, emphatically pointed out in a recent interview: â&#x20AC;&#x153;some high bandwidth interface to the brain will be something that helps achieve a symbiosis between human and machine intelligence and maybe solves the control problem and the usefulness problem[18]â&#x20AC;?. Our sensory abilities as phenomenology defined, start to be inferior to a world, where automated, technical organisms are constantly enhancing their abilities, by using technical means. How is innovation defined, when in a technologically developed world, our sensorials are not sufficient? Will our existing sensory abilities be enough or will their increment be necessary? Are new ways going to be paved for the increment of different sensory abilities besides the already existing ones?

This alteration of the natural, physical form became different after the Second World War, through technology. Human body was recognized and considered as a complex cybernetic system of electric fields, liquidity and biomechanics. The sequence of genetic data penetrated the body, establishing a substantial equivalence between the genetic code and the code of the computer and as a 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[18] Rima Sabina Aouf, Humans need to become cyborgs to survive, says Elon Musk. Digital Publication Dezeen, [https://www.dezeen.com/2017/02/15/elon-musk-humans-become-cyborgs-survive-artificial-intelligence-technology-news/]

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The individualâ&#x20AC;&#x2122;s will to change its physical abilities cannot be considered a current situation. People always wanted to get away from the stability that their body defines, they wanted to change it, expand it, to make it escape in another self. The intentional change of human anatomy or human body modification, as a form of clothing, self-expression, and differentiation is already experienced in different tribes of Africa and it is expanded in the Western world through different techniques such as tattoos, plastic surgery, orthodontics, jewelry implants.

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result between biology and information science. The materiality of technology started gradually to function in all the fields of social life, intervening at the same time in the biological materiality of the bodies. In 1960, the word cyborg was used for the first time by the NASA scientist, Manfred Clynes Coined, in one of his articles in Astronautics magazine. This neologism came up by combining the terms ‘Cybernetics’ and “organism” and was about embodying the union of the technologized person.This term was used to characterize the crucial need for self-regulatory cybernetics, leaving human experience to expand, but gradually came to describe a wide range of unions between the individual and the machines, the metaphorical and the literal. The abilities of a cyborg were explored both in the art and literature, cinema but also in the scientific and critical studies. Through the Mary Shelly’s work «Frankenstein» and afterwards in movies like Blade Runner and 2001: A space odyssey, through different forms of depiction, fear of technology and change, was promoted in the technological organism, which, being mutilated, was presented as the inherently different: not as a human part, but as a competitor and opponent of humanity. There was always the shadow of ghost in the machine, a shadow with qualities of human conscience, where the creator always struggles against the consequences of his creation. In many cases, this philosophical and moral struggle, foreseen that the organism would be able to control and overcome his creator. In the opposite direction, wandering in philosophical paths, the term cyborg was used as the new ontological exemplar of the 21st century. More specifically, Donna Haraway, through manifesto terms, announces the emerging typological kind, walking the line between reality and fantasy[19]. With a clearly defined political reason, the cyborg of Haraway is defined by no sex, color or ethnicity and questions the liberal human subject, 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[19] Donna Haraway, Simians, Cyborgs, and Women, ,p. 150.

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Donna Haraway, Simians, Cyborgs and Women, Hardcover.

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which is indifferent to inequality and corruption. It claims that through the common conscience of those new beings, a powerful social-political power can be created towards a positive change for the common good. A similar view is presented in Manga “Ghost in the Shell”, where cyborgs are often depicted with physical and intellectual abilities that overcome the corresponding human, setting philosophical questions. Today, the idea of Manfred Clynes Coined for technology and human hybrid seems to come into being in the real world. The limits that differentiate events from fictions are starting to reveal this new form of life, this hybrid organism, which unitizes the individual with the devices. However, cyborg is taking flesh and bones, both by the objects and the humans, by creating a new class, through which the difference between the natural and the artificial, the mind and the body becomes completely ambiguous. Cyborgs are beings, whose abilities have been enhanced, due to the existence and progression of technology. In the case of visual stelarc, technology obtains a divine hypostasis. Programs that expand the interconnection of the body with the technologies, searching interpolation experiences, cause a sensory and sacred interaction. In most of his performance, there is always the willingness to put himself through mechanical experiences, abolishing the restrictions of a dated static body. More specifically, in “Exoskeleton”, although at first sight, a big opposition between the mechanical and the biological body is observed, as much as the performance is progressing, the technological part constitutes along with the biological, a complete expansion of the body structure. He presents the new technological society, which focuses on the changing nature of the relationships between the humans and the artifacts and how human is defined in this new technologically developed era.

<tech>body Stelarc, Exoskeleton, 2003.

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The hypothetical and artistic scenarios are coming closer to reality and the discoveries in artificial intelligence and in mechanical learning, make it clear, that daily we are coming even closer to the moment, when the union of the human and the machine will be real and the meaning of being a human will be redefined. The proponent of this belief, Kevin Warwick, known for his research concerning the direct interfaces between the computer and the central nervous system, incorporates implants in his body, in order to communicate with the objects around him. Judging human speech as a process of codification, which is inaccurate, insufficient, prone to failure, very slow and obsolete, proposes a hybrid communication, only through thought. In that way, humans will be junctions in the technological network, expanding their human identity through technology. Similarly, this invasive body modification is already realized by groups of people, called Grinders, which arbitrarily change their body by inserting electronic devices, technological chips and implants. Following the movement of cyberpunk and biohacking, Grinders are using themselves as laboratory animals, inserting into their bodies with diy methods, technological implants, which range from incorporated chips that read and transmit biometric data, to small plates with LCD lights, which shine under the skin. So, it is obvious that technology has a huge power in order to produce and present objects of our desire. The subject of human as a technological being comes to the front and every new movement can be regarded either an attempt of democratization and free access to the new invasive technologies or an extremist experimentation. As a compound of organic and composite parts, cyborg provides an important means in the digital era for the question and the study of the difference between human and artificial intelligence. While new technologies are becoming even more widespread and invasive, an opposite course is observed, towards the humanization of technology and the technologization of humans. With this constant desire of similarity with the machine, how easy would it be the acceptance of a technologically developed self? Would it be 40

Grinders

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a weird sense of an Uncanny Valley when we face our new body formation? In the cinematic work of Shinya Tsukamato Tetsuo, a metal fetishist, experiences cruelly this physical coexistence, as he arbitrarily inserts pieces into his body, with bloody results. Gradually, his organism is transmuted into a human-metallic monster and he is mechanized. The fear of technology and the nightmarish liveliness of the machines are haunting the work and through early, graceless and spasmodic moves, a new relationship with physicality is sought. A promise is always linked to the future, with the hope for actualization and is inevitably accompanied by the stress of a probable failure. The concept of cyborg, of the extended body, as a divergent tribe of humanity, starts sounding as a real possibility. The hesitation of the moral fear of this technological modification remains silent and its impact on the cultural domain is expected to appear.

Shinya Tsukamoto, Tetsuo - The Iron man, 1989.

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virtualization of the body Infographic technologies will likewise force a readjustment of reality and its representations. Paul Virilio

The â&#x20AC;&#x153;personalâ&#x20AC;? relationship among the individual and the tech-

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[20] Kathy Cleland, Prosthetic Bodies and Virtual Cyborgs, p. 75.

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nologies of information and communication, have contributed in causing a radical change on the nature of human subjectivity and experience, something that has been already become apparent through the technological revolution. In the 21st century, the personal use, the cognitive function and the subjectivity are expanded through the additional digital technologies. In this way a unification of communication networks between human-technology[20] are gradually taking place on the field of the individual. The theories of information and cyberspace permit now the exceedance of the material hypostasis of human existence, turning it gradually into information. Meanwhile, the whole material dimension of the world is divided now in information flows, which are coded in different algorithms, in order to be processed and reformed in a simulation of reality, in a virtual world. With their help, the body becomes a communication interface, between the real and the potential, the immaterial and the material, the fluid and the stable. Body structure is dismembered in its basic functions, so it can be later reconstructed telemetrically. This potential body reformation doesnâ&#x20AC;&#x2122;t require only the change of its functions, but also the displacement of the approach, towards the physical hypostasis of the individual, who walks the line between the real world and the unlimited, potential worlds, which are produced by technology. The multidimensional reformation of the body, leads to the fact that the body is no longer approached with the terms of a static and unchangeable being, but probably, it is considered as a multiplicity of bodies-imaginary, sexual, obedient, racial, operational, technologically developed. In addition, those codes, which define the behavior of this multiplicity, have no stability, but they are constantly changing, fluctuating and accidentally moving. There are no longer stable, indisputable codes that govern sexuality, sex and class, but

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only a progressive challenge field[21]. The relationship between the potential and the natural existence through technological implants cannot be regarded as a simple bisection. On the contrary, it is about a complex interaction that affects the comprehension of both the body and its virtual identity. If the body worked till now as a receiver of a divergent perception of the existing reality, a new operation process, the tele-perception [22] comes up in the internet horizon.The basic meaning of the natural, three-dimensional, physical dimension, as a form of analysis and perception has gradually lost her power and her meaning. Instead of this, technological means and systems of space are discovered, which have nothing in common with the old systems and differentiate the dominant common beliefs. The ability of the body to work in every corner of the universe through a form of prosthetic interactive machine is gradually starting to influence the motifs of conscience and senses. The start of traditional, additional elements, like the walking stick or the artificial organ, as expansive mechanisms of the physical kinetic abilities, is enhanced, thanks to a new form of digital immersion[23]. Due to the technological development, technological, digital additives are discovered, like a glove or a glass of virtual reality (VR), which are able to enlarge and expand the functions of the body indefinitely, evolving it to a hyper-body.

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[21] Kroker Arthur, Body Drift, p. 11. [22] The term is “Τele-perception” as Paul Virilio refers to his book “Lost Dimension”. [23] The concept of immersion cannot be quantified. Describes the (false) sense of user existence in the virtual space.

Although, the natural body remains extremely passive, in a digital reality, the digital body escapes from itself, gains new speeds, conquers new fields. My own body is the temporary actualization of an enormous hybrid, social, and technobiological hyperbody. The contemporary body resembles a flame. It is often tiny, isolated, separated, nearly motionless. Later, it moves outside itself, intensified by sports or drugs, is transmitted by means of a satellite, launches a virtual arm high in the air, flows through medical or communications networks. It entwines itself with the public body and burns with the same heat, shines with the same light as other body-flames. It then returns, transformed, to its quasi-private sphere, and continues thus, sometimes here, sometimes there, sometimes alone or with others.

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[24] Konings Martjin, The Emotional Logic of Capitalism, p. 27.

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The gradual transfiguration of the individual under conditions of subjectivity in the modern period, under conditions of individuality in the post-modern period and under conditions of user in the hyper-modern period, is not sufficient for its current digital transfiguration. The experience of the digital space happens only when the body has a digital dimension. The Digital body is now defined as a perceptual, digital representation in a potential environment, whose behaviors and moves are defined in real time by a human being. The formation of a potential body reflects now the social existence .Self-formation exists, in an endless row of representations, adaptations and recycling, scenarios that already exist and are frequently offered through technology[24]. The virtual, as the set of the material universe, in its whole unapproachable and mass complexity, crashes into the body.

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This permanent body joint, leads to an exarticulation of the social interaction from the natural body, due to the virtual means of ÂŤsocialÂť network. The use of the virtual cyborg term is chosen, because the technological machines are necessary for the immersion in the internet reality, the cyberspace. The modern individual is presented, through potentiation, as an avatar, a digital prosthetics, which can dwell on the internet area of cyberspace and function regularly in a chaotic space of information. This education in a new kind of sense, signals a new era of sensory development that starts to overcome the progress.

digital reflections

Τhe computer screen functions in cyberspace as a psychological space: as the screen of fantasy. André Nusselder

Do you remember the sense of immersion, when your cell phone

counts moments before switching off and your friend doesn’t answer to inform you about your meeting point? The moments, when you can’t sleep, unless you look for one more time the ex-boyfriend of the new girlfriend of your best friend on Instagram? In moments like these, you understand how addicted you are to your cell phone. This technological device needs its recharging, in the same way, your function in the world is recharged as long as you interact with it.Why and how did the screens manage to penetrate and accelerate our lives secretly? How do they affect our emotions and our social interactions? The screen, an object, which has become an extension of the modern bodies, characterizes the 21st century. Should we wonder why?

What is exactly meant by my body lives inside the screen? How is conscience and experience formed? Through the digital screens, more questions obtain a different kind of nature. In reality, modern technology is constructions by screens. The screen, as a form of

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Screen dominates in people’s daily life: television screen, film screen, computer screen, cell phone screen, ultrasound screen, radar screen, X-ray screen. The screen separates two different domains which somehow coexist. Those two domains, even though they are related to each other, they function under different scales. In the case of cinema, a “dynamic, kinetic screen” is in a functioning condition, showing multiple pictures that are changing over time. So a new projection system may be created. Gradually, with a constant, innovative development, the computer screen is emerging, which presents new realities along with all the other basic principles and technologies of the modern interaction between the human and the computer. Meanwhile, the brightness of a cell phone’s screen, which has lots of messages, reflects the ways in which people are becoming deeply incorporated in the technology circuits.

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technological materiality, refers to a potential process, in which the traditional boundaries of the external and the internal, the object and the subject are reversed. The flatness, the deficiency of thickness and volume, tries to attract and stimulate the interest of the users, constantly on the surface. The surface cannot function as an accommodation. It overrides or prosthetically transforms the user’s physical body, in a way that its subjectivity creates a free hanging in a website or a free flow in a network. Subjectivity is simultaneously decentralized and completely outgoing and the screen functions as a drawing canvas or a white page, where a flat surface is presented in the mysteries of the depth. The screen doesn’t represent the world, doesn’t record the external but forms an edge of the world. A world unrestrained but finite and therefore exposed to a deformed metaphysical surface that processes and presents information and things beyond fantasy. The screen is a fictional hypostasis, chaotic, immaterial and potential. Someone should look through the screen and not in the screen, like he is coming in or transferring his body in another world. So, the invisible becomes visible, just by using the radiation that hits the flat surface and the user’s attention that perceives the screen’s glow even out of the corner of his eye. However, even with the above scenario, the experience of the real world still exists, even if it is quite modified. A phenomenological approach of the screen could be that the clearly intentional, territorial orientation predisposes our commitment in specific surfaces, no matter if we treat them as «simple» screens. The screen interacts with the individual in a pre-selected and regular way, presents what is considered to be relevant, detects its activity, it is used as a means of information and content and functions as a means of presentation. The screen, beyond is used as a means of presentation, it has a reflection function, a mirror quality. Everyone is able, if they take advantage of their time, to see their reflections in

many screens, like they are all in harmony with each other. This reflectivity depends on the surface of the projection area. The screen seems to present a flat but extremely complicated surface, in which people exist inside and above it. The screen can be regarded as a form of topology surface that turns, with deformations but without cuttings, in multiple viewpoints, in the internal and the external place, in subject and in object. This reflection and mirroring of one’s self in the screen’s mirror, creates an illusion.

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This illusion, was examined by Jacques Lacan in his famous mirror-stage, which consists a crucial phase of human composition. This phase is extended while the child, in the age of 6-18 months, is in a condition of weakness and inability concerning a determined movement, and “foresees” with his fantasy the control of his body. At first, the child perceives his reflection in the mirror as a real human being and tries to approach it. Then, in a second period of time, he understands that his reflection is nothing but a picture and not a real human being and he doesn’t recognize it as his own. So, he doesn’t try to approach it anymore, having understood the virtualization of the place behind the mirror. Finally, in a third period of time, the child understands that this image is the image that represents him and this comprehension is extended for other images as well, like those of his parents. Through this dialectics, about the possible and the real, the identity recognition is achieved through the comprehension of the whole body image. This process leads to the union with the three big fields of human psyche, according to Lacan: the real, the imaginary and the symbolic. The imaginary has to do with the pictures, the illusions, the delusions, one’s imaginary relationships with the world, the entrancement that is provoked to him. In that way, the child will articulate his self in the language, by using the first person, in order to suppress his inherent disintegration of his spiritual character that comes between the conscious and unconscious mind.

The illusion will be so

powerful

you wonâ&#x20AC;&#x2122;t be able to tell

what’s

real and what’s not.

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The images and the appearances tend to dominate the world and this constant search of the Ego through the search of the other, questions the condition of the identity herself. Especially in the internet, the identity is made by a multiple function, which isn’t equivalent with their real self, although many people believe, that this is the way they organize themselves. All these changes and fluctuations take place in a wider cultural construction of classification, attendance and projection. The screens, especially in their current connection with a digital world, reflect a globalized culture. The visual perception is the one that defines our position in the world that surrounds us · we interpret this world with words, but the words can never override the fact that we are surrounded by it. The relation between what we see and what we know is never clearly defined[25]. Mirror is everywhere, is the faces of other people. We see our fears, our insecurities, our taboos, everything that scares us to death, in the moves of people around us. The way that we perceive ourselves through the others, is crucial in the comprehension and evaluation of ourselves. The construction and maintenance of our imaginary selves\users is becoming more important than our real self. In addition, the power we have in our lives is cancelled through our submission to the screens that dominate our lives. Does this make us think that maybe in the complete disintegration of symbols and meanings a real comprehension will take place? Would it be possible, for the real sense of us to be achieved at the moment of acomplete destabilization? Quoting an expression of Slavoj Žižek: “In a universe where everyone is looking for the true personality under the whip, the best way to deceive is to wear the eye of truth itself”.

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[25] John Berger, Ways of Seeing, p. 10.

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The body now defines its identity, through its digital representation. The artists Monika Fleischmann and Wolfgang Strauss, with the installation of Liquid News in 1993, created a virtual pool of water, through a screen, incorporated in a base. Approaching the base, the visitors see their reflection on the screen. Through an algorithm and with the sense of touch, they can deform the screen and their image in real time and create wavy forms. The interactive reflection of the screen can be saved, removed, modified through computer. The initial self-reflection that the visitor experiences, is connected with the inversion of reality, the division of the identity and the difference of presence and absence. Then, through the figuration of the same image, a distorted reality makes it appearance. The screen resolves different roles, as a material object, as an image of the psychosocial boundaries and limits and as a flat, topologically distorted surface.

t h e t r a n s i t i o n

f r o m t h e

r a t i o n a l w o r l d

t o t h e s p h e r e s

o f u n c o n s c i o u s n e s s

<tech>body Monika Fleischmann & Wolfgang Strauss, Liquid Views, 1993.

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What happens when the screen turns off? Black Mirror the famous Netflix series makes its content clear already from the title. The apt name comes from the similarity of the technological screens when they are turned off, as when they are deactivated, they look like black mirrors. Once they are deactivated, there is a self-reflection on the screen; it is almost like someone is going into the technology, exposing himself in a moment of self-examination and reflection, maybe an instant realization as well. The majority avoids through endless â&#x20AC;&#x153;necessaryâ&#x20AC;? activities, penetrations and hangings on the potentiality to resort to silence moments. The presence of the screens and the addiction to them, creates a psychological place of accommodation, where humans are hardwired to this grid. The screen always works as a gate and protection, a digital memory like a negative film.

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κοινωνικοπολιτικεσ sociopolitical αναφορεσ concerns In the world we live in, the walls are not solid and certainly do not last forever; they are highly mobile and remind the traveler of life on paper dividers or covers, which aim to constantly change position according to the changing needs and tastes.

Zygmunt Bauman 62

Digital can be now found everywhere, located in desks, forgotten

in seats, lost into pockets and drawers, united with the extensions of human limbs, incorporated into screens. Technology, in 21st century, consists a big part of the invisible structure of reality. Small-sensors record and digitalize human activities; algorithms handle the produced data and provide humanity with information, advanced and virtual realities make their appearance, digital virus and security, internet of things, portable artifacts, artificial intelligence, and robots. The abundance in with the above examples can be found creates “confusions”. Moral questions and social worries are numerous- varying from the internet addiction[26] up to the digital chasm and world’s transformation. Are people under the threat of a cultural disaster and a terrifying rupture of space and time?

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[26] A recent survey of the thousands conducted annually on the effects of cyberspace. [https://www.weforum.org/agenda/2017/11/smartphones-are-damaging-this-generations-mental-health?]. [27] Don Ihde, Philosophy of Technology, p.314. [28] Aristeidis Antonas, The Bloom’s Room.

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The dominant today’s Technologies are primarily these of electronic information. For today’s generation, technology means electronic music, online post office, laptops, and mobile phones[27]. In addition, the concept of digital culture has been shifted and represents a general, social state. Not only the digital online influences substantially all the fields of life, but also the business concept of online communication, is recorded as a kind of willing «prison», where the sense of freedom is translated with the sense of «imprisonment».[28]. The concept of the society of control by Gilles Deleuze as well as revelations of Edward Snowden in 2013, present a system of false freedom, which becomes constantly appealing, like an ecstatic Dionysian dance, unaware of the possible dystopic consequences. On the contrary, occupation with technology makes its existence

Kazama Sachiko, Nonhuman Crossing, 2013.

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a world of

control and surveillance

your own

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willingness to participate in the virtual reality of the internet.

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self-evident and its use barely noticeable. Daily routine is experienced through the internet: this is the planetary, powerful, atypically established, daily setting. Work out and amusements are interrelating and are happening already there. Mass media and technology dominate our lives in entertaining and stimulating ways. Conscience is no longer receptive to slowly developing narrations with a meticulously processed line with beginnings, middles and ends, that becomes even more fragmentary and rapid like watching an Andreiâ&#x20AC;&#x2122; s Tarkovsky film or a film of Theodoros Angelopoulos. The era of the unstoppable is coming out. Information that people used to receive annually some hundreds of years ago, are now received daily. The virtualization, the supersaturation of information, the abundance of data that dominate in many fields of daily life, lead to the fact that some of this information is not digested and this excess is not enough to light the world up. The more information is released, the more confusion[29] is intensified.. Almost like the concept of being in control[30], , everything is conspiring in a continuous disorientation, in an enforcement of preferences, in an invasion in the subconscious and the obvious example is the arbitrary emerging pop-up-internet advertisement[31] . New conditions require new behaviors. Every new technical invention can increase the field of human freedom, only if humans are free to accept it, modify it or turn it down, use it the moment and in the way that is compatible to their intentions and in quantities according to them. Of course, this is reversed from the fact that technical progression constantly demands more regulations, prohibitions, closer supervision, personal files, collectivization of personal behaviors, converting the society of discipline to a society of con010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[29] Han, Byung - Chul, The transparent society, Back cover. [30] The similarity is used as an authorial irony, commenting the self-evident. [31] Pop-up â&#x20AC;&#x201C;internet advertisment.

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trol. ΟThe zones of choice are wholly defined from the technical and technological systems and the individual is defined even more from its position in it and at the same time losing its ability to declare its true identity– something that would make it free towards the system[32]. Censorship is exerted even through free behaviors, where the authority is just transferred and in the cyberspace, with an invisible hidden aspect, through creation of different semiology[33]. Users of digital technologies are obedient, submissive to an informal law of widespread supervision and control, like in the case of technology of Panopticon by Foucault but also of the consumer society by Baudrillard, where confinement structures (school, factory etc) don’t exist anymore but a dispersed information network that tracks and codes behaviors, needs, desires and timings. Although, emerging technologies provide a number of changes, they are faced as a possible threat. Hence, they acquire the dual interpretation of the ancient medicine [34] : They can cure, but they can also poison. Hilarity and concern is caused taking into consideration the recent yet significant words of the creator of facebook regarding a global social mission of the means. ΤEach means, in the mantle of social platform wants to affect geopolitical issues, by establishing a neo-colonialism, a technocratic imperialism. Recently, there was a movement for more clarity in the fields of politics and technology. Jasanoff, conclude that this issue does no longer exist, whether public’s participation should be increased 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[32] As Berardy mentions, control is exerted through the intentional but also unavoidable submission to a series of automations Microsoft, only ostensibly trades products and services. In reality, the corporation controls a kind of cybernetics organization, which – once it is established – organizes the flow of digital information through the nervous system of all the crucial institutions of modern life. [33] A contemporary example can be considered Political Correctness [34] This division was also based on the plurality of meanings in Jaqcues Derrida’s “On Literature” work.

by taking decisions concerning science and technology, ore ways ought to be found for a more substantial conversation between the public and those that develop technology[35]. Of course, any kind of comment, either positive or negative without a retort, is insufficient and every digital anachoretisism is completely pointless in a so strongly globalised environment, where freedom is interpreted by having the access to anywhere/anything. Zach Blas is opposed to this technologically biometric recognition of the face, through social characteristic like the sex origins and preferences which also contribute to enhancing the control of fields like marketing.

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[35] In Science and Technology Studies in Wikipedia [https://en.wikipedia.org/wiki/Science,_technology_and_society].

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Thus, collective and disfigured masks are created as an opposition to his collective conception of identity and the racist division of people into groups. These formless masks prevent the recognition of human face from technologies of biometric recognition and are used for public interventions and protests. This intentional modification and clothing of the face, functions as a non-transparent tool of collective reshaping, which denies the dominant forms of political and technological representation. So, with the above artistic attempt, itâ&#x20AC;&#x2122;s clear that while the modern individual is transforming from the continuous production of new emerging technologies, this doesnâ&#x20AC;&#x2122;t mean that he has been completely mechanized. He can still choose, decide, modify and suggest his/her preferable orientations. A crucial reflection is necessary, in order to reveal those changes and object.

Zach ically

Blas biometric

opposed recognition

this of

technologthe

face,

features like gender, ancestry and preferences, and serve control and marketing, says artist Zach Blas. As a form of objection to this regulatory conception of identity and racist division into groups of preferences, it creates collectively distorted masks. These amorphous masks prevent the human face from being recognized by biometric identification technologies and are used for public interventions and protests. This willful modification and wear of the face functions as an opaque tool of collective transformation, which denies the dominant forms of political and technological representation.

72 Zach Blas, Facial Weaponization Suite, 2014.

a new era

Perhaps most importantly, we must recognise that ethics requires us to risk ourselves precisely at moments of unknowingness, when what forms us diverges from what lies before us, when our willingness to become undone in relation to others constitutes our chance of becoming human. Judith Butler

The new, free of any biological boundaries body image, sug-

gests the philosophical reexamination of the current anthropocentric and humanistic acceptances and the emergence of new concepts. Since philosophical thought has found out the «end of the human» or, like Jacques Derrida very cleverly stated, the ability to «imagine the conscience without human», we are in front of a kind of new junior culture. How is this translated in the society?

The rapid spread of academic post-terms, like post-modernism, post-structuralism, post-individualism and post-humanism, consist neologisms, in which the first component «post» on the one hand demonstrates the need for new meanings that could reflect the differentiations, and on the other hand it signifies the failure of the future predictions (what’s next) and the acceptance that something prospective should always look like “as yet unnamable which is proclaiming itself and which can do so, as is necessary whenever a birth is in the offing, only under the species of the nonspecies, in the formless, mute, infant, and terrifying form of monstrosity” [36].

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[36] Jacques Derrida, Writing and difference, p.196

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Historically the movements of modernism, structuralism and humanism, were questioned, as they were regarded problematic, due to the philosophical developments in the second half of the twentieth century. The movement of semiotics and structuralism were in dispute, the stable connective structures were catalyzed, the holistic theories were abolished, the concepts of the stable point, the unified subject, the identity and the truth were strongly criticized and a conscious change started to reflect the historical changes in the twenty-first century. The “Post” made its appearance.

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Of course, with linguistic terms, as the examination in future issues advances, the awkwardness about the language problem and the use of neologisms for better comprehension will always be present. The necessity to define new words for the articulation and comprehension of a new phenomenon is confronted with the possibility of corrupting its real semantic character. Even if the language itself enables people to be presented in the future, the prediction of future events is definitely ambiguous and ineffective. As the future of the synthetic, biological systems and enhancements is developing, problems will appear, in the use of existing definitions in relation to living and no-living organisms, biological and non-biological machines, natural and artificial environment. There is a high percentage of possible future claims, in which the ontological, human condition will not be related to what it is now known. Of course, the term post-human, may not be so semantically useful in the future, as it is today, because the future might be contextually different. So, in any case, a linguistic turn is expected, as well as an adjustment of the language in the conditions of each era. It is accepted that the answer to the question “what is post-humanism”[37];» cannot be given, if the semantic definition of human is ignored. Human is mentioned as the unique existing species of the Homo sapiens genus (Wise man). Humans are characterized by their desire to comprehend and develop their environment, searching for the answers in different phenomena[38]. Their natural curiosity has led to the development of advanced tools and developed capability in working, getting dressed and using different technologies. Meanwhile, examining the term of humanism through 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[37]Post human: somenone, whose basic possibilities\abilities go radically beyond those of the current “normal” people, as far as their physical and intellectual condition is concerned, so that he cannot be regarded as a human anymore, as he doesn’t fulfill the conventional definition anymore. [38] Homo Sapiens in Wikipedia - [https://en.wikipedia.org/wiki/Homo_sapiens].

Jean-Luc Godard, Alphaville, 1965.

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the philosophical and social extensions of Max Stirner, it is observed that the idea of human, is just another made-up God. Through its freedom of Christian illusion, its reinterpretation occurred, through the form of humanism. According to Stirner, human is an ideological construction or “ghost”, something that has no real existence and which still continues haunting the person, imposing on him, a regulatory ideal, according to which, he cannot live. The rejection of the substance idea by Stirner-as a stable identity or substance that lurks under the surface of the subject-was radical and has a clear resonance in the following post-structualistic approaches. So, Post-Humanism, can be regarded as a criticism of Humanism, underlying a change in the comprehension of human and the relationships that develops between the natural world, the society, the human objects and the technology. The displacement of human as the world’s center, the disappearance of one stable, cohesive self and his transformation to a user. Post-humanism supports not a change in the way that the human thinks and acts but a vision[39] about how he could purposely use technology and other means, in order to change what he is. The idea is not to replace himself with something else, but to realize the possibility for a change of the current situation and of the sensory criteria, discovering what are the modern human creatures. Human is considered to be grounded due to his presence, recognize himself in a stable course with logical understanding. On the other hand, post-human can be regarded an anti-human, because he perceives the conscious mind, as a small subsystem. Post-humanism doesn’t really mean the end of humanity. On the contrary, it signifies a specific perception of human, a per010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

Vision with extensions that are always probable to have a negative impact as well. The word vision has a dozen of idealism and megalomania.

ception that may have been applied, at best, in that part of humanity that had the wealth power and free time to perceive himself as an autonomous being, which exerts his will in individual choices. The question is not when we are going to be transformed into post-humans, cause this new post-humanistic society, seems to approach already. The real question that is up for discussion is what kind of post-humans we wish to become[40].

In a more direct and futuristic living level, the change of human condition will emerge from a real differentiation through the genes. A real change of those genes can offer abilities beyond the given ones, transplanting devices or reconstructing the human body and brain, so that he can have perceptual, intellectual and sentimental variations, beyond the granted ones. Of course, wearing contact lenses doesnâ&#x20AC;&#x2122;t make you directly a post-human, but science is already proceeding to a vision enhancement beyond the regular way, by using bionic transplants. Revolutions in the technical and scientific knowledge will play a significant role in the promotion of comprehension of our human nature. 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[40] Katherine Hayles, How we became Posthuman, p 206.

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One aspect of post-humanism, deals extensively with the modification of the biological characteristics, through technology. Transhumanism is the view that we should try to develop safe and moral technological means, which would allow the exploration of the human and the possible ways of existence. Today words like humanity, human enhancement, augmented humanity, seem to be more desirable and in all likelihood, we are post humans during the whole duration of our lives. What does really start to be undermined in the modern, technologically translated society? After a long period of time, how will post-humanism be like? What kind of questions will he examine? On what ideas will he be focused?

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Post-humans believe that all people should have access to such technologies. However, the choice of the extent that should be used should normally be the individual’s responsibility. As far as the moral part of the previous technologies and their incorporation into human is concerned, it seems that the increasing opportunities for control and the appearance of new forms in genetic characteristics, will create a new level of inequality, as in reality, those who have this kind of technology, will have an «unfair» advantage, as it appears in Gattaca movie as well. Regardless of the particular opinions, those practices cannot but be increased. If we accept that the moral values reflect to an extent the depth of our knowledge and comprehension on modern issues whenever needed, then, just like our opinions about homosexuality changed from repulsion\ contempt\detestation to acceptance in a century, so will the multiple ways with which we can shape our bodies, are quite likely to become a rule in the near future. As a result, envisaging the future is not enough, we should also bring it to the world of real. It’s impossible to see the future- because in order to see it, we have to change and we won’t be the same anymore, namely the creation of the past that proves itself and is constantly identified in the present.

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ΑΝΕΞΑΡΤΗΤΑ ΑΠΟ ΤΙΣ ΕΚΑΣΤΟΤΕ ΑΠΟΨΕΙς, ΑΥΤΕΣ ΟΙ ΠΡΑΚΤΙΚΕΣ ΔΕΝ ΜΠΟΡΟΥΝ ΕΝΑ ΣΗΜΕΙΟ ΤΟ ΒΑΘΟΣ ΤΗΣ ΓΝΩΣΗΣ ΚΑΙ ΚΑΤΑΝΟΗΣΗΣ ΠΑΝΩ ΣΕ ΖΗΤΗΜΑΤΑ ΜΕΤΑΜΟΡΦΩΘΗΚΕ ΑΠΟ ΤΟΝ ΑΠΟΤΡΟΠΙΑΣΜΟ/ΑΠΕΧΘΕΙΑ/ΑΠΟΣΤΡΟΦΗ ΣΤΗΝ ΟΠΟΙΟΥΣ ΜΠΟΡΟΥΜΕ ΝΑ ΜΟΡΦΩΝΟΥΜΕ ΤΟ ΣΩΜΑ ΜΑΣ ΕΙΝΑΙ ΠΙΘΑΝΟ ΝΑ ΓΙΝΟΥΝ ΦΑΝΤΑΣΤΟΥΜΕ. ΧΡΙΖΕΙ ΚΑΙ ΔΗΜΙΟΥΡΓΙΑΣ : ΠΡΕΠΕΙ ΝΑ ΤΟ ΦΕΡΟΥΜΕ ΣΤΟΝ ΤΟ ΔΟΥΜΕ, ΠΡΕΠΕΙ ΝΑ ΑΛΛΑΞΟΥΜΕ, ΚΑΙ ΔΕ ΘΑ ΕΙΜΑΣΤΕ ΠΛΕΟΝ ΕΜΕΙΣ, ΔΗΛΑΔΗ

ΠΑΡΑ ΝΑ ΑΥΞΗΘΟΥΝ. ΑΝ ΔΕΧΤΟΥΜΕ ΠΩΣ ΟΙ ΗΘΙΚΕΣ ΑΞΙΕΣ ΑΝΤΑΝΑΚΛΟΥΝ ΣΕ ΑΝΑ ΠΑΣΑ ΣΤΙΓΜΗ, ΤΟΤΕ ΕΤΣΙ ΟΠΩΣ Η ΑΠΟΨΗ ΜΑΣ ΓΙΑ ΤΗΝ ΟΜΟΦΥΛΟΦΥΛΙΑ ΑΠΟΔΟΧΗ ΜΕΣΑ ΣΕ ΕΝΑ ΑΙΩΝΑ, ΕΤΣΙ ΚΑΙ ΟΙ ΠΟΛΛΑΠΛΟΙ ΤΡΟΠΟΙ ΜΕ ΤΟΥς Ο ΚΑΝΟΝΑΣ ΣΤΟ ΕΓΓΥΣ ΜΕΛΛΟΝ. ΣΥΝΕΠΩΣ, ΤΟ ΜΕΛΛΟΝ ΔΕΝ ΑΡΚΕΙ ΝΑ ΤΟ ΚΟΣΜΟ ΤΟΥ ΥΠΑΡΚΤΟΥ. ΕΙΝΑΙ ΑΔΥΝΑΤΟΝ ΝΑ ΔΟΥΜΕ ΤΟ ΜΕΛΛΟΝ - ΔΙΟΤΙ ΓΙΑ ΝΑ ΤΟ ΔΗΜΙΟΥΡΓΗΜΑ ΤΟΥ ΠΑΡΕΛΘΟΝΤΟΣ ΠΟΥ ΑΥΤΟΕΠΙΒΕΒΑΙΩΝΕΤΑΙ ΣΤΟ ΠΑΡΟΝ.

parallels between body & architecture

An architecture that ignores the body is certainly possible: the proof is all around us. But I doubt it will ever win our hearts.

The main goal of architecture was and still is (?) the support

Even from the beginning, architecture maintained a body-centered approach of space. One of the first recorded associations between the body and the architecture, can be defined the description of Vitruvius in the third book of his treatise, De Architectura[42]. The description would be insufficient, if Leonardo Da Vinci didnâ&#x20AC;&#x2122;t visualize the text of Vitruvius, by shaping the body organization 10 centuries later. Matching the dimensions of human body with the perfect analogies of a circle and a square, the design of the vitruvian man establishes the Renaissance aesthetics, setting the first convergence points between the architecture and the human (male) [43] body, as a common living system.

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All of the Renaissance buildings, start making references to

[41] Gins and Arakawa, The architectural body p. 7. [42] De Architectura 3.1.3. [43] As it was mentioned in the chapter ÂŤbody-selective RetrospectÂť, all the body references were mainly about the male body

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IDEALIZED BODY

of the body. [41]. Every spatial conformation of architecture had references to the body, as response to its needs and functions. Architecture as the setting of human life, obtains her own body in order to communicate and frame up the body that moves eternally in the space. How does the body converse with architecture in different time periods? Which are the data, the possibilities and the limits? The theoretical perception of each era for reality is formative of the visual perception of each society and is associated with her conceptual frames. Is there a body in architecture?

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human body, from the broader outlines, up to the small things in decoration.[44]. Meanwhile, all the building parts, all the language elements are mentioned by definition to a united, divine ideal. Francesco di Giorgio dimensions the design of the cities, having the human body as a reference point, while Filarete, regards the analogy not only as anthropomorphic but biologic as well, considering a building gestation inside the mind of an architect for 7-9 months and on the opposite side the weakening and the final death of the building, unless it receives the appropriate «medical» treatment through a tactic of maintenance. This proof of harmony, which resolves the conflict between the individual dimension of conscience and the collective dimension of science, is regarded the main element of humanism. The forced «analogy», the condensing of geometries and bodies, organs for the accurate representation of reality is given as the perfect unit of the cosmic class, the entirety, the whole. The perception of the ideal body as a divine means of representation and dimension in architecture, started to weaken in the 16th and 17th century, when church division, journeys for colonization and imperialism are leading to the decomposition of the harmonic universe of Renaissance. The body, an organ of perceptual ability, introduces new utopias of new social ideals, which are expressed in new building forms. The French architect Claude Nicolas Ledoux, through a revolutionary neoclassicism, creates new social settlement suggestions, where the geometrically simple architectural forms should be in agreement with the rules of the senses and not with the analogy of the perfect body. The relationship between the body and architecture reappears and 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[44] Erwin Panofsky, Idea : A Conception of Art Theory, p.140.

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The dominance of mechanization, through the spirit of standardization and repetition, sets as a priority for the architect, the examination of the typical, average, ordinary individual and not an ideal image. Those parameters, paved the way for the rationalist, functional perceptions of Bauhaus and of the modernism movement. The manual of Neufert in the hands of an architect becomes a tool, as it helps him design, satisfying the needs of the majority. Physical needs, which take the form of spatial responses, establishing a computational relation of the dimensioned body with its spatial environment. An analogical metric system, taking into consideration the dimensions of an average person and the mathematical laws of the nature analogy, was presented by Le Corbusier in 1947. Modulor was born in order to respond to the principles of mass production, standardization of architectural parts and the average, transferring the happy medium to the dimensions of human body. In a social level, this challenge for automation, the idea of the complete automation, with any technological means, came from the false promise for a coming free society, where the cybernetics would ensure more free time for the human. The industrial and administrative works, are starting to become automated, as well as the personal space, the accommodation, the residence, do not consist the vital and libertarian space, but another piece of production. Now, the whole city, the whole society, is becoming a

STANDARDIZED BODY

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is examined, according to the industrial revolution. The concepts of machine and technology, consider the body as a system that arises from the assembling of individual mechanism. Meanwhile, the absence of decoration represents the new decoration and the honesty of the construction materials is emphasized. This aggressive mechanization goes along with the movement of functionalism, which replaces the natural laws of analogies with calculation systems.

Fritz Kahn, Man as Industrial Palace, 1926.

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bodies.

in buildings

between

of oppression

Ratio

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place of production[45]. The dominance of this immaterial work is reflected in architecture. In modern apartments, all the mechanical things are hidden, In order to create the illusion that someone lives in an incredibly relaxed environment, where every gesture is satisfied, without the appearance and revealing of the technical means. So, the technical system encloses human in a stimulating way, while he is unaware of it and spreads inverted pictures of his reality: the maximal technique of complexity, produces the picture of a maximal simplicity. The intense activation of human in work makes him believe in the society of free time. How would we coexist and interact in an even more automated, so typically defined, technological environment? In addition, the universality of the technical environment produces the picture of nature. This unclear dipole natural\technical, penetrates the characteristics of the modern, technological frame and the transitive procedure from the one to the other, becomes practically even more difficult. Like Antoine Picor mentions: Is a shoe less technical than a computer? Through the widespread practice of psychoanalysis, the development of genetic mechanics and the increasing appearance of feministic approaches in social theories, [46], not only reverse the traditional attitude towards the body, but also its residence. These differences between the technical and the organic, tried to befog many architectural experiments, which took place in the decade of 1960. Most of them were hypothetical, as technology could not practically and realistically accomplish the desires of the variety of representations, collages and designs that were produced in that era.

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[45] Andreas Rumpfhuber, Housing Labor. [https://www.e-flux.com/architecture/artificial-labor/140678/housing-labor/]. [46] The specific changes have also been mentioned in the chapter â&#x20AC;&#x153;Technologization of the bodyâ&#x20AC;?.

The establishment of today’s spatial and physical reality and the consequences of this transformation for the architecture, create overturns. Meanwhile, the concept of the poststructuralist’s body, doesn’t reflect a static, centralist, audiovisual space, but a dynamic system of flows, which can shape and reform the relation between the body and the environment.

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EXPERIMENTAL BODY

Like the human body, moves and walks around the technical environment, without always having a stable point, in the same way, the walking city of Archigram, can freely and autonomously wander around and interact with other walking cities, in a world without stable limits. Through the building of movable robot structures, the borders of a static archetype are declined, for a nomadic way of living between people worldwide, warning about the appearance of today’s «clever» town. At the same era, Superstudio imagine a world without architecture. Superface consists an activated surface, which will replace the objects and the buildings. In this web that is envisaged like an energy network people will just be connected, in order to have access. While at that time, such an idea would seem radical, now it seems quite prophetic, as a forerunner of today’s internet. In a smaller scale of intervention, the architectural collective Haus-Rucker-Co, trying to experiment the human conscience, creates idiosyncratic helmets, with the form of a housefly’s head, presenting an oddly new reality for those who try them. The devices, constructed by polyethylene in green colour, contained stereophonic headphones and a glass prism for the eyes, configured in a way that it creates multiple aspects and images. This architectural object, , with its special visual and acoustic results, was created for the series Mind Expander and aimed at overturn the usual beliefs regarding natural reality, and at intensify the senses and chang the ideas for the sensory responses of the body to the space.

Superstudio, Supersurface, 1972.

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FRAGMENTED BODY

An architecture that is bleeding, exhausting, spinning, even an architecture that is breaking, is supported by different architects, like Bernard Tschumi, Daniel Libeskind, Coop Himmelblau and Marcos Novak. In a daily life of complete alertness, they are led in a usage complexity with many conflicting meanings. The unification of different uses like entertainment and high culture, blasphemy and holiness, exclusiveness and acceptance, demonstrate the humanâ&#x20AC;&#x2122;s oscillation in a society and as a result, the disappearance of total meaning, with the spaceâ&#x20AC;&#x2122;s desymbolism. In the suggestion of Rem Koolhaas, regarding the national library of France but also in the existing building of Cartier institution by Jean Nouvel, there is a mutual element, in the expressive response of the outside and the inside. The observation of external reality, as seen internally through the huge, glass, surfaces creates an odd, out of reality situation like someone is watching a performance through a screen. The question of one and only truth, the endless doubt between virtualization and reality through transparency qualities, consists the basic, compositional idea of the two buildings. Following phenomenological, instant experiences, reality is captured through spectral openings. When finally something opens and someone is confronted with this, in other respects, withdrawn, different reality from the previous one, the direct effect of the external reality, causes a shock. We are enclosed from his proximity. How truly near is the external world?

TRANSPARENT BODY

Meanwhile, in this dimension, that makes its presence strongly present, the claim for meaning, reality, truth starts to intrigue even more. The new architectural practices promote this disappearance process, controlling the disappearance as well as the appearance. This space of absence, through the creation of atmospheric conditions, is shown in Blur Building, by Diller and Scofidio, constructed for the Swiss Expo in 2012. A spectacle, in which you see noth-

Even if 2000 seems like yesterday, today’s changes, gape mutual places with the near past. In the era of surgical treatments, implants, prosthetics, screens, internet, the image of today’s human is neither the humanistic figure of Renaissance, nor the modulor by Le Corbursier, not even the fragmentary body, but primarily the cyborg[49], which is not a body with dystopic or utopian extensions, but the result of the complete use of the existing technologies.[50]. The monochromatic, silent movie by Fritz Lang, Metropolis, demonstrates already from its title, its content. The perception of the future city, with expressively intense architectural metaphors, is designed for the new kind of man that will dwell on her. This Metropolis, as an ancestor of the forthcoming sci-fi, is a

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[47] Diller+Scofidio, Blur Building - [https://dsrny.com/project/blur-building]. [48] Anthony Vidler, The b-b-b body : Block, Blob, Blur, από “The body in Architecture”, p.137. [49] See chapter of “Technologization of the Body” [50] Antoine Picon, Architecture, Science, Technology and the Virtual Realm, p.296.

archi<tech>body

HIDDEN BODY

ing[47], a constant reshaped floating mass, created by droplets of water, is what visitors face, as they walk by the long corridor that leads to the kiosk. Computationally controlled sprayers, maintain a micro-climate, around a elath construction, that hangs loose like a cloud, above the Neuchatel lake. The water pressure is regulated depending on the climatic conditions of moisture, temperature and wind and through natural and man-made powers, a mist mass is created, where as spreading, hides and reveals with her own terms, the building’s body and the bodies of the visitors. The sensory outcome ends up more tactile than visual, as the building limits the perspective of the eye, the depth, the surfaces, the material and the mass. Water, in its different forms, consists the primary material of the building. This kind of architecture, as a blurry building’s remembrance, is the absolute, shapeless, abstract nature.[48].

Atmosphere Scotoma Nothing Disorientation Artificial Nature Formless White Noise White Out Sublime

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collection of architectural images and also the first movie which showed the man and machine, the first robot with ments, the so-called Maschinenmensch

modern visions, but combination of huanthropomorphic ele(the machine man).

This body change, which keeps up with the social changes, is also linked with the new idea of a glorified body, either digitalized or enhanced with different prosthetic devices. Like the body becomes architecture, through the invasion and expansion of technology, in the same way, architecture observes the modified body, not as a model of order and dimensioning anymore, but as a model of flexibility, intelligence and communicative ability. As the body starts perceiving its new fluctuations in the technologically developed world, architecture stands by, in order to design its corporeal future. Gradually, architecture stops being a negligent machine of residence, a modernistic caricature as reflected in the movie Mon Oncle by Jaques Tati, but coexists and reunites with the already, prosthetically modified body. How does architecture adjust in those sensory differentiations? Through the modification of the human body, both through potentiation or through technologization, rules of architecture are reformulated and its physical result cannot be the same. While architecture was restricted mainly in the use of dead raw material-timber, brick, steel, concrete-now a shift is developed to a bio-hybrid architecture, which breaks the boundaries between the technology and the design. Through the interdisciplinary cooperation of doctors, biologists and engineers, with artists and designers, new corporealities, living forms, architectural nervous systems and organs are produced. The results of those hybrid conditions, which had already been mentioned by Latour[51], are defined as Neoplastism. [52]. 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[51] See chapter â&#x20AC;&#x153;Technology - Selective Retrospect. [52] Neoplastism: term that was mainly used by Marcos Cruz in order to comment the results of his work

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The shift of architecture from static shell, to broken-up mass and living system, where human nature and environment are connected and interacted, inserts in new data. The awareness of the existing abilities shocks and scenarios about hybridization, transplants and cloning, constantly reform the architectural practices. However, no architectural problem can be isolated by its economic-social relationships and so, every new hypothesis for the future of architecture, must be supported by a scientific pre010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[53] Marcos Cruz , Î&#x2018;D Magazine 2008, p.56. [54] Anthony Vidler, Home for Cyborgs, p. 147â&#x20AC;&#x201C;64.

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archi<tech>body

CYBORGIAN BODY

While many things have been said theoretically for the existential condition of human mutation to cyborg (human hybridization), very few have been designed, that demonstrate the influence of this phenomenon to the built-up environment[53] (architectural hybridization). Raising the above concern, Marcos Cruz presents his own residence model, a home for cyborgs[54], that exceeds the traditional residence concepts. His proposal with the title Cyborgian Interfaces, examines the living of the body inside the architectural flesh. The wall, in this case, consists a habitable interface and defines a hyper-interconnection place, where the resident can sink down in it, merge with and communicate potentially with other residents. This new form of architectural incarnation and living inside the architectural flesh of the wall, replaces the traditional functional places of a residence. Inside the multiple membranes of the wall, many services are taking place, which include hybrid forms, in which biological systems and networks are implanted, like communication costumes through tactile, touch technologies, relaxation cocoons with incorporated compositional neoplasm, capillary storage settings, movable tentacles, and escape holes. His vision combines the bipolarity of cohesiveness and technology (neoplastism), presenting a body, which is even more hooked in to the architectural web.

diction of the social development. The new human (post-human) is lost in an alien, threatening world[55]. In order the future development to be understood there should be an awareness of the elements, which are already enclosed in a fetal form in todayâ&#x20AC;&#x2122;s conditions. There is a need for new conceptual and material directions, so that the new environment can be understood.

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[55] Gyorgy Kepes, The New Landscape in Art and Science, p. 20.

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Marcos Cruz, Cyborgian Interfaces, 2008.

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New conceptual and material directions are needed

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to understand the new environment.

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new // cyber // space

The subject of my investigations is cyberspace, the mental realm of the human-computer interface that turns us into cyborgs.

Andre Nusselder

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lead to a willing isolation to the internet, which seems to describe the space of the forthcoming immaterial town. Today’s conditions of fragmented attention expose modern human, to the odyssey of me and the other, monad and coexistence, perception and illusion, present and past, presence and absence, reason and irrationality. The transition from the conscious, even ostensible, legal frame of modern city to another, undecided by the users, which hides its face, consists 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[56] Tsoukala Kiriaki, Complexity and Information in Contemporary Architecture: The Limits of Neutralizing the Significant Space, from “Post-External Views”, p.145

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artin Heidegger, in his famous lecture in 1951 with the title «Building, dwelling, thinking» refers to the topologic and ontological problem, that deals with the fact that the human, being mortal, needs to constantly and endlessly search the point of «dwelling», needs to constantly learn what the idea of dwell really refers to. The human, being mortal, is always along the way to his being, searching his essence and by extension, his land. Technology, according to Heidegger, isolated human beings from the natural environment, destroying every substantial place to live. In the opposite direction of the present, human is daily lost in the screen of the mobile phone or in the computer screen, getting away from ‘here and now’. The potentiation provides a deficiency of existing place and creates a synchronization of multiple capacities. Technologies themselves, question the necessity of natural presence. Only the fact that the personal interaction can easily be replaced and removed to the sphere of a virtual world destroys the hegemony of the natural. No sensory experience and no historical or cultural formation of the senses, can define, what cyber-space is. After centuries of representing natural or urban landscapes, the representation and the description of this new kind of space is impossible. The special priority of cyber-space, the movements of people in space-time, the wandering in space and not its use (symbolized space of a planned function) [56]

the most determining characteristic of the forthcoming condition. The sense of collectivity doesn’t exist only due to space, according to the geographical relevancy and the mutual «location» of the residents,. A new kind of public space can appear from the internet’s characteristic of “contemporaneity”. This space is organized with mutual characteristic, the time coincidence and not the adjacency relation, namely from several events, that are organized simultaneously and are interconnected, so that their nature will depend on their simultaneous participation and coexistence.

archi<tech>body

Having as a starting point the contemporary developments the Dutch architecture firm MVRDV, analyzes the post-city, the data town,defined clearly by data, without topography, without even ideology.[57]. A virtual city model, which is constructed by information that is classified in fields, corresponding to the percentage of the existing uses in the Netherlands: residence, agriculture, forest, energy and trash. In that way, it attempts to cause a new architectural and urban thought, through the manipulation of data, in a spatial way. Between the representation of data and urban design, it views that information, numbers and data are sources of criticism and radical reexamination of architecture and society, creating an alternative cultural algorithm. However, it is observed that this specific concept of space doesn’t create another kind of society, but a numbering of this one. The transfer of the existing society, to the sphere of cyberspace, deals with the same defective, undefined and polysemic forms, as before. The new, immaterial, public space doesn’t have the ability to be organized with collective actions, but only through passive spatialization. The temporal interdependence between the physical experience and dwelling, articulates a trace network of the land, that is recorded in a broad range of memory modalities management, from 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[57] MVRDV, Meta-City-Data Town, p. 58.

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her more deeply-held, private and individual version, to her more common, public and collective performance. Meanwhile, the development of systems of direct information transfer as well as systems of instant information, distort the perception that we have, about time and simultaneously about the land itself. In today’s era, where a computer window comes to relocate the natural hypostasis of a real one, where a screen is transformed to be a multi-place of direct and instant information transfer, we have to deal with a complete delocalization whether we like it or not. Paul Virillio mentions: “Speed eradicates the concept of natural dimension”. The meaning is transferring, not in how far a reference point from the person is, but how much time it requires, in order reaching it. Incorporated in potential realities and using potential bodies, in order to come into them, cloud[58] has turned to conscience and conscience

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[58] Cloud is a website model of data storage, where data are stored in removed web sites. The user can have access to these, through some kind of web interface.

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to cloud. A spaceless condition, constructed by endless rows of 0 and 1, experience visitors in the audiovisual data. Tron installation of the visual and musical Ryoji Ikeda. Looking towards the future of an augvisitors experience the huge data universe that is shown in screens intensifying the viewer’s immersion. Those projections demonstrate the orientation of multimedia and digital culture, where the body is immobile and surrounded by reflections of the screen. With the development of technologies, we come up with intense instabilities and not only the development of the new technologies has reduced the need for natural presence, but also the status quo of the real, has been replaced from the digital one. Human doesn’t search anymore for the place that will define his ego, but he wants as quickly and painlessly as possible to get away from the thought of a landmark.

MVRDV, Metacity, Datatown, 1999.

USING NUMBERS OR DATA TO DESCRIBE

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THE VASTNESS OF THE METACITY.

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Certainly, the static model of Heidegger is questioned in todayâ&#x20AC;&#x2122;s era. The dynamic circulating flaneur, the emphasis that is laid on the flows and the movements as well as on a kind of experiences temporality, withdraw a continuous long and slow journey, in search of the existence. In an era, that human beings are always on the move, the significance of a place-homeland, place of experience, place of existence-as a mechanism of stable reference is eliminated. The role of place as a mechanism of identity definition and guiding towards the being has been limited. In an era, that stability is translated as a defeat, you should be everywhere. Nevertheless, can place be lost as a phenomenon? Can the individual be distracted from the environment, which forces him to have a primitive relation with action and reaction? Even with the current condition of the continuous flows, does a prime grounding exist, before every action? Everything ranging from the bodies to the societies, consists a form of territorialisation and connection of powers in order to produce discernible units. But alongside, every form of territorialisation finds the ability of deterritorialisation as well. Demonstrating that potentiation existed before the technological embodiment, Lacan, raised the above questions, being influenced by the cybernetic theories of Nobert Wiener[59]. The issue of space is of vital importance: How do we dwell on virtual places? How is the subject codification in the cyberspace related to the physical body? For Lacan, the matter of place was a deep psychological issue: the Ego exists mentally in the place and this existence cannot be understood without natural connection. The Ego and body function in real place, can clarify the physical involvement of Ego in cyberspace.

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[59] American mathematician. He is considered the founder of the cybernetics field.

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Ryoji Ikeda, Data.tron, 2008.

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Today, the representations of every user through images in the social media are still the “avatar” of an invisible, transcendent Ego. The virtual Ego, communicating through signs, is connected with the natural place of the body and the world. Fantasy is the one, which allows the interconnection of the virtual with the real. All the computationally simulated environments are like an in-between place of fantasy: they walk the line between the real and the fantastic[60]. Every transfer of philosophical extensions in an expressed environment, facilitates the meaning, no matter how arbitrary, each reference may be considered. Following this directed analogy form, is it possible to consider that this kind of dialogue between the real and the fantastic, has the same handling in the architecture body? Is it possible for a potentially plausible, three-dimensional design to provide an honest image for the final, built-up result? Architectural proposals, nowadays, are accompanied almost exclusively by images and representations of the three-dimensional space, like a row of remote retinal images. Certainly, the sense of every new space would be impossible without the computational background, from which it emerged, which constantly feeds into new possibilities. But is it possible for these possibilities to become reality? The glorified performances should ride out in the implemented work and the proper communicative conciliation of the potential and the real is considered necessary, as the essence of every architectural work is experienced materially, tangibly and intellectually. This indirect deceit of photorealistic representation, has led to a turn towards a utopian dreamy representation of the potential buildings. The lack of perfection these days in the three-dimensional representation models and the change in a surrealistic environment doesn’t highlight only the need for differentiation from the living reality but also the need for communicative codes creation with the same technology. Technology plays a crucial role and becomes a design travel compan010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[60] Nusselder Andre, Interface, Fantasy, A Lacanian Cyborg,σελ.84. Παραιτέρω για το στάδιο του καθρέπτη στο κεφάλαιο «Σώμα και Οθόνη».

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ion, a subject duplex, where the mutual place between the simulation and the result, introduces the collaborative image.

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architectural digitalization

Our lord, computer, we mean to wait for you for the ceremony, in anorbital, interstellar, even incompetent course. Lena Platonos 120

Α fifth dimension is added in the vocabulary of architecture and

Many artists examine the unprocessed points of the digital platforms, creating art from the malfunctions and the unpredicted conflicts that can derive from even more complex, creative systems. This false in the rule, is not always used for aesthetic reasons, for the creation of effect and deformations (glitch art), but also against political situations. Constructing a new architecture sub-system through observation and data collection-being afraid that their research can be foreclosed any moment by the authority of that 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[61] Konstantinos Vasileiou, Through a technology of art, p.14.

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art: the information. The digital element allows the interpretation of architecture and artistic thought, as a computational language. Through this interpretation translation, it is considered that the «digital» takes part in the formation of the architectural proposal, instead of being limited in the depiction of an already determined form. The digitally produced architectures and artistic forms are regarded as embodiments of the digital era spirit. The digital element clearly influences the social role of art and architecture. Aesthetics is based on computational and algorithmic systems, which define the aesthetic norms, through evaluation and approval prisms of the social means. The aesthetic expectations are formed around the channel feedbacks, which ‘try’ to be integrated and compatible with the interests of every user. The whole cultural horizon is formed by filtration mechanisms of the current news in the social media, of the incoming ones in the on-line messages and of the research results. However, the overall dominance of digital means and information does not always impose standardization and specific prediction. The relation between modern art and digitality seems quite deeper than the simple use of digital applications and devices and deals with the main limits of the artist’s creativity, the sensibilities and the ways of socialization[61].

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time-the artists and scientists collective, Forensic Architecture, rebuilds the truth in a post-truth[62] world. Collecting hundreds of bombastic attack images from social media, a hybrid of natural and virtual space is constituted, gathering the lost pieces that interest them through the vast information. Their goal, through selective coordinates, the creation of a multidimensional map, so that in a world saturated with images, where everything is exposed to view, to make visible all those things that are kept well-hidden. Defining the significant elements and events, the candidates of the Turner 2018 award, characterize their work as a forensic, anti-criminal architecture, which aims to make her practices beneficial to the human rights. So, it is proven that modern technology gets above the human and the interplanetary, representing all of his variances. If someone reflects on the picture filters, the text self-correction and the digital files optimization, he comprehends that every creative practice of every means, is meticulously transformed through algorithms. New experimentation chances, which are based on the extensive use of the computer, are emerged. The chances are enhanced further through the flexibility of using many programs, which were not initially designed for architectures and artists.[63]. The cooperation between the artist Janet Echelman and the creative director of Data Art team, part of the Google Creative Lab, was about the current, interactive, sculptural installation, with the title Unnumbered Sparks. The momentous flowing net sculpture, constructed by a flexible form of fibers, extends to 220 meters length in the sky of Vancouver. During the day, the thin but momentous form of the sculpture 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[62] An attempt to explain the new, English term post-truth, which was voted as the word of the year for 2016 by Oxford Dictionaries. When the objectively obvious events have less influence on the formation of public opinion than the emotion and the personal beliefs have. [63] Examples can be considered programs such as Arduino, Rasberry Pi, programming language Python, Maya, Unity program initially designed for gaming, Grasshopper

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is discreetly combined with the clouds and the sky, while at night visitors become part of the installation. Through the consolidations of different audiovisual technologies, rapid layers are added by the users, as they are connected and interact, through an application in their mobile phones. As they intervene in the installation, they become co creators, by drawing and designing the construction potentially. This double, dynamic and visual flow that is on the sculpture creates a social place, which is simultaneously natural and potentional. The work embodies the combination of art and technology and is linked directly with the existing architecture of the town. While the aspects of modern architecture are not translated in digitized sizes, it would be unreasonable not to be taken into consideration in the wider dialectic related to the digital turn of architecture. What matters in architecture is neither the translation of architectural thought in a digital language, which is ruled by logical-computational rules, nor the potential reality herself, but the reality of the potentional.[64]. It is not just the clear copy of the existing reality, in potentiation dimensions of the already existing one. The question to be answered is whether a precondition of conscious absence is possible in architecture. Can architecture be digitalized? How do prosthetics applications influence the buildings, apart from the human body? Is there a mutual connection point between the body and the building? In which place do they get together and connect with each other? The challenge for the architects is in the combination of the technological developments with the existing and potentional sensory properties. Technology and architecture get together, in order to contribute in the cultural construction of memory. This 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[64] Slavoj Zizek, Bodies without Organs, p.6.

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multi-sensory design searches for a new understanding of the place, where the body can splay and feel objectively in various new ways. The phenomenological design isn’t only about the 5 senses (vision, hearing, smell, touch, taste). It involves the kinesthesia, the synesthesia and the tactility but also every other sense that is incorporated technologically in the human body by implants as microchips. Digital stimulus is considered able to influence the sensory design. The challenge of architecture, in this new trend is to activate the senses technologically and bring together the two types and also to bring the virtual body inside the natural, in order to activate it. In this unfolding daisy-chain course, the body network connects with the building network, through magnetic waves, biometric data, ‘active’ aspects, having as a goal the boost of the senses but also the enhancement of the place understanding. The boundaries become even more discernible both in the internal and the external of the body, through wearable technologies. The term refers to the devices, which can be worn, put in the clothes or in the body of the user. This new trend is suggested as the future of mobile technologies, where technology is connected and dressed with the human body. Smart phones and clocks will give their position to bodynet[65], έa net of sensors, screens and smart gadgets that will be woven in clothes and will respond to touch, pressure, temperature, moisture and light as well as in chemical and biological indications. This technological clothing like the powered clothing by Yves Behar and the Seismic company, constructed by light and flexible material, destined for daily use, is quite usual in order to empower the vulnerable groups, The specific technologically enhanced clothing, offers additional muscular power to the person that wears it. Incorporated with sensors that react to body movements, offering 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[65] For more see : [https://www.nature.com/news/bring-on-the-bodynet-1.22643?WT. mc_id=TWT_NatureNews&sf115519681=1] .

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an extensive muscular power to the user, it is helpful in actions like standing up, remaining on his feet and having a seat[66]. After all is said and done, what kind of interface between the internal and the external, will the human body provide? How will different membranes and digital means communicate and reveal the world in a different way? Senses are redefined, as digital tools penetrate into contact lenses, acoustic implants and can now communicate with connected intelligent clothes. This different digital world will be very soon accessible through the augmented reality, which will superimpose in real time digital information in the natural world.

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[66]Wallpaper Magazine [https://www.wallpaper.com/lifestyle/the-future-starts-here-exhibition-preview-at-the-vanda-museum-london#BmFVxzroIyvBvViZ.99] .

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Body network will be connected with the network of the building, the community, the town and the world in a daisy-chain row of units and connections. Starting from touch sensors that are incorporated in the body, up to the global substructure for communication satellites, the elements that create this sphere, will shape a dense intertwined system. Body network will be connected with the network of the building, the community, the town and the world in a daisy-chain row of units and connections. Starting from touch sensors that are incorporated in the body, up to the global substructure for communication satellites, the elements that create this sphere, will shape a dense intertwined system. Body network will be connected with the network of the building, the community, the town and the world in a daisy-chain row of units and connections. Starting from touch sensors that are

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incorporated in the body, up to the global substructure for communication satellites, the elements that create this sphere, will shape a dense intertwined system. Body network will be connected with the network of the building, the community, the town and the world in a daisy-chain row of units and connections. Starting from touch sensors that are incorporated in the body, up to the global substructure for communication satellites, the elements that create this sphere, will shape a dense intertwined system. Body network will be connected with the network of the building, the community, the town and the world in a daisy-chain row of units and connections. Starting from touch sensors that are incorporated in the body, up to the global substructure for communication satellites, the elements that create this sphere, will shape a dense intertwined system

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THE ROLE OF THE ARCHITECT Î¤he same technologies that might appear to be threats to our autonomy as architects could be turned into opportunities.

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Like the use of architecture can be radically changed through

The non critical use of the term Artificial Intelligence (AI) in every field that includes the meanings of information and technology, doesnâ&#x20AC;&#x2122;t mean that the computational and programming design had no prehistory in its creation, which extends during the decade of 70s. Nicholas Negroponte and the Machine group department of the Architecture department in MIT University have already started since 1967 to experiment with sensors, activators, screens of 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[67] The B.I.M. ( Bulding Information Modeling) is a three- dimensional way of data processing for architects, engineers and constructors, for effective design, construction and management of buildings and substructures.

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technology, in the same way the architectâ&#x20AC;&#x2122;s vocation should be reexamined. The processes of programming improvisation are inevitably increased and the architectâ&#x20AC;&#x2122;s destiny is leading mainly to the creation of those computational platforms. The occupation with a post-design makes its appearance. The new mechanical systems, the development of workflow protocols, as well as the appearance of BIM.[67], where designs of technological actualization, data archetypes and complete interdisciplinary information flows, communicate and compose a mutual web can be considered as such examples.The techniques of genetic design, where complex forms are created through configuration and programming design systems, which would be impossible to be created with traditional construction methods, are not considered to replace, but to maximize the abilities of the designers. The architect as the leader of realities combination, starts creating places that fulfill the basic human needs with new effective ways, which surprise and satisfy through digitally activated combinations of the unexpected. This kind of architecture whether it is called digital, circular, corrugated, diagrammatic, programming, is not related anymore to a practical humanism, as it deals with the simulation of digital technologies and programming systems.

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cathodic rays and computer graphics, immersed in an intense atmosphere of technological science. More specifically, the book “The Architecture Machine, is regarded as one of the first that comments on the interaction between human and computer-without dystopic discords but with extreme enthusiasm- as well as the abilities of designing with computer, which were unknown at that period of time. The concept of adaptability, the ability of a computational process to find solutions in different problems as well as a synergy between the architect and the machine started to appear, where with the combination of both of them, architecture would be transformed in an intelligent machine. Today, the idea of changeability, interaction and open, cumulative content accumulation is inherent in all the digital technologies and influence everything that is designed and controlled by digital tools. In an era of open software and crowdsourcing, where every user deals directly with some kind of design, is the architect’s profession still related to the new reality? Mario Carpo, raises the specific question and with an ironic temper, points out that :”since no one is fully responsible for the finished product, and everyone is involved in its completion, what is the reason for the architectural profession?”. The Architect’s role accommodates changes and transfers his role, from a designer of buildings and atmospheres to a creator of architectural protocols. These new protocols creation of architectural theory, which will be incorporated in the constantly flexible and changing environment, will allow the establishment of the communication between the users and the collective production of architecture, as a result of the self-organization of the factors that are involved in the process.

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Such a theory of communicative platform, even if it was in the past, was proposed by Yona Friedman and his research design ‘Flatwriter’, which allowed in every person to choose and print his own future residence preferences. Condensing that the architect cannot examine the behavioral model of every user, but on the contrary designs for an ideal user,-that most of the times is the reflective image of the architect himself-Flatwriter was a way for the residents to be included in the participative process of designing their future residence. This platform assigned the resident the duty of designing his place as far as its setup and details is concerned, while the architect’s role would be to suggest promotion techniques for the different choices between the users and warns them for the effect of each action of this choice[68].This preliminary knowledge of possible results, whether acceptable, unacceptable or indifferent, made the participation of everyone possible, while the architect carried out the duties of a software management director How, in today’s era, do architects, designers, artists and researchers use the future challenges in order to examine mutual points of discussion and suggest new and challenging platforms for the discussion and the accomplishment of ideas? In his attempt to define a new design, Benjamin Bratton introduces the concept of Speculative Design, wishing to escape from the tight limits of architectural practices of future comment[69]. On the contrary, he suggests designing perspectives based on bigger and shorter timetables than the usual life circles of products and buildings and gravitates towards users that may not be human beings. Architects should have an ease on the invention of new solutions, 010101010101010101010110101000101010101011010101010100100101010101010101010101010101010010101010101010101010010101010110101010100

[68] Yona Friedman, Progressive Architecture, The Flatwriter : choice by computer, p.99. [69] He argues that : “The future is another way of saying things for the present - critical, utopian, realistic or untold - but very often it is an alibi for saying nothing.”

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Yona Friedman, The Flatwriter, 1967.

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as rules are still uncertain. So, he sets 8 design axes, which include from processes of synthetic biology up to computational algorithmic connections and interactions with human artificial intelligence. The value of this new method is not defined only in the creation of new situations and things, but also in the appearance of questions regarding ontology (who we are), topology (where we are), spacetime (when we are), and the modality (how we are).

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The above participatory turn in design, can be possible only if it is based in a management and creation protocol of a mutual architectural language between the people in charge. So, architectural protocols from the Flatwriter of 1971 till the modern design processes, on the one hand, they displace the architect from the center of design process, while, on the other hand, transfer her control. The different changes in architecture the next years and the reexamination of her relation with the digital means will define and the number of performances that will flood in the coming environment.

CONCLUSION

So weâ&#x20AC;&#x2122;ll say Fare Thee Well but when, again is unknown.

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o, soon, we will see each other again but the when is unknown.

Every generation designs its own biography by creating buildings and cities and every big change of historical period «is linked to the final oblivion of the previous one». This is sad on the one hand; however, it is not the right time to idealize the current past that we blamed until yesterday. Besides, what are we, what is each one of us, if not a combination of experiences, information, techniques and daydreams?

The end of a research, even an postgraduate’s one, always leads to in the creation of more questions than answers. Starting with insecurity and ending up with even more insecurity. The core desire is the conception of the authorial text beyond its individuality, through the exceedance of the limited perspective of the individual Ego. The text remains always lively and sometimes human, sometimes ready and the little truths that are discovered need some time of self-reflection. There comes a time when everyone will forget and it is prudent to consider that soon you will be everyone in nowhere.

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