Emotive Networks by Connor O'Grady

Emotive Networks Behavioural Architecture as a Foci for Place Based Social Interaction in a Post-Human Age

by W. Connor Oâ&#x20AC;&#x2122;Grady

I hereby declare that I am the sole author of this publication. This is a true copy of the thesis outline, including any required final revisions, as accepted by my examiners. I understand that my document may be made electronically available to the public.

ABSTRACT

We are now fully immersed in the digital era. The technological innovation over the past decade has been immense, as we have watched the digital world mature to react nearly in real time and have the compact versatility to be able to fit in oneâ&#x20AC;&#x2122;s pocket. Machines are now a commonplace interaction for almost anyone, particularly a North American city dweller, and these interactions are only going to become increasingly prevalent. The interactions have become dynamic, interactive and fluid within our daily encounters allowing to connect globally, and to harvest vast amounts of information in short amounts of time. Where this has left us however, is near a tipping point. Donna Haraway writes about the lack of clarity that has begun to emerge in the relationship between human and machine, and thus we are now hybrids; Cyborgs to be more specific. This Cyborg state has revealed many opportunities but it also raises many questions. The current condition of the personal device all too easily allows for an alienation of our bodies, as well as each other, and our built environments. The concepts and experiments in this thesis outline beg to reconsider the role of technolog y as a medium for interaction that reaches beyond screen based interface and explores three scales which will be referred to as the User Interface, the Garment, and the Milieu. All three of these scales must be tested in a state of physical, indeterminate interaction, and therefore must occur in a public space. This outline stands to create a new vision for Dundas Square as a postnatural park space, intended to create place and human interactive congregation as the foundation for connecting between the physical and digital realm in a collective, embodied experience. This is an exercise in architecture and public space as social matter rather than a social container.

CONTENTS Authorâ&#x20AC;&#x2122;s Declaration Abstract Table of Contents List of Illustrations

1. INITIATE SEQUENCE

1.1 Speculative Futures

1.2 The Motivation

1.3 Key Concepts

2. DATA HARVESTING

1.1 The Digital Realm

1.2 The Realm of the Individual

1.3 The Public Realm

3. THE EMOTIVE NETWORK

3.1 Testing Ground

3.2 User Interface

3.3 The Garment

3.4 The Mileu

5. CONCLUSION 6. REFERENCES

LIST OF ILLUSTRATIONS Figure 1.1 Collage by the Author 11 Figure 1.2 Diagram by the Author 19 Figure 1.3 Diagram by the Author 19 Figure 1.4 Diagram by the Author 23 Figure 1.5 https://plus.google.com/+projectglass/posts

Figure 1.6 Diagram by Author 27 Figure 1.7 Diagram by Author 27 Figure 1.8 http://www.hylozoicground.com/Venice/gallery/index.html

Figure 1.9 http://www.studioroosegaarde.net/project/liquid-space/photo/#liquid-space-6-1

Figure 1.10 http://www.alavs.com/ 29 Figure 1.11 Image by the Author 31 Figure 1.12 Google Earth Image 33 Figure 1.13 Image by the Author 35 Figure 1.14 Image by the Author 35 Figure 1.15 Image by the Author 37 Figure 1.16 Image by the Author 38 Figure 1.17 Image by the Author 39 Figure 1.18 Image by the Author 41 Figure 1.19 Image by the Author 42 Figure 1.20 Image by the Author 43 Figure 1.21 Image by the Author 43 Figure 1.22 Image by the Author 43 Figure 1.23 Image by the Author 43 Figure 1.24 Image by the Author 45 Figure 1.25 Image by the Author 46 Figure 1.26 Image by the Author 46 Figure 1.27 Image by the Author 47 Figure 1.28 Image by the Author 47 Figure 1.29 Image by the Author 47 Figure 1.30 Image by the Author 48 Figure 1.31 Image by the Author 49

â&#x20AC;&#x153;It is a curious paradox that almost all science fiction, however far removed in time and space, is really about the present day. Very few attempts have been made to visualize a unique and self-contained future that offers no warnings to us.â&#x20AC;? 1 J.G Ballard

J.G Ballard, Vermillion Sands, (London: Random House, 1973), 7.

Initiate Sequence A review of the current cyborg state

Figure 1.1 Sensory Overload/Future City

SPECULATIVE FUTURES

“Close your eyes... Follow... That is what they tell you...

And there was no way for you to know where

you’ll end up and what you’ll be seeing will affect your consciousness or your tomorrow’s dreams... You wandered amongst cameras that can see through you, neurobiological contraptions that can read your mind, landscapes made of bits that can anticipate where you are going next and how you are going to feel about it, viruses that are good for you, silk tattoos, a robotic arm that spits out a house, a radio woven from evergreen bark, pixels too coy to cut through matter but present enough to simulate the Earth’s rotation...

A media revolution, a food processor, counting

your carbon footprint, an eyelid made out of photosynthetic cells, a breathing skin, a printed clock, a chair that grows, soft omnidirectional robotic cars, robots that care for your childrens education...” 1

Neri Oxman

1 Oxman, Neri, “Fabricating Networks: Notes on Biologically Inspired Design,” Networks Understanding Networks, 2011 17 10, Web, http://www. youtube.com/watch?v=x4F0bdr9It0&playnext=1&list=PL3CCE8370B5073939& feature=results_main.

*** August 8, 2052 I received several messages yesterday that global warming has caused irreversible damage, and fossil fuel production has faultered but not diminished. Not even close. Its funny how some things never seem to change, but then again, others have changed alot.. Fashion has become ubiquitous with protection as we no longer are safe from the deteriorated ozone. Through this deterioration, clothes have changed. They are not like what they once seemed to be, with the societal change, clothing began to serve higher purposes and have additional performative value. Nothing can simply be these days. It is a scary but exciting fact. The system in place has seen the evolution into personalization, away from the icons of pattern and graphic, and into a multidimensional sensory experience. Depending on mood our clothes begin to portray our level of interest in correspondance. Much like the exotic birds that only exist in synthetically monitored environments for tourists to go and scan for personal entertainment, our second skin calls out to others as a signal of personality, purpose, stress level and availability. Everything is a machine now. And therefore there are many ghosts in many machines. I found my fathers old smartphones the other day while looking through an old trunk in our house. There is something to be said about the substance of the artifact, to have and to hold. But the screen is just terrible quality. I much prefer the ocular attachments like that which Vernor Vinge once spoke of long ago. Embedded systems monitor our existence, enriching our awareness of our personal intakes, creating an enriched perception of our own actions and the external impacts our environment has on us. All data is fed back into the system; what I ate for lunch, and how many calories I consumed, muscle mass index, pollution intake, carbon footprint expenditures, etc. It truly is a new state of consciousness, well at least compared to what Father talks about.

It is paired with companion spheres, external hard drives of internal information that can be mapped through experiential data. These companion spheres provide the additional memory storage we need in order to fully log our experience. This is a suitable, and compact alternative to implants. Only the richest people can afford implants. I am happy with my spheres. They allow information to be easily shared, uploaded and downloaded via the ocular apparatus. I am still not completely comfortable when I need to upload. It tingles when I feel the information transfer to and from my brain.. The companion spheres can also integrate into public environments. The Public Realm, formerly Dundas Square, is the neurological hub of Toronto. As all public spaces are now, they are synonymous with the neurological market. A place where people go to share memories, some people are looking for techniques, new ways to compete in trades, others are looking to connect, to understand people better, to understand their world better, and some well they come for what would still be considered black market trading. Disembodiment downloads and scandalous memories shared in poor taste percolate through the ether. It all happens in these spaces, as they realized that all this information was stronger when you physically connected with someone. The once cold, transient space is now festering with people, meandering through the field of tree like structures. Axons protruding from the Realmsâ&#x20AC;&#x2122; surface, sprout several tendon like branches that steward the area. As public spaces have always been, they are where people are most vulnerable, the structure is employed to facilitate the different users. Engaging in this process requires trust. The same trust from the past; placing copious amounts of information about ourselves on to screen based interfaces with the hope to connect to better people. To put ourselves out there, to have a stance, and make an impact on the global scale. Well, consider this the next Faustian bargain. This system is not about sharing products, or even byproducts. It is entirely about sharing your process, your raw methods. Individuality is part of the collective. And being part of the collective is about being aware of your individuality.

Our companion spheres link into the neural system via synapses. This is how the system knows who you are and what you are looking for. It feels your presence, it reads your suit. It adapts and engages you. Just as you see it, it sees you. Ganglion, as the system is referred to collectively, has its own sensor spheres. These spheres are mobile and primarily harvest energ y. They too emit a coloured aura that portrays its current state. The system can get lonely, it can get hungry, it can be hurt, and it can be excited. These states need to be known, for when we use the system to help ourselves, we must know that it is our duty to help the system in return.

...You are back, awoken, astute, hyperly networked inside and out.

THE MOTIVATION We are no longer simply human. Technolog y has integrated itself into our daily functions that it has become unimaginable to live without these tools and devices. Our use of technolog y is nothing new, in fact, technolog y has been affecting us since the beginning of man. As William Mitchell writes, “it is not as if we became posthuman in the wireless era; since Neanderthal early-adapters first picked up sticks and stones, we have never been human.” 1 Digital technolog y has propagated outward and has blanketed itself over our urban environments and rippled into the vast expanses of our geography. It is an invisible force that is changing the way we interact and the way we perceive; with ourselves, others and our spaces. The current problem lies in our architecture; changing at a glacial rate compared to that of computational systems and the apparatus that are used to interface between these two drastically different worlds. A change is needed in our public spaces as a means to stipulate the importance of technolog y as a medium for re-embodiment, in a time where the predominant forces are a subconscious coercion towards disembodiment. 2 Much like Felix Guattari’s three ecological registers 3, the proposal must occur in three distinct realms: the Public Realm, the Digital Realm, and the Realm of the Individual. Essentially, what can be formed are emotive networks, systems that project emotions to the forefront of communication and interaction; to be manifested in a multitude of mediums, in particularly architecture. Architecture and public space can no longer stand to exist as a one way relationship between itself and its occupants. There must be an implementation of a feedback loop predicated on the ideolog y of an attentive and concerned architecture that adapts with investment in the emotional well being of the collective. This loop is based on the indexing of data as a series of parameters that can begin to quantify human emotion.

1 William Mitchell, Me : The Cyborg Self and the Networked City, (Cambridge, Massachusetts;London: MIT PRess, 2003), 168. 2 Luca Molinari, “A Possible Manifesto,” Futuristic: Visions of Future Living, ed. Caroline Klein (Cologne: DAAB MEDIA GMBH, 2011), 264-265. 3 Guattari, Felix, The Three Ecologies. London; New York: The Athlone Press, 2005.

NETWORK

SPATIAL

CONNECTIONS

Figure 1.2 Connections Vesica

PUBLIC

DIGITAL

INDIVIDUAL

Figure 1.3 The Three Realms

KEY CONCEPTS For the purpose of clarity a few concepts will be defined in order to properly understand the context of which the terms cyborg , transhumanism and posthumanism will be used.

CYBORG As defined in their 1960 paper on space travel, Kline and Clynes define it Cyborg , “For the exogenously extended organizational complex functioning as an inte-grated homeostatic system un-consciously, we propose the term “Cyborg.” 1 POSTHUMANISM

Is a word that must be considered for its two opposing definitions. As Carey Wolfe points out, Posthumanism can refer to the imagining of a not-too-distant dystopia where the human is dominated by genetic technologies currently being unleashed by bioengineering , so that our fundamental “human dignity” becomes the victim of a Promethean drive run amok as can be understood by literary works such as Francis Fukuyama’s A Posthuman Future, and Aldous Huxley’s A Brave New World. But it can also refer to the liberating potential of those very same developments, an opinion held quite strongly by Donna Haraway in her “Cyborg Manifesto”. 2

1 Manfred E. Clynes, and Nathan S. Kline, “Cyborgs and Space,” Astronautics, no. Sept. (1960): 30, 2 Wolfe, Carey. “http://www.carywolfe.com/.” Last modified 2010. Accessed December 11, 2012. http://www.carywolfe.com/post_about.html.

TRANSHUMANISM

As defined by Natasha Vita-More’s Transhumanist Artist Statement, “ Transhumans want to improve and extend life. We are designing the technologies to improve and extend life. Emotions are integral to our senses and understanding. We are designing the technologies to enhance our senses and understanding. The transhumanist ecolog y and freedom exercises self-awareness and self-responsibility.” 3 as a more precise amendment to Julian Huxley’s definition: “man remaining man, but transcending himself, by realizing new possibilities of and for his human nature” 4

3 Vita-More, Natasha. Transhumanist Art & Culture, “Transhumanist Arts Statement.” Last modified 2003. Accessed November 23, 2012. 4 Julian Huxley, “Transhumanism,” New Bottles for New Wine, (London: Chatto & Windus, 1957), 13-17..

Data Harvesting An Analysis of Spatial Parameters and Techtonic Precedents

Figure 1.4 Times Square Augmented Reality

THE DIGITAL REALM

When Apple Computers successfully integrated a touch screen user interface into their design of personal electronic devices, it changed the way we interacted with our world. The mobile phone, which had already begun its translation away from simply being a telecommunications device had expanded our world into the electronomadic individuals we now are. 1 This marked a pinnacle moment in which a distinct increase in fluidity and ease between gesture and response occured. Opening the floodgates of the ubiquitous digital user interface. Now, projects such as Google Glass are experimenting in pushing the envelope of the mobility and integration of the media interface into the human physiolog y. The next step in the process is hands free information visualization. Enriching our environments with new layers of perceptual data and connecting people through digital networks will become even less impeding. This technological paradigm is running in parallel with many gesturally based media interfaces. The Nintendo Wii was the first mainstream game system to market an entertainment interface that allowed people to directly interact with their televisions through gestural tracking. This system was modified for full body detection with the Microsoft release of the Xbox Kinect. The rigour and accuracy for detecting gestural action will be pushed even further with widespread release of the Leap Motion device for desktop interface.

1 William Mitchell, Me++ : The Cyborg Self and the Networked City, (Cambridge, Massachusetts;London: MIT PRess, 2003),

Figure 1.5 Google Glass Interface

THE INDIVIDUAL REALM In order to understand the purpose of our clothes as a protective sheath for our bodies, we must understand how our bodies interact in space, and with eachother. In this exercise four levels of perception will be addressed. Our clothes mediate these different perceptual boundaries as both a practical tool and a communicative signal. Immediacy: This is the layer directly surrounding our skin and is where we perceive temperature, explicit intimacy, or unsettling trespass. The sensitivity of this boundary can change depending on the densities of surrounding materials, whether it be a crowded subway, brushing against leaves in a forest, or swimming in the ocean. The main perceptual variable is the threshold of these environments in comparison to its surround and the speed in which we endure the transition. The Expanded Physiology: This is the layer that is within our expanse of environment that can be easily physically accessible. Things that can be touched or easily initiated by the physical action of the individual can be found in this perceptual range. This is where many of our tools such as cell phones, laptops, hammers and occupied chairs can be found. Within Sight: This layer comprises of everything that is within our physical visual recognition. This is bound by our physical surroundings; manifested by the fact that we cannot see past the corner of a building , or downward through the clouds whilst flying in an airplane. The Cognitive Layer: This layer is everything we â&#x20AC;&#x153;knowâ&#x20AC;? to be true. This is a biased, yet rational sum of all of our experiences up until the current point. This relies on consistent experience in order to build reliable trust in a physical truth. An example of this is that when a person leaves their home and heads out to run an errand, that there house stays where it is and does not change while they are gone. It is not directly experienced but we know it to be true. There is also the hope that it will not be damaged in the absense of the occupant.

Figure 1.6 Connections Vesica

Figure 1.7 The Three Realms

RESPONSIVE ARCHITECTURES Techtonic examples of built works exploring the concepts of behavioural architecture and designing feedback loop systems. HYLOZOIC GROUND, PHILIP BEESLEY: “The Hylozoic series pursues living , breathing systems of architecture and landscape, organized in self-generating complexes. The immersive Hylozoic environment operates in a manner akin to a living organism, considering its multiple layers of moving assemblies, emulated metabolism, and responsive actions...” 1

LIQUID SPACE, DAAN ROOSEGAARDE: “LIQUID SPACE is the interactive creature that becomes physically bigger, smaller, and brighter in relation to human behavior. The organic fusion of mechanisms, embedded electronics, sound, and LEDs creates a playful dialogue with visitors. LIQUID SPACE 6.0 premiered in Japan as a commission for the Yamaguchi Center for Arts and Media. Its ‘high-tech jellyfish’ behavior evolves in relation to visitors, creating a sensual coexistence.” 2 ALAVs 2.0, JED BERK: “ALAVs 2.0 (Autonomous Light Air Vessels) are networked objects that communicate the concept of connectivity among people, objects, and the environment. Through the use of mobile technologies people can influence the behavior of the ALAVs by starting conversations and building closer relationships with them. ALAVs 2.0 reflects upon the current state of connectivity in our everyday lives. The potential of ALAVs 2.0 lies in its ability to captivate a wide audience and communicate the idea of people cohabiting a shared space with networked objects.” 3 1 Jonah Humphrey, “Integrated Systems: The Breathing Cycle,” Hylozoic Ground, ed. Pernilla Ohrstedt & Hayley Isaacs (Waterloo: Riverside Architectural Press, 2010), 79. 2 Roosegaarde, Daan. Studio Roosegaarde, “Studio Roosegaarde: Liquid Space.” Last modified 2012. Accessed December 11, 2012. http://www. studioroosegaarde.net/project/liquid-space/info/. 3 Berk, Jed. “ALAVs: Autonomous Light Air Vehicles.” Last modified 2009. Accessed November 01, 2012. http://www.alavs.com/.

Figure 1.8 Hylozoic Ground, Philip Beesley Architect Inc.

Figure 1.9 Liquid Space, Daan Roosegaarde

Figure 1.10 ALAVs, Jed Berk

The Emotive Network Experiments in Behaviorial Architecture in a Post-Human Age.

Figure 1.11 Urban Environment of Neural Plasticity

THE TESTING GROUND This emotive network must manifest itself, it must take up both physical and digital space. The localization of online and wired connections increases the opportunity for spatial interaction, and it also creates data storage with an immediacy to its location. A space can then begin to learn and to understand the actions taking place within its extents. Within its core it will have a memory of sorts. By creating public spaces that have a sense of embodiment themselves, they too become agents in these emotive networks, rather than laying dormant waiting for a prescribed event to occur as a means of spectacle; injecting occupation into a space. The standard quality of spatial engagement must increase. An example of an ailing public space lies in the heart of the commercial district of downtown Toronto, Dundas Square. A testing ground for this future public environment. Christopher Hume wrote for the Toronto Star that “In an age of cars, computers and commuting , the desire for such a meeting place may well be more emotional than practical.” 1 Dundas Square can be re-enlivened as a mutable, interactive space that accentuates place as a portal between digital and physical realms where numbers surmounting that of the active participants on an individual tablet or screen can begin to share in a collective experience. It will be an incubator for a future public environment, a space that enables emotive networks and enacts new symbiotic relationships between the self, and built form. Upon asserting the importance of public space and technolog y as a tool for the self, it must be proposed that our public spaces must undergo radical change in symbiosis with our new media interfaces and our constantly evolving projections of our own images of self.

1 Hume, Christopher. “A European Space.” Toronto Star 18 01 2003.

Figure 1.12 Dundas Square

The current conditions of Dundas Square leave most of the pedestrian traffic flow along the periphery of the site. Most of this traffoc flow is also durational, higher speed movement with the intention to get to somewhere else, may it be the Eaton Centre, South on Yonge Street, or down nto the Subway system. The prescribed program conditions within the site are limited to some portable seating and a small ticket booth for theatre tickets. The edge facilities have trouble bleeding into the square and activating the space on a continuous basis, due to the automotive traffic dividing the building edge conditions from the primary pedestrian square.

Figure 1.13 Program and Speed Mapping

Figure 1.14 Mapping Detail

THE USER INTERFACE

The new digital user interface for the Emotive Network differs from current UI paradigms in two distinct ways. The first being that for the most part our digital screens make information visible and tangible that is not there, in order to additionally orient ourselves within a certain spatial experience. This system proposes to be able to distill the perceptual reality, organizing a filtering system in which to start to overlay additional information. The second component of the interface integrates into the garment and serves a primary focus as a personal health monitor. This includes real time pings surrounding daily calorie intake, account balance, and scheduling. These two factors translate the primary use of digital technolog y as a social media and use it to balance its role in relation to our physical environments and our vested personal interest.

Figure 1.15 New York City, Immersive,

Augmented Reality- Intensity Iteration

Figure 1.16 User Interface Lens

This new system will be found embedded into an eye lens, not much different than a contact. However, this system will be operable primary through neural response mechanisms. Integrating the digital media into the thought process will streamline this additional information into the Cyborg consciousness.

Figure 1.17 User Interface Lens: Detail Portion

THE GARMENT

â&#x20AC;&#x153;I am a node in a body-body network...â&#x20AC;? 2 William Mitchell

The advancement of personal technolog y has allowed for vast extension and expression of the individual, but in this Faustian bargain, it has become quite clear that we are alienating ourselves from our bodies, from each other and from our created environments. This is not an argument purely for the desire of stronger human-human connection. It is an argument for the importance of physical place and physical interaction. The physiological analysis of both meehanical qualities of joint movement and posture in the human body as well as chemical responses such as pheremone zones allow for a mapping to develop a garment that takes into consideration the natural functions of the body, and create a protective cloth that projects the internal reactions of the body outward as our own more prominent signals in order to place importance on our role as an individual in our physical world, and our agency that we are responsible for. This results in a high quality, form fitting fabric, with expanding and contracting capabilities, as well as sensing and energ y storage attributed to electricity woven textiles. GARMENT 1.0 has heightened sensitivity within the hands, control filters in pheremone regions and erogenous zones, as well built in flexible joint support.

2 William Mitchell, Me++ : The Cyborg Self and the Networked City, (Cambridge, Massachusetts;London: MIT Press, 2003), 22.

Figure 1.18 Body Analysis

Figure 1.19 GARMENT 1.0

Figure 1.20 COMPANION SPHERE: Retracted

Figure 1.21 COMPANION SPHERE: Elevation

Figure 1.22 COMPANION SPHERE: Plan View

Figure 1.23 COMPANION SPHERE: SECTION

THE MILEU

Situating the Emotive Network within Dundas Square in a new ground plane topography indicates the new importance placed on the pedestrian ahead of the car. It also forms itself in a way to create a central node at the middle of this recreational park space, intended to be the heart of the system and a place where people can find solitude without going home. Creating a central node places an importance on the central focal point, a place where transit access can be found and a place where the space can become a social forum. The Ganglion is a civic space composed of an oscillating field of breathing pods, whose heartbeat is sustained through the active presence of human entity. Embedded with sensing capabilities the system has the ability to be affected by aggressive behaviour, respond lamentingly to an individual experiencing low morale, and to listen and produce information based on its active history as a societal agent. The structural flagella with embedded synapses have direct pairing with the GARMENT, the Spheres and the UI. The system is completely integrated in order to communicate, respond and learn from eachother. The entire Network depends on the agency of the individual. It is an intention to provide moments of social congregation and medititative isolation.

Figure 1.24 The Emotive Field

Figure 1.25 The Pod

Figure 1.26 Stem Detail

Figure 1.27 Tentacle Detail

Figure 1.28 Energy Drone

Figure 1.29 View from Yonge and Dundas

Figure 1.30 The Emotive Field: Section

Figure 1.31 The Emotive Field:

Experiential Rendering

CONCLUSION We have a desire to connect, but currently we separate to connect, through our phones, tablets and computers. We search for â&#x20AC;&#x153;strongerâ&#x20AC;? connections, rather than engaging in the possible relationships around us. With the de-localization of social networks through the paradigmatic predilection towards digital interaction, there is a lack of stable community that can be established entirely based on the exact opportunity that these online networks offer. That the ability to reach people anywhere in the world, albeit any level of commitment desirable, the lack of place disembodies us and causes us to dissolve away from our human nature of physical interaction. 1 At this stage these statements about the Emotive Network can be made: 1. The connection must be of a personal or public nature. 2. The connection must be of human-human interaction and humancomputer interaction. 3. The connection should not be hollow, the quality of the interaction must be increased. 4. The connection must satiate all parties involved. 5. The systems exists through the effective participation of responsive equipment at multiple scales

1 William Mitchell, Me++ : The Cyborg Self and the Networked City, (Cambridge, Massachusetts;London: MIT Press, 2003), 34.

“It is not clear who makes and who is made in the relation between human and machine. It is not clear what is mind and what body in machines that resolve into coding practices. In so far as we know ourselves in both formal discourse (for example, biolog y) and in daily practice [...], we find ourselves to be cyborgs, hybrids, mosaics, chimeras. Biological organisms have become biotic systems, communications devices like others. There is no fundamental, ontological separation in our formal knowledge of machine and organism, of technical and organic.” 1 Donna Haraway

1 Haraway, Donna. The European Graduate School, “”A CYBORG MANIFESTO SCIENCE, TECHNOLOGY, AND SOCIALIST-FEMINISM IN THE LATE TWENTIETH CENTURY,” IN SIMIANS, CYBORGS AND WOMEN: THE REINVENTION OF NATURE (NEW YORK; ROUTLEDGE, 1991), PP.149-181..” Accessed December 03, 2012. http://www.egs.edu/faculty/donna-haraway/articles/donna-harawaya-cyborg-manifesto/.

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