EDITORS: ANDREAS Y. WIBISONO, aulia gina aisha, FERNISIA RICHTIA WINNERDY, JENNIFER SIDHARTA
EDITORS: ANDREAS Y. WIBISONO, aulia gina aisha, FERNISIA RICHTIA WINNERDY, JENNIFER SIDHARTA
All writings and printed materials in this publication may only be reproduced with the permission of the editor. First published 2022 by Publication Unit Architecture UPH Department of Architecture Universitas Pelita Harapan UPH Tower, Lippo Karawaci Jl. M.H Thamrin Boulevard Tangerang 15811, Banten Editor Andreas Wibisono Aulia Gina Aisha Fernisia Richtia Winnerdy Jennifer Sidharta Cover Design and Layout Natalia Micheelnjo Reinaldo Diagram Natalia Micheelnjo Reinaldo Texts UPH Architecture 2018 & 2019 Podomoro University Architecture 2019 ISBN 978-623-88017-2-5 (Print) 978-623-88017-3-2 (PDF) Binge ArchitectureWatching
68625648423630241810 Contents Introduction Learning Architectural Critic Through Sci-Fi Movies How to Read This Book Chapter One: When Technology Interups Human Life Adrian Tantrajaya: What Makes a Human, Human? Surrogates (2010) Bobby Wijaya: Virtual Openness vs Physical Openness Circle Catherine(2017)Violetta: Privacy May Be the Main Issue, But What About the Perception of Space? Man Against Fire (2016) Natalia Micheelnjo Reinaldo: Invisible Presence The Giver (2014) Natasha Ivena: Monotone People, Monotone Buildings = The New Modernism? Nosedive (2016) Chapter Two: When Technology Changes The Physical Space Audria Metta Taneli: Control Over Freedom Plurality (2021) David: The Possibilities of Cyber-Physical Architecture Hated in the Nation (2016) Jessica Sanusi: Spatializing Memory The Entire History Of You (2011)
Michelle Melody Tjioenata: Finding the Ideal Home in 2054 Minority Report (2002) Richard Hizkia: Eyefulness in The Fulfillment of Green Scope in Place to Live Connected (2017) Chapter Three: When Humans Penetrate Into Technology Antony Ong: Hybridtual Technology Impact on Social and Architecture Ready Player One (2018) Kyra Keely Kumala: Paradise Found Free Guy (2021) Pasha Maulana Yusuf: Learning From San Junipero San Junipero (2016) Chapter Four: When All The Three Bubbles Influence Each Other Aulia Gina Aisha: What Power of Gender Can Do Transcendence (2014) Dennis Pranata: Virtual Atmospheres: Emotions Between Realities White Christmas (2014) Faried Haekal Muhsin: World of Screens 15 Million Merits (2011) Jennifer Sidharta: AI Romance Her (2013) Article IllustrationCreditCredit13113012612011410810094868074
8 provides you with learning architectural criticism through sci-fi movies and how to read this book Introduction
“Technology scene,” Hawes, J, Hated in the Nation, 2016.
Nowadays, we are immersed in the digitalvirtual learning atmosphere. Furthermore, the pandemic situation accelerates the digital virtuality into our everydayness: students do assist in a virtual class, they submit an assignment on a virtual board, and they socialize virtually through many online meeting platforms. Is this an ideal situation for a learning environment, or is it just a technological challenge?
Learning Andreas Y. Wibisono
Frankel and Krebs (2022) remind us that in addition to opening up various opportunities, each emergence of new technology always causes repeated losses. The emergence of writing systems (letters) opens up opportunities for communication across space and time. Anyone can read a written message without having to meet the speaker. Speakers and readers give part of the memory of their experiences to the letters. As long as the writing is still there, they can revisit the memory. Previously, we only could deliver the messages through direct communication experience in the encounter between the speaker and the listener. The written word as technology opens up communication opportunities and eliminates the ability to meet the actual experiences.Oneof the losses that began to occur in this era of digital communication technology is critical thinking. Budi Hardiman (2021) revealed that in the era of digital communication, the source of thought is no longer the subject but the message. We seem to have created an idea in the rush of digital information. However, we are just passing on messages in communication networks. I agree with his statement: now, the ability to think turns into the ability to collage messages that are confused between fiction and fact.
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Architectural Critic Through Sci-Fi Movies :
11 In this loss and uncertainty, do we want to give up our critical thinking skills, or do we have to increase our efforts to make these abilities stronger? In general, critical thinking is an attempt to doubt and judge. In this effort, one must be able to observe, analyze, assess, sort, find faults, and conclude. The point is that critical thinking requires not taking things for granted.Iassume that critical thinking skills are related to what De Bono calls vertical thinking. De Bono (1990) distinguishes two complementary ways of thinking: vertical thinking and lateral thinking. Vertical thinking is a way of thinking to select in order to emphasize accuracy. In contrast, lateral thinking is a way of thinking to produce ideas and emphasize the richness of perspective. The creative process’s spiral motion between vertical thinking and lateral thinking becomes essential. We need vertical thinking to assess the rightness of an idea. In contrast, lateral thinking provides more ideas to choose and develop. The ability to judge (critical thinking) ideas are the entrance for us to switch to lateral thinking mode. As an illustration of learning, a critical architecture student will not take the ideas he generates or that he finds from other works for granted. Critical thinking becomes a vital intersection moment to judge and doubt. This ability will help him switch to lateral thinking mode to produce other ideas. He does not just get stuck with copying an existing idea. Alternatively, or even worse, use an existing idea without knowing its background. Critical thinking skills ultimately affect the ability to generate creative ideas. In the daily life of architecture students, at least in the studio, they are required to generate ideas. In addition, The Course of Architectural and Criticism helps the student think critically in dealing with architectural ideas.This course trains students to slow down their observations, trace their thoughts, and draw conclusions. It will make them learn to create possibilities that are not only obtained by typing keywords, scrolling, and clicking. The main target of this course is to make students dare to assess architectural phenomena and determine their assessment position according to the architectural theme of conversation. I divide the course into three parts. The first part introduces the general understanding of criticism and its tools. The second part applies the criticism of architectural phenomena (this semester through a movie). And the last part trains the student in reading and writing skills.
Critic comes from the Greek word krinein, which means judge or judge.
As a noun, a critic is someone who has the ability to make judgments or the ability to find fault. As a verb, to criticize is to analyze (along with other derived abilities) or find errors (along with other derived abilities). The critic’s judgment varies from assessing an object, phenomenon, or text to thoughts. Because the critic is considered a person who has the ability to judge, the task of a critic is to provide ‘enlightenment’ to the public about something he judges. Therefore, critics need critical media, which are generally in the form of written or oral explanations.
12 his knowledge of cooking methods, ingredients, seasonings, and presentation. A gadget YouTuber is also a critic because he can unravel a gadget’s advantages and disadvantages with his electronic knowledge. It is similar to architectural critics. He will see a phenomenon based on the knowledge of architecture that he has to assess and convey to the public.
Returning to the analogy of the critic as a detective, the critical tools trained in the first part are the skills to see, think, and wonder. This toolkit is adapted from an online course at EdX entitled Critical Thinking Through Art. The ability to see is needed to collect evidence carefully.
Suppose we viewed it from the critique ecosystem (Figure 1). In that case, the success of a critic is ultimately determined by how he or she can make an assessment and convey the assessment to the public who initially did not have a clear understanding. Sherlock Holmes as a detective, uses his critical thinking skills as he solves cases. He searches for evidence carefully, looks for connections, and then concludes who is really at fault in a case. His ability is not possessed by laypeople who do not have forensic knowledge. In this case, the critic is a detective keen to judge and decide. The knowledge influences the ability of a critic. A food critic can describe the flavor by combining 0103 The ecosystem of criticis. Courtesy of Wibisono, A, 2022. 01
The two types of questions support each other. When we are stuck on general assumptions or at premature conclusions, we can use open-ended questions because they make us reobserve. Meanwhile, closed questions help reconfirm the facts when we want to conclude. The important message from this workshop session is that curiosity is the gateway to critical thinking.Observation becomes easier once curiosity is formed because it has a clear orientation. I adapted the slow-looking method introduced by Shari Tishman (2018) to practice students’ observation skills. He introduces many ways in his book to slow down our attention to exploring things that we usually miss. In workshops, I use a method of mentioning as many nouns, verbs, and adjectives as students can find. The method combined with a quantitative target makes students observe what they see without rushing to conclusions or interpreting.Thesewords are ultimately helpful as evidence that can be used to conclude. The more evidence, the more conclusions are to be drawn. In essence, the message of this workshop is that students can look for as much evidence as possible and not get caught up in brief observations.Icombine the evidence-based inference method from Making Thinking Visible (Ritchhart, Church, & Morrison, 2011) with Toulmin’s Method of Argumentation to train students’ reasoning skills. The model introduced in the first book asks students to conclude their observations with a question, “What makes you say that?”.
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First, I made students aware of two types of questions: open-ended questions and closed-ended questions (Rothstein & Santana, 2011). Closedended questions are helpful for quick, fact-based answers. This question usually begins with is, do, or can. Closed-ended questions can be answered with a one-word response. In contrast, open-ended questions are helpful for further observing, speculating, finding reasons, and looking for hidden relationships. This question usually begins with a question word: why, what if, and how it happened. Question words that can be used for both questions are what, who, when, and where. This question provokes students to use the evidence they have collected in the previous stage. The essence of this exercise is that when students create an argument, they must be able to present evidence to support it. However, just showing evidence does not mean that the conclusion is firm. The same evidence can be concluded in different ways. Between evidence and conclusion, there is a premise that must be revealed. Therefore, students are introduced to the Toulmin Method of Argumentation at the next stage. This argumentation method has three elements, namely claims Imagination.inmethodsecondevidencewrong,conclusionconclusions.ofandtheory,thatstage,connect(premisesgrounds(statements/conclusions),(evidence),andwarrantsorassumptionsusedtogroundsandclaims).InthisIwanttomakestudentsawarethiswarrantcanbeformedfromhypothesis,personalexperience,thoroughobservation.ThetypewarrantusedwillcausedifferentThemessageisthataisnotamatterofrightorbutthelogicusedwhenlinkingtoconclusions.Afterthat,studentsenterthepart,theclassicalcriticismWayneAttoe(1978)introducedhisbookArchitectureandCritical
The ability to think is needed to relate evidence, state the conclusions, and create reasons. The ability to wonder is intended to initiate detailed observations.Inmyopinion, there is no standard order of the three abilities. A question will lead to specific observations, but careful observations will also lead to new questions. Questions can arise when we have concluded and then come back to makeCriticalobservations.thinking tools are trained in a series of workshops using paintings. Paintings are used because of the broad interpretation so that there is no black and white truth. This technique will help students dare to ask questions and think so that they do not feel that there is only one answer.Theability to ask questions or doubt is becoming increasingly rare in class, especially in an online discussion atmosphere. So, I chose that ability as a first skill students should learn.
Three methods based on descriptive categories: Depictive, Biographical, and Contextual methods, are methods of concluding with the premise that there is truth in the actuality of the object of criticism itself, so the task of the critic in this method is to reveal as many facts as possible and present them to the public: 020
Three types of architectural criticism according to Wayne Attoe. Courtesy of Wibisono, A, 2022.
14 I divide the ten methods into different types of warrants (Figure 2). Four methods in the Normative category: Doctrinal, Systematic, Typal, and Measured methods, are methods of concluding with the premise that there is truth in specific standards: The doctrinal method is based on the expression of a famous expert or architect, such as views or jargon; Systematic method is based on a particular theory such as triadic Vitruvius; The Typal method is based on the standard of a particular building typology; The Measured method is based on quantitative measurement of architectural performance.Threemethods based on the
Three types of architectural criticism according to Wayne Attoe. Courtesy of Wibisono, A, 2022.
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Interpretative category: Advocatory, Evocative, and Impressionistic methods are methods of concluding with the premise that there is truth in the critic’s personal experience: The Advocatory Method rests on the critic’s way of providing a new perspective cognitively; The Evocative Method is based on the critic’s way of evoking the emotions of the public or readers; The Impressionistic Method is based on new works created by critics to respond to particular works or phenomena.
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The Depictive Method is based on the description of a phenomenon or object, whether there are static, dynamic or process aspects; The Biographical Method is based on the description of characters who play an essential role behind a phenomenon or object; The Contextual Method is based on a description of the context behind a phenomenon or object. In my opinion, as a warrant, these three categories have differences in using grounds/evidence (Figure 3). In the Normative category, the critic already has a preliminary assessment reference from the standard, so he needs to assess those particular data. In the interpretive category, the critic takes the data according to his point of view. Meanwhile, the critics reveal as much data as possible in the descriptive category.Each category has weaknesses and strengths. The strength of the normative category is the degree of objectivity because the critic uses standards from outside of themselves. The weakness is in the authenticity of the critic’s point of view. The strength of the Interpretative category fills the weakness of the last category, namely the critic’s personality in offering new perspectives and new ways of conveying criticism. The critic’s expertise in observing, drawing conclusions, and conveying them is at stake. The weakness of this category is the aspect of subjectivity. If the critic is not observant or does not have broad insight, the public may doubt the results of his critique. The last category patched the weaknesses of the second category by revealing as much data as possible on the phenomenon or object. The The movie was chosen as the target of architectural criticism with two considerations. The first consideration is that the film is a presentation of the work itself, not a representation so that the film can be experienced in its entirety. Ideally, if architecture is to be experienced in its entirety, we should come, experience, and observe it. During a pandemic, this is not possible. I cannot practice observation skills if students only encounter architecture through representations such as videos or photos. While in films, students can observe many things such as conversations, scenes, scene settings, and conflicts. This medium makes it easier for students and lecturers to evaluate the evidence used to conclude. The second reason is that the film provides an overview of the interaction between humans and space. I agree with Professor Aulis Blomstedt in his lecture that as an architect, the skill weakness is how the critic concludes. The conclusion will be weak if the critic cannot relate the data correctly. Providing students with a critical method map is not to make them experts in one method but to open students’ perspectives on how to assess something and convey it. Based on my experience, the students are afraid to present their judgment, as if there must be a theory or justification of a certain standard (Normative Category). I want to show that every student can have an authentic voice and honesty in judging and delivering by providing the other two categories. Whatever category, the most important thing is that grounds, warrants, and claims are coherent. In the third part, students are faced with targets that must be critiqued and how to write them down. The target that must be critiqued is a sci-fiction movie because it contains human interaction conflicts and architectural content.
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Attoe, W. (1978). Architecture and critical imagination. New York: John Wiley & Sons, Ltd. De Bono, E. (1990). Lateral Thinking. London: Penguin Books. Frankel, R., & Krebs, V. J. (2022). Human Virtuality and Digital Life (1st ed.). New York: Routledge. Graff, G., & Birkenstein, C. (2021). They Say / I Say: The Moves That Matter in Academic Writing (5th ed.). New York, NY: W.W. Norton & Company. Hardiman, F. B. (2021). Aku Klik maka Aku Ada. Yogyakarta: PT. Kanisius. Ritchhart, R., Church, M., & Morrison, K. (2011). Making Thinking Visible. San Francisco, CA: JosseyRothstein,Bass. D., & Santana, L. (2011). Make Just One Change. Cambridge: Harvard Education Press. Sioli, A., & Jung, Y. (2018). Reading Architecture: Literary Imagination and Architectural Experience. New York, NY: Routledge. Tishman, S. (2018). Slow Looking: The Art and Practice of Learning Through Observation. New York, NY:
16 of imagining life situations is more important than the talent for imagining space (Sioli & Jung, 2018). We assign each student to choose their movie and explore its social and architectural dimensions for these two reasons.The last skill that is trained for half a semester is the ability to read critical works and write them down. I chose the method from They Say / I Say (Graff & Birkenstein, 2021) because this book shows that writing well means entering a conversation: summarizing others (“they say”), setting one’s argument (“I say”), and shows that reading is a way of entering a conversation – not just of passively absorbing information but of understanding and actively entering dialogues and debates. It suggests that reading and writing are not a ‘sacred’ activity but a natural dialogue with others.This book also provides userfriendly templates to help us write what others say and how to communicate what I would say. The templates will be beneficial to indicate the move in critical writing. So through this book, I hope students can communicate what they want to say (claim, warrant, grounds) and put their claim into a more extensive conversation about the topic (Figure 4).
References:Routledge
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17 0403 The diagram of Toulmin’s Method of Argumentation, Wayne Attoe’s Method of Architecture Criticism And Claim positioning in conversation. Courtesy of Wibisono, A, 2022. 04
After binge-watching all these sci-fi movies using an architectural perspective, we find a connecting line between them all. The most prominent similarity is that the human space in the movies is always a hybrid between the physical space and the virtual space. The question is: How do those spaces relate to each other? How do they promote the different ways of life?
To analyze the movies, we create a system diagram consisting of three intertwining bubbles: human, technological, and architectural.
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First, we define what falls into each bubble. The first bubble is the easiest because human is always at the center of it. However, the technological and architectural bubbles are more complex. Every article can emphasize the different technological and architectural objects or aspects. For example, when one article talks about the form of technological hardware used in the movie (like a computer, tablet, smartphone, or earphone), the others can point out whether the technology is augmented or virtual. In the architecture bubble, while one article gives importance to the style of the architecture (whether modern or traditional), the others can focus on its parts (like the transitional space) and its aspects (like texture, lighting, and sound).Second, we also use two colors for the diagram. The color black illustrates the physical object/aspect, and the color red defines the virtual one. Next, we try to see which bubble influence/penetrate the other. Richtia Winnerdy How To Read This Book Three intertwining bubbles: human, technological, and architectural
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The fourth chapter is the one with the most complex relationship. It is when humans, technology, and architecture influence each other. Take the article “AI Romance.” Jennifer Sidharta explicates how through architecture in the movie “Her,” a human character and an AI character can fall in love and build a romantic relationship. Interestingly, it is the physical ambiance that promotes the series of events that build their relationship over time. We chose “Binge-watching Architecture” as the title of this book to show that architectural critique does not have to be too formal, heavy, and serious. Since architecture can be found everywhere in all our spatial aspects of life, it can be used as the subject or spectacle of criticism.
We draw some relationship patterns between the three bubbles using this systematic reading. Finally, we categorize the articles based on their patterns in the four chapters of this book.
The first chapter is the most basic; it is about when technology interrupts human life. Comparing the ven diagram of this chapter to the others, we can see how all the other chapters are the continuation/development of this basic one. Technology created by humans changes the way humans identify themselves and others. Not only that they become dependent on technology, but it also changes the way they interact with other people. In the article “Monotone People, Monotone Buildings,” for example, Siapa underlines how, in the movie “Nosedive,” social media technology allows people to peek into each other’s curated life and thus generates a certain standard of goodness that everyone aims to pursue. The change in social relations might be the impact of these technologies.Thesecond chapter is about when technology changes human life through its architecture. In this chapter, the movies illustrate how technology enables humans to pursue specific ideal values in the way they live. In her article “Spatializing Memory,” Jessica Sanusi discusses how the grain technology in “The entire history of you” promotes honesty and openness between people. While they are not without negative consequences, technology is initially created and used for the greater good of human beings. So much so that they need to change the physical architecture to support or become part of the technology.Thethird chapter is about when humans penetrate technology. While in the second chapter, physical architecture is changed to support the technology, in this chapter, virtual architecture is explored to pursue the utopian ideal of living. Let us peek into the article “Paradise Found.” Kyra Keely discusses how technology allows humans to participate in the virtual gaming world in the movie Free Guy. Using an avatar, a human player can interact with other human players or virtual characters in the game. They can manipulate their identity and relationship with others while having the freedom to create the world they live in. In the end, it shows a human longing for utopian ideals.
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Chapter One When SocialandInteruptsTechnologyHumanLifeControlsHumanRelation 01
“Technology scene,” Ponsoldt, J, Circle, 2017.
What Makes a Human, Human? “Surrogates” (2010) “Surrogates poster,” Mostow, J, Surrogates, 2010.
Adrian Tantrajaya Student
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Surrogates brings out an argument between movie watchers and movie critics. Two aspects are talked about when discussing the movie, which is the debate between the aspect of technology and philosophy. The technology aspect discussed is about the technological advancement in avatars and robots to be able to represent humans to make their everyday living. Philosophically wise, the discussion lies on the human condition and the reality of what makes them human. This movie, released in 2009, gives a perspective of the future and the new possibility of the word “avatar” and the future avatar scenario. This movie is fascinating due to the debate and conversation revolving around technology, its possibility, and its philosophical impact on technology and humanity. This sci-fi movie tells the story of an FBI agent named Tom Green, whom Bruce Willis plays. The plot starts with Tom investigating a murder case of a “surrogates.” These surrogates are robots controlled by the human mind and act as a physical replacement for their bodies. These surrogates were invented by a scientist named Lionel Canter, which James Cromwell plays. The movie concept revolves around the murder of the son Lionel Canter through surrogates. The murderers can kill the owners through their surrogates with certain pieces of technology. This technology is dangerous and threatens the whole structure and system the world has transformed too, from an invincible surrogate to a murder weapon. 01 virtual robots that represent humans make the human experience of space disappear and humans can’t fully experience the architecture Human controlling surrogates. Courtesy of Mostow, J, 2010
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According to a movie critic article by Pepperdine Graphic with the title “Movie Review, Surrogates” in 2009, the movie Surrogates focuses on the aspects of philosophy that question is a human still human when the human condition is lost. The critic’s perspective gave two utopic points of view. The scientific portion and plot holes in the movie logic are things purposely not explained because the movie focuses on the philosophical question. This article made me question how the surrogates happened in the beginning. Is it logical even if we follow the movie’s logic? According to another 2009 movie critic, Brian Eggert, the sci-fi aspect of this movie becomes irrelevant due to the failed premise that gives too many unresolved questions. Brian Eggert argued that the condition that could have resulted in the creation of the surrogates and how the surrogates could have reached the development of everyone using it, be it rich or poor, and different beliefs are illogical. Other than that, the logic behind human existence will be gone when the usage of surrogates results in no offspring. My viewpoint tends to agree with the Pepperdine Graphic article, which emphasizes that the point of this movie is to show the impact of surrogates on humans. So the illogical scientific aspect and portion of the movie could be overlooked without reducing the philosophical value the movieTogives.further discuss the philosophical aspect of the movie, we should first see the impact of surrogates on human relations. This observation comes after watching this movie and questioning what will happen to the aspects of humanity, especially the relationship between humans. From one of the movie scenes, we could see where the main character Tom Green is seen in the house having a conversation with his wife, Maggie Greer, which Rosamund Pike plays. Tom invited her wife to go on a holiday trip together with their actual body and not use a surrogate; the wife blatantly refused, which resulted in them fighting. Here we can see the disparity where humans do not feel like themself when not using surrogates. Looking at another scene from the movie, where the IT division of the company that created the surrogates could be seen monitoring and watching a surrogate body without knowledge and consent from the owner. This event made Tom and his partner unable to trust anyone because the actions done by the surrogates could be done without the owner’s knowledge. From these two scenes, we could see that the relationship between humans and the control over their actions would be gone due to the loss of trust when using surrogates.What barriers are created when surrogates as human avatars are used? The barrier meant here is the barrier that limits human interaction between each other. Surrogates as an avatar hinder and gives barriers to human interaction. This barrier in using surrogates as human avatars resulted in humans not being able to give complete trust to each other while using surrogates. In the scene where Tom’s wife refused to go on a holiday without using the surrogates, we could see that humans are attached to these surrogates. The previous examples show they lost human relations on a smaller scale. On a bigger scale, we could see the human relation gone when the essence of trust is compromised. This trust is compromised when the possibility of privacy and security is taken away, especially the inability to be sure that the owner of surrogates has 100% control over them. These things will destroy the relationship between humans and control their actions.
The second philosophical issue relates to the human identity and surrogates technology that acts as an avatar representing humans in the physical world. The question is, will this technology be able to replace the identity and human body, and are humans still humans just because of only their brains? As we have seen in the movie, surrogates became a legal and authentic representation of the human body. Because of this, a disparity happened between the brain and human personality or physical body, which became a human identity. 02
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An exciting aspect to discuss in this movie is the debate around the condition and situation where humans are removed from one aspect that makes them human: their physical body. What influence and impact will be brought upon humans and society when robots and the human condition change to replace human’s physical identity.
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There are two views and theories in regards to this problem. The first one is the Proteus Effect discussed in one experiment about the ties between avatar-user and cognitive experience. This research will be done by Young June Sah, Minjin Rheu, and Rabindra Ratan in 2021. In this experiment, if we use surrogates as a metaphor for our avatar, assimilation between cognitive state and avatar happens in the Proteus Effect theory. Thus when the avatar represents us and is used continuously, the theory of self-perception (how we see and perceive ourselves) and deindividualization (when someone loses their true self) will affect a person. Their self-perception becomes the avatar, and they start to lose their identity because the association between avatar and behavior is assimilated due to the correlation between perception and sensory from the avatar and the physical body. The second view is philosophical beliefs about the body and personality theory. This philosophical view by Perry, John. A argues that our identity is not only the physical body. Views and beliefs are many but always talk about identity being the human soul/ personality. Someone’s identity and what makes them themselves are their beliefs, desires, memories, goals, etc. So the usage of surrogates will not only be their identity because the brain and the mind are what define them, not the surrogate robots. From these two views, I tend to agree with the second view where the human is not only a shell of the physical body, so the technology of surrogates could not be used to replace human and the human identity. Surrogates creates a relationship barrier between humans Avatars facing the activity of the outside home
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Eggert, R. by B. (2009, September 25). Surrogates.
27 This view can be seen in the movie outcome, where all the surrogates are destroyed, and humans use their bodies to interact with the physical world. Other than looking at the philosophical aspects of the movie, we can also see the architectural aspects. With the existence of surrogates like in the movie, we are using an avatar in a virtual world, with the difference being surrogates located in the physical world. According to the book “Virtual Aesthetic in Architecture,” the virtual space is still reality because what happens in a virtual space is happening in reality, not in the imagination. So, what makes a physical space or a virtual space? Will the human body be able to experience architecture just from experiencing space through their surrogates? One viewpoint from the journal “Architectonic Experience of Body and Space in Augmented Journal” proves that an avatar in virtual reality can influence the responses and senses of their physical users. Five scientists, Pasqualini Isabella, Blefari Maria Laura, Tadi Tej, Serino Andrea, and Blanke Olaf, did an experiment where participants could feel the experience of space through avatars. This experience is done by creating virtual walls and virtual touches on the avatars to see whether human senses can be manipulated through avatars. The result is that the user’s senses could be manipulated by first stimulating their senses in the physical world while stimulating their avatars. By doing this, could we say that a human could truly feel architecture through the surrogates if their experience is only represented or felt through a robot? Frankel and Krebs explained that virtual could never fulfill the craving to experience the “real” world in the philosophical view of human virtuality and digital life. “And yet, this turn away from the world only increases our desire for the real, for what we end up encountering in the virtual is not real, but its digital double, the hyperreal.” (Frankel & Krebs, 2021).
References:
Perry, J. A. (n.d.). Phil 176: Death. PHIL 176Lecture 11 - Personal Identity, Part II: The Body Theory and the Personality Theory | Open Yale Sah,Courses.Y.J., Rheu, M., & Ratan, R. (1AD, January 1). Avatar-user bond as Meta-Cognitive Experience: Explicating identification and embodiment as cognitive fluency. Frontiers.
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Deep Focus Review. Krebs, V. J., & Frankel, R. (2022). Human virtuality and Digital Life: Philosophical and Psychoanalytic Investigations. Routledge, Taylor et Francis Pasqualini,Group.I.,Blefari, M. L., Tadi, T., Serino, A., & Blanke, O. (1AD, January 1). The Architectonic Experience of body and space in augmented interiors. Frontiers. Pepperdine Graphic. (2009, September 30). Movie Review: “surrogates”. Pepperdine Graphic.
So, according to Frankel and Krebs, with the knowledge that users that the virtual space and the surrogate bodies are not real, they will not be able to experience space as their reality fully. Here, there are things that I agree with and disagree with. According to the statement above, virtual is not reality. I cannot entirely agree with this because what happens in the virtual world is still a reality even if it is not done in the physical world. However, some things could be taken from the statement above, where humans will still have the desire to chase something in the physical world and experience a space without a surrogate. Moreover, the surrogate users know that the surrogates are not their natural bodies but rather an avatar in the physicalTheworld.experience of space will be gone because the virtual aspect could not entirely be a wholesome experience, especially with users knowing that their actual body is still active but lying dormant in their houses. Same with what is said by Frankel and Krebs that the hyperreal is not enough to satisfy the human craving to seek something real. Even though surrogates act as a human body replacement that could do activities similar to an actual human and even more, the philosophical aspect stated previously that is proven in the movie, the distrust of surrogates is enough to prove the failure of surrogates. In the end, surrogates will only be a temporary replacement, the same as the virtual avatar in games, and not entirely a replacement of the human body. In conclusion, we can see that this movie talks more about the theories of philosophy rather than logical science. We could see from the plotholes and unexplained theories on how surrogates happened, what happens to the human population when humans do not procreate, and the universal use of surrogates. But we could see from this lack of logical explanation, which is still acceptable because the movie’s message conveys what it means to be a human, and the connection that we build
Virtual Openness vs Physical Openness “Circle” (2017) “Circle poster,” Ponsoldt, J, Circle, 2017.
Bobby Wijaya Student
30 Michel Foucault (1995), in his book Discipline & Punish, writes: “… power produces knowledge (and not simply by encouraging it because it serves power or by applying it because it is useful); that power and knowledge directly imply one another; that there is no power relation without the correlative constitution of a field of knowledge, nor any knowledge that does not presuppose and constitute at the same time power relations.”
The presence of eyeball online camera and recording technology creates unclear boundaries that makes human lose their privacy Online camera took Mae’s daily life footage. Courtesy of Ponsoldt, J, 2017 Mae reads all of the hologram comments. Courtesy of Ponsoldt, J, 2017
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I agree with Michel Foucault. In my opinion, a human’s most powerful strength is knowing, while its weakest weakness is ignorance. This theme was adopted by the film The Circle, where in the era of the advancement of the internet, social media has become a weapon, and ‘knowing’ is a force for humans.Lee (2017) said: “Director James Ponsoldt, who also wrote the screenplay with Eggers, injects the film with some smart touches (a dark audience lit with cellphones, colleagues using instant messaging to converse despite sitting next to each other) ... The film is filled with whimsy questions about the balance of our social and professional lives and how they intermingle, and whether, with increased surveillance and the knowledge that we are being watched, our behavior would gradually improve.”Thenew camera technology directly connected to the internet proposed by the company The Circle in the film tries to ‘penetrate’ human privacy. I agree with Lee’s opinion that this film is presented with several
31 touches of advanced technology that can clearly describe the rapid technological developments in society. However, I doubt such a proposal. In my opinion, we as humans have a mechanism to maintain privacy. Humans control how open their privacy is in various situations by using a ‘mask.’ The ‘mask’ used varies depending on the time and circumstances and the interaction with the other person. If life technology manages to penetrate privacy in the future, I question whether life will be better. How will social interaction behave in the future? Will there be a new architectural era in the future?
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The Circle begins when Mae Holland (Emma Watson) was accepted to work as a customer service officer at a large internet-based company called The Circle. Coming from a simple family and having a father, Vinnie Holland (Bill Paxton), who suffers from an illness and requires substantial medical expenses, Mae feels very lucky to get the job. With her intelligence and perseverance, Mae slowly managed to get the attention of his company’s leaders, Eamon Bailey (Tom Hanks) and Tom Stenton (Patton Oswalt).One day, The Circle was going to release a new product, a small camera that was connected to the internet and promised to be a tool that monitors every movement that is on the face of the Earth. Mae chose to experiment with this tool by making her life a live spectacle for everyone. Initially, the experiment went smoothly – Mae gained popularity, and The Circle became a company with increasing influence in society. However, Mae’s popularity on the internet began to take over her personal life. It alienated her from those she used to be close to. Technology and Privacy Like other science fiction genre films, such as the other episodes of Black Mirror (2011) and IT (2016), The Circle tries to promote an idea about the future: what if technology forces humans to penetrate each other’s privacy?Some online cameras the size of an eyeball took Mae Holland’s daily life footage. Not only on her body, but the camera was also installed in all rooms used by Mae Holland, including her bedroom. Then the question arises, what about Mae Holland’s privacy?
Westin, in his book entitled Privacy and Freedom (1970) said: “Privacy is primarily identified as a vital mechanism for controlling overcrowding in the animal kingdom and also for developing and maintaining the healthy relations of the individual withinAssociety.”Westin stated, privacy is a vital mechanism for a person to control his environment to maintain healthy relationships with other people. In the case of Mae Holland, she tries to minimize her privacy zone. She follows various social expectations to control her relationships. Due to her increasing popularity and career, the social relations in Mae Holland’s life were also heightening. Mae Holland tries to control relations to maintain a sense of community that exists. This is in line with the article by McMillan & Chavis (1986) in a journal entitled Sense of community: a sense of community is a feeling of belonging, of the importance of the existence of others, and the belief that members’ needs can be met through a commitment to being together. Suffian Hadi Ayub, a senior lecturer at the University of Sultan Zainal Abidin Malaysia, in his journal Leadership: Communicating strategically in the 21st century (2014), said that communication is an essential thing to help us understand humans. Mae Holland, in this case, also uses communication to control the environment.MaeHolland’s relationship with her co-workers proves that openness in a relationship affects strong bonds and high-quality relationships. This is supported by the statement of Husain, an associate professor, in his journal, A Preliminary Study on The Effects of social media in Crisis Communication From Public Relations Practitioners (2014), that a strong and quality relationship must contain openness, communication and involvement.
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While on the one hand, it makes humans lose their ‘privacy,’ at the same time, they have an increased right to ‘know’ other people’s lives. Architecture and Privacy
Record all of her activities in the house People are recording Mae using cellphone Information and data appears through hologram
However, gradually, the existence of technology attached to Mae Holland left a grey area between her work life and personal life.
The Circle shows that when technology penetrates human privacy.
In Proxemics Theory, Hall (1991) claims: “...animals are territorial. Some mark their space with urine to stake a privacy claim. Hall says people use furniture, walls, and fences to accomplish the same purpose.”
In my opinion, in The Circle, technology is not the only factor that changes the pattern of human life. The placement of the camera also plays a significant role. Placing a set of cameras in the corner of the room minimizes the visual obstruction of the camera. Then the question will arise in your mind: what if there is no space limitation in the future? If openness is a priority, why not just remove all the walls?
In his theory, Hall says that the existence of boundaries is essential and will remain essential in the future. Hall said that, like animals, humans
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In his book entitled Geographies of Exclusion, Sibley (2002) says: ‘’In the domestic sphere, dominant individuals would be concerned with the maintenance of spatial boundaries, keeping children out of adult spaces, for example, and with the temporal regulation of children’s activities. Keeping control means maintaining clear, unambiguous boundaries.”
33 are territorial creatures. It takes a clear marker to mark the territory. Perhaps this is why The Circle creates openness by injecting camera technology rather than eliminating the walls that divide spaces. Hall said that humans have a spherical spatial boundary around the body that is always present in the human body wherever it is located. If someone gets close to the spatial ball, the spatial ball will give an alarm to its owner. Like the scene in the movie, when Mae Holland and her childhood friend are talking in the lobby of the building, they are indirectly creating a spatial sphere that surrounds the two of them. However, when people around them began to try to intervene by recording the two of them, they began feel wary . In contrast to Hall, in his writing entitled Bordering, Ordering, and Othering, Van Houtum and Van Naerssen (2002) say that the boundaries of space are not only represented by demarcation lines, but a boundary also does not represent a boundary, that a boundary is only a symbol of space of social practice. So, it is very possible that the barriers used today, such as walls, will not be needed in the future. So, if I draw a common thread, maybe if technology continues to direct people to try to apply the principle of openness in life, then in the future, all spaces or buildings that used to have private territories will now become public. The old typologies will become non-essential in the future. Architecture, Technology, and Privacy If we follow Husain’s (2014) optimism that a good relationship must be based on openness, then what is offered in the film The Circle is promising? What if, despite the optimism that we will subjugate technology, we will even become subject to technology in the future? What if technology ultimately affects architecture and privacy? Forcing to remove the existing boundaries so that we must be open to everything to anyone? Openness is essential, but it must be followed by clear boundaries, the extent to which we must be open. These restrictions aim to prevent the mixing of social life and work. If we withdraw from the film The Circle and then look back from the beginning to the end of the story, we may be pessimistic about the openness of privacy that the film is trying to offer. Privacy remains a necessity even as technology advances. Unclear boundaries, like in the film, where Mae Holland loses the line between her work and social life, make her lose her tolerance and teach us that clear boundaries are a must. However, as written by Van Houtum and Van Naerssen, I agree that boundaries do not have to be physical but can come from the mutual agreement. Ayub, SH, Abd Manaf, N., & Hamzahc MR (2014). Leadership: Communicating strategically in the 21st century. Procedia - Social and Behavioral Sciences, 155, 502 – 506. Foucault, M. (1995). Discipline and punish: The birth of the prison. New York: Vintage Books. Hall, E. (1991). Proxemic theory. In E. Griffin (Eds.), A first look at communication theory (p.60-67).
References:
Husain,McGraw-Hill.K,Abdullah, AN, Ishak, M., Kamarudin, MF, Robani, A., Mohin, M., & Syed Hassan, SN (2014). A preliminary study on the effects of social media in crisis communication from public relations practitioners’ views. Procedia - Social and Behavioral Sciences, 155, 223 – 227. Lee, B. (2017, April 27). The Circle Review – Emma Watson and Tom Hanks face off in an empty technothriller. The Guardians McMillan, DW, & Chavis, DM (1986). Sense of community: A definition and theory. Journal of Community Psychology, 14(1), 6-23. Sibley, D. (2002). Geographies of Exclusion (1st ed.). Taylor and Francis. Van Houtum, Henk and Ton Van Naerssen, “Bordering, Ordering, and Othering”. Tijdschrift voor Economische en Sociale Geografie, 2002, Vol. 93, No. 2, pp. 125-136. Westin, AF (1970). Privacy and freedom. Athens.
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Privacy May Be the Main Issue, But What About the Perception of Space? “Man Against Fire” (2016) “Man Against Fire poster,” Verbruggen, J, Man Against Fire, 2016.
Catherine Violetta Student
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Iwill be responding to two reviews about the Black Mirror episode, Men Against Fire.
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The first review is by Alissa Wilkinson, a staff writer and film critic at Vox, who said in her article that Men Against Fire is more about our past than the future, unlike most Black Mirror episodes (Vox, 2016). I believe that this film has something to do with our future. The film used advanced technology that could manipulate one’s senses and perception. Later, in this article, we will see how architecture will change because of this technology. Another review of the film was by Sophie Gilbert, a staff writer at The Atlantic. She said, “The episode made me think about augmented reality, and the ethical boundaries that do not yet exist when it comes to showing people things that are not there.” (The Atlantic, 2016). She was referring to the last scene of the episode when the protagonist, Stripe (Malachi Kirby), returned to a lovely home to a woman awaiting his arrival. However, it is most likely an illusion created by a technology called MASS because he returned to an abandoned house. I agree that privacy is the most prominent ethical issue that Augmented Reality (AR) technologies encounter, but how the soldiers’ perception of space is changing because of the technology? How does architecture affects and is affected by that technology? By the end of this article, I will also try to posit the technology used in the film to a broader context in the history of architecture. 01 A digital display in their eyes can project the mapping of a building or any information, for that it takes architectural elements such as walls, floors, etc. to be projected. Neutral implant MASS on soldiers’ eyes. Courtesy of Verbruggen, J, 2016 Roaches which is the target of the soldier. Courtesy of Verbruggen, J, 2016 See the layout of the house displayed on the floor. Courtesy of Verbruggen, J, 2016 Augmented reality could give information or data. Courtesy of Verbruggen, J, 2016
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Talking about Augmented Reality and perception of space and its relation to architecture, according to Papagiannis (2017), Augmented reality (AR) uses the physical environment as a medium to project digital elements onto the real world, which means that it relies on a physical environment and thus on architecture. Men Against Fire proved that Augmented Reality is dependent on architectural elements – walls, floors, ceilings, etc. MASS could give information or data, real-time analysis of their shooting accuracy, and streaming footage from surveillance drones appear on a digital display in their eye line. It could also get projection mapping of a building, yet it needs a surface to be displayed.Anexperiment done by Turan Akman and Ming Tang, who were students at The University of Puerto Rico in 2018, showed that blending digital elements with the physical world can change the users’ perception of space. How does the soldiers’ perception of space change in this film? The soldiers interpret the bedroom as a space that is not private because men and women share their bedroom, whereas it is commonly considered a private space. For the soldiers, the bedroom is a common space, and they do not have to worry about personal space because the distance from one bed to another is less than 1m.Inaddition, MASS could interfere with soldiers’ perception and human senses – auditory, visual, smell, etc. So, if particular technology has the power to interfere with human sense and perception, it could also change the way humans interpret space. This questions the existence of physical space because we may not need it in the future. We could see from the film that only activities such as training, sleeping, and consulting require physical space. Group meeting does not require a specific physical space because soldiers receive information via Augmented Reality.
37 “Men Against Fire” is the fifth episode of the third series of Black Mirror starring Malachi Kirby (Stripe Koinange), Madeline Brewer (Hunter Raiman), Ariane Labed (Catarina), Sarah Snook (Medina), and Michael Kelly (Arquette). It was written by series creator Charlie Brooker and directed by Jakob Verbruggen. The film is about soldiers with a technology implanted in their bodies called MASS, which has the ability to provide data via Augmented RealitySoldiers(AR). are assigned to terminate roaches, monster-like creatures having pale faces and sharp teeth. Stripe managed to kill the roaches, but a green flash device that the roaches had, made his MASS malfunction. That is when he realized that his human senses –smell, sight, hearing, etc., were coming back. When Stripe and his friends were hunting roaches, he could smell grasses, saw roaches as normal human beings, and heard them talking like a normal humans. It made him hesitate to kill them, but one of his friends, Rai, still saw them as roaches and killed them without hesitation. In another scene where Stripe and Arquette are in a white room, Stripe learns the whole truth about MASS, and later the white room begins to give him claustrophobia.
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Taking it back to the Modern Architecture, the pioneers such as Louis Sullivan, Frank Lloyd Wright, Mies van der Rohe, and Corbusier believed form must follow function. Whereas the Postmodernist objected to the austerity, formality, and lack of variety embedded in that idea. This movement was introduced by Denise Scott Brown and Robert Venturi and other prominent figures such as Frank Gehry and Philip Johnson. This raises a question, when technology has advanced as far as the existence of Augmented Reality (AR), does architecture form still follows function? As shown by Men Against Fire, I agree with the Postmodernist that architecture does not always have to be form follows function. It turns out that Augmented Reality only needs architectural elements – walls, floors, ceilings, etc. Later, the elements are projected with digital data. Then, physical data will appear and be captured by human sensory; eventually, the function of a building and the function of a space change.
To read information in augmented reality To see the direction of the shot08060706
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References:
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Augmented reality - Wikipedia. Eloy, S., Kreutzberg, A., & Symeonidou, I. (2021). Virtual Aesthetics in Architecture. NY: Gilbert,Routledge.S.(2016). ‘Black Mirror’ Is Back: ‘Men Against Fire’ Tackles High-Tech Warfare. Modern architecture - Wikipedia. Papagiannis, H. (2017). Augmented Human: How Technology Is Shaping the New Reality. Sebastopol, CA: O’Reilly Media. Postmodern architecture - Wikipedia. Tang, M. (2018). ‘Architectural Visualization in the Age of Mixed Reality, Informa, 11, pp. 82–87, The University of Puerto Rico. Wilkinson, A. (2016). Black Mirror’s “Men Against Fire” is a warning from the past about our future.
Invisible Presence “The Giver” (2014) “The Giver poster,” Noyce, P, The Giver, 2014.
Natalia Micheelnjo Reinaldo Student
Imagine when we are relaxing in a cafe while laughing because we are watching funny events caught on CCTV cameras. Unconsciously we are also being watched by the cafe’s camera, and maybe there are other people who are watching and laughing at us.
Through this article, I will discuss surveillance technology by showing human social relations through a film that inspires reflection on the relationship between modern technology and architecture, entitled “The Giver.”
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According to Juwita Maria, a writer, and a film critic, she discussed that The Giver film depicts a future world that is safe and controlled with the advancement of modern technology.
However, the influence of modern technological advances has resulted in the ruler not giving people the right to privacy because all areas, without exception, are installed with surveillance technology. I agree with Juwita Marina’s opinion that technology represents the future of a safe and controlled world. In my opinion, even though people will feel comfortable, somehow it will be a problem in people’s daily lives when the existence of technology does not care about it. This critic’s response to the film the giver raises a question in my mind: “how to give privacy to the community, and which areas are allowed to be included in Beforesurveillance?”enteringinto the analysis, I will first tell briefly about this film. The giver tells about a utopian world where the world is fully collaborating with the existence of technology.
01 The presence of audio-visual technology (surveillance camera and communicative hologram) makes humans fake when they are in a typical house equipped with audio-visual technology and become themselves when in a house without it. Chief Elder communication via hologram. Courtesy of Noyce, P, 2014 Looking for information through a colllection of videos on a huge screen. Courtesy of Noyce, P, 2014
In my opinion, the effect of this excessive supervision can later make us more often meet the attitude of “fake” people because they are trying to fit into the social standards that have been determined, similar to the theory expressed by Baltazar (2014), as well as what we see of what Jonas did in The Giver. This is related to the current situation, when we are in a public room that is installed by a surveillance camera, it affects how we sit properly, but when we return to a house where no one is watching, we have the opportunity to sit comfortably even though sometimes it seems impolite. So a human living space must have a balance between the public and the private.Audio-visual recording technology creates a space to intervene in its privacy. Eric Sundstrom (1980), in his theory of privacy, reveals that privacy shows a correlation with the large number of closed sides so that it closes visibility to other people, and there is a distance that limits the physical presence of other people in a place.
Witte (2003) also has a theory that the environment must allow for closed and open permeability, creating a choice or place that is independent of contact and observation. With visibility in a space, people have no boundaries of privacy with other people because there is access to visuals or verbal (Philip D. Plowright, 2020). I agree that humans need each other’s privacy, especially since the most general privacy space
43 Through technology, humans can eliminate sadness, pain, and evil. Sophisticated technology is installed in various corners of the world, even in private homes. The technology in this film is audio-visual technology and a communicative hologram that can interfere with a person’s privacy in space. Human activities are monitored by the Chief Elder (Meryl Streep), who manages the world through screens. The community is governed by a set of rules that are monitored by audiovisual technology. If caught by her, anyone who is detected breaking the rules and doing negative things will be immediately eliminated from that world and thrown into another world called Elsewhere.Jonas (Brenton Thwaites), who is the main character of this film, sees the negative side of the world. The Chief Elder’s arrangement that aims for the good of humans is a bad thing for humans because it eliminates the behavior and feelings that humans should feel. Surveillance technology is one part of the Chief Elder’s arrangement, which causes Jonas to always be careful in his behavior because of the surveillance around him. In this film, audio-visual technology becomes a tool to collect data. This can be proven from the scene in the film when the Chief Elder looks for information on Jonas through a collection of videos that have been recorded on a huge screen. Some of Jonas’ activities can be repeated in the form of video and audio recordings, such as when Jonas shared his training experience with his friends, talked to the Giver in public, when Jonas took Gabe from the elimination system in the children’s incubator room, and also when Jonas was playing with his younger sister in the living room. All of Jonas’ life activities are recorded in full, both outside and inside the house. Jonas’ behavior is different when he is at the house of the Giver (Jeff Bridges). The Giver’s house is a house that is specifically different from the community’s house and is not facilitated by audio-visual technology, so Jonas dares to tell the Giver that he will be going to Elsewhere, which is another world outside his world that is free of surveillance technology, The Giver agrees with Jonas’ decision and gives a map of the journey to Elsewhere, where Chief Elder does not permit such actions. Therefore, the effect of supervision increases self-awareness and causes individuals to consciously modify their behavior for the purpose of increasing compliance with social standards (Baltazar, 2014). In the film, Jonas tries to conform to the social standards of his world when he is under surveillance, and Jonas becomes himself when he is not.
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owned by humans is in a closed house. Technology is indeed presented in the world for human comfort and safety, but when technology is used excessively, it will create human discomfort, we can see this from Jonas’ point of view. When Jonas’ privacy in a room is inverted, it affects Jonas’ psychology, which can be seen in the difference between when Jonas is in his own house and when Jonas is in the house of the Giver.
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In my opinion, when those who supervise have more power than those who are supervised, there will be an imbalance of power. This is related to the excessive use of technology by the rulers as a form of proof of a higher power compared to those who are not in power, namely society. In the film, technology is used by the supervisor, from public spaces to private homes. This surveillance technology can be said to be good if it is installed in a public place and not good if it is installed in a private room because it causes people to no longer have privacy which ultimately affects a person’s psychology to act fake in public and non-public places to adjust social standards.Inmy opinion, when those who supervise have more power than those who are supervised, there will be an imbalance power. This is related to the excessive use of technology by the supervisor, namely the Chief Elder, as a form of proof of a higher power than those who are not in power, namely the community. Actually, the supervisor uses a lot of surveillance technology to be able to maintain and ensure the safety of Jonas as his people, but the problem Jonas doesn’t be himself at home Jonas doesn’t be himself outside his house Jonas being himself in The Giver’s house
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45 is how Jonas’ daily activities are noticed regardless of how private and public a place is, even though Jonas has his own privacy in the house. That way, security is manipulated into a public privacy intervention. Surveillance cameras should be able to monitor Jonas when he is in a public place, such as outside the house because it is public and “visible” so that the camera can be included in the context of maintaining security as well as surveillance cameras should not be placed in a closed and private house because when there are surveillance cameras, public privacy becomes nonexistent so that it can have an impact on human psychological shifts from what only applies in public, now applies in the private sphere, namely selffalsification because they want always to be included in social standards due to surveillance.
Yu, J., Tseng, P., Muggleton, N. G., & Juan, C.-H. (2015, January 20). Being watched by others eliminates the effect of emotional arousal on inhibitory control. Frontiers in psychology. Daghan2, G. (2017). Views of students about technology, effects of technology on daily ... - ed. Views of Students about Technology, Effects of Technology on Daily Living and their Professional Lee,Preferences.T.(2014). The giver is just another dystopian movie. The Tech. Plowright, P. (n.d.). Making architecture through being human by Philip D. Plowright. Perlego. Supplier, T. (B. (2020, April 16). Science, technology and Lois Lowry’s The giver. the (book) supplier. Yu, J., Tseng, P., Muggleton, N. G., & Juan, C.-H. (2015, January 20). Being watched by others eliminates the effect of emotional arousal on inhibitory control. Frontiers in psychology.
Monotone People, Monotone Buildings = The New Modernism? “Nosedive” (2016) “Nosedive poster,” Wright, J, Nosedive, 2014.
Natasha Ivena Student
Digital social networking technology has caused a generalized political act in society. It is called a political act because it puts social media as the one holding “power,” meaning it controls all the users involved in the social media platform. As mentioned in Reality Tunnel, 2020: “It turns out that internet platforms (primarily Google and Facebook, which control more than half of the internet advertising market) are always collecting vast amounts of data about their users. They become our “best friends” who are continuously interested in what we do and never annoy us with their problems.After collecting the information, they produce useful advice on which news to pay attention to, which movie to watch, and which book to read.” There is ongoing social construction in society, which forms a universalized value amongst society. It also led to various issues regarding social identity. Individuals no longer have their own authentic identity, but rather the occurring social construction strongly defines their identity through social media.The Nosedive (2016) is an episode from Season 3 of Black Mirror; it portrays a hyper-real fiction story of a life where people can rate one another through the 5-stars rating system. In this episode, social class is determined by how well a person’s rating is. The main character, Lacie (Bryce Dallas Howard), is a woman who is obsessed with upgrading her ratings. She desperately wants to be those privileged elite people.
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The scoring system makes the value of every human being homogeneous, so it is related to a homogeneous architecture form
People can rate one another through internet. Courtesy of Wright, J, 2016 Rating system technology. Courtesy of Wright, J, 2016
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In the article Anatomy of a Scene: Season 2 Episode 1 Nosedive (2019), Aly Paul (2019) states that in this movie, the outside world has always been reflected through light pastel colors, look-alike buildings, and monotone layout. This represents a universalized building form triggered by a universalized value. The universalized value is where people believe that there is just one ideal standard of living influenced by the ongoing rating system. The society portrayed in this movie is seen as alike because they all want to achieve the same thing (high social ratings) in the same way (insincere behavior). For instance, Lacie would show an obsessive effort to upgrade her social ratings. From taking advantage to be a maid of honor at her friend’s wedding just so that people can rate her five stars to arguing with her brother just because she does not want her social image to be ruined if anyone finds out she is living with a 3.7 stars person to her ambitious effort of trying to do small talks with high-quality people to increase her social status.
Johnson and Davidson, in their article titled ShapeShifting Across Social Media (2021). These statements show that social media platforms have the power to shape society.From this, it can be seen that there is a strong relationship between social media usage and its effects on human behavior. In this case, one of the most dominant issues caused by social media is an identity issue. People’s identity strongly depends on others as they feel the need always to compare themselves to another person. In the Nosedive movie, this social comparison is very clearly shown through Lacie’s frequent behavior of admiring her ex-friend, Naomi’s social media. Then, unconsciously Lacie cultivates a solid desire to have a life like Naomi’s. This shows the bitter truth about social media technology and how it can shape a person’s idea about how they should be, hence the term social construction.
In the article Motives and Uses of Facebook (2008), Joinson states that users were more likely to choose an attractive avatar for a dating profile and a more “intellectual looking” avatar for a gaming profile. This statement led to my own opinion regarding the identity issue, which is that what people portray on social media represents their self-image and how they want to be perceived by others.
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49 Known for tackling the dystopian future of technology, the movie Nosedive shows a hyperreal representation of the ongoing social construction in society. Through a rating system (as a representation of social media), Nosedive projects a world where online identity is equivalent to real-life worth and status. The world portrayed in the movie knows nothing about authenticity and sincerity. The ongoing rating system technology has shaped its society obsessed with achieving the “ideal” life an inauthentic society characterized by likeliness and monotony in its social interaction and architecture. Through this paper, I will accentuate the link between how the existing rating system (as social networking technology) causes a universalized value in society and how the universal issue of social identity affects the architecture form in the Nosedive movie. Ultimately, I will examine how the Nosedive movie represents the modernism principle; how is it alike, and how is it not.
In the article Computers in Human Behaviour (2014), Johnson and Knobloch-Westerwick state that there are two types of social comparison in social media: upward comparison and downward comparison. Upward comparison is when people compare themselves unfavorably to others, while downward comparison is when they compare themselves favorably. This social comparison behavior means that society’s social media consumption is strongly influenced by other users involved in the same social media platform. This is supported by the statement “…user willingness to perform and maintain both their persona or profile is also influenced by the others using this platform, and whether these platforms remain useful.”
The modernism principle lies in one of the introductory statements by Mies Van Der Rohe, “Less is More.”
This means that social media posts are not always authentic, given the amount of selectiveness, manipulation, and filtering that occurred before their being published. It shows a lack of authentic identity in society, and all of this is due to the existence of social media, which has the power to shape humans. This is fatal because, with social comparison, people might desire what others have when in reality, not everything posted on social media is the whole truth. The same thing in the Nosedive movie shows that the content posted on one’s social media does not accurately represent the reality of a person’s life but rather a manipulated representation of how a person wants to be seen.
Modern architecture derives more towards form follows function; as Mies Van Der Rohe said, “The demands of the time for objectivity and functionality must be fulfilled. If that happens, then the buildings of our day will convey the greatness of which the age is capable, and only a fool will maintain that they lack it.”The modernist society values the same principle: less is more, and high efficiency is the most critical aspect to achieve, hence the strong tendency of its architectural form to be homogenous. As it is counting heavily on the future and development, this may cause a universalized form of building, as said by Ghobadian,“Architects2003:and theorists tried to make homogeneous the architecture as science and technology with evolving world.” This shows that the
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Less is mo re High ef ficiency Fo rm follo w f unction 5. 0 5. 0 Homogeneous architecture from modernism Homogeneousprinciple architecture from nosedive0504
Anatomy of a Scene: Season 2 Episode 1 Nosedive. Butler Universities Library. Rtd. (2020). Reality tunnel: How social media controls our lives and forces US further apart. RTD. Westerwick, J. & K. (2014) Computers in Human Behavior. Science Direct, 129, 33–39.
51 building homogeneity that is portrayed throughout the Nosedive movie is in line with modernism, as an enduring universal value drives it. However, while modernism values high efficiency and future development, the value is driven by the social construction induced by the rating system technology in the Nosedive movie. According to postmodernists, there are crucial factors that the modernists neglect, which is the identity aspect of architecture. Postmodernism is an apparent representation of the modernism opposition, as said by Moghaddam in the article The City and Modernity (2005); he stated that postmodernism exists to treat the problems and difficulties that it is a reaction against modernism. Postmodernism architecture seeks the identity of humans and the history of each nation, and it pays attention to the adoption of regional identity and returns to practical historical tradition. His statement signifies that modernist architecture is driven by the same value that does not consider society’s diversity and authenticity. (hence the movie representsRelatingmodernism)ittothemovie, I believe that this movie represents the modernism principle in terms of its homogeneity, seen in the way of thinking (values) and its architectural form. This movie portrays homogeneity in terms of the value of society, given the fact that everyone must follow the ongoing rating system. The existing system drives the homogenous value clearly shows that the existing social networking technology (rating system) has a significantly strong impact on shaping society. This homogenous value is then reflected in its (also homogenous) architectural form. The ongoing rating system enforces society to believe that there is only one ideal way of living in every factor, including the space in which they dwell. This shows that this movie reflects the values of modernism in terms of universality in architecture form driven by the same value. However, the value here is not due to the principle that less is more or aims to achieve high efficiency. However, their value lies in similarity in their obligations to comply with the existing rating system.
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Amiri, N. (2016). Modernism And Postmodernism In Architecture An Emphasis on The Characteristic, Similarities and Differences. The Turkish Online Journal of Design, Art and Communication, 6. Davidson, B. (2021). Shape Shifting Across Social Media. Sage Journals. Ghobadian, V. (2003), principles and concepts in contemporary architecture in the West, Tehran: Cultural Research Bureau. Jabre Moghaddam, M. Hadi 2005, the city and modernity, Tehran, published by the Academy of Arts Joinson, A. (2008). ‘Looking at’, ‘Looking up’ or ‘Keeping up with’ People? Motives and Uses of Paul,Facebook.A.(2019).
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Chapter Two When TheChangesTechnologyPhysicalSpace 02
“Technology scene,” Welsh, B, The Entire History of You, 2011.
Control Over Freedom “Plurality” (2021) “Plurality poster,” Liu, D, Plurality, 2021.
Audria Metta Taneli Student
01 The grid (digital surveillance) eliminates the privacy by monitoring the resident’s movement and accessing personal data by appearing on the government’s screen Grid lockdown through digital system. Courtesy of Liu, D, 2021 Monitoring technique. Courtesy of Liu, D, 2021 030201
56 Plurality is a science fiction short film of 14 minutes, released in 2012. This short film, directed by Dennis Liu, is a low-budget film with a long production period of 2 years, but it produces a stunning short film. This short film has the concept of a digital security system, which tells about a system called THE BENTHAM GRID that can track every individual’s movement, which was created to minimize the crime rate in New York.
The Grid tracks each individual through a single touch-activated through each individual’s DNA. The Grid takes everything unique to the city’s residents, from social security numbers, passports, and debit and credit accounts, and links them to each individual’s DNA. From opening the car door to shopping at the supermarket, it can be done with system activation via DNA. Grid collected a small sample of an individual’s genetic material with just one touch, identifying a person’s identity instantly. This film focuses on the themes of Power, Control, Digital Security systems, Privacy, and Surveillance. Plurality presents a hybrid idea in the form of human life, which is integrated into the digital The Grid system, which consciously and unconsciously becomes a part of daily human life. Through this article, I will briefly discuss the situation when humans no longer have control over their freedom and privacy over themselves.Doesthe Grid provide security to humans, or is it just an illusion of security for them?
57 As individuals with free will for their actions, humans live in a controlled world in this film, where they must obey the law because of the coercive power and control of law enforcement. In this film, New Yorkers give up their freedom of action to live quietly without crime. The grid system gives the illusion of security because it limits the “freedom” of citizens to act.
The Grid, or its full name, the Bentham Grid, is named after a criminologist Jeremy Bentham and is related to his Panopticon theory. The Panopticon is an institutional building and control system designed by Jeremy Bentham in the 18th century. The design concept was to allow all inmates of an institution to be supervised by a single security guard without the inmates being able to tell if they were being watched. Like The Grid system in this short film, the residents of New York City are constantly monitored, and consciously or unconsciously, they are always monitored for their movements by law enforcement. The Grid film, which applies the panopticon concept, uses a more modern digital system than Jeremy Bentham’s application at that time. This plurality is taken from law enforcement’s point of view, which shows the power or domination of law enforcement who has complete control over the city’s security system. This complete power and control create an orderly and structured environment, creating a safe and free city from criminal acts, which is shown in the opening scene of the film in the form of a narrative that states that criminal acts in New York City have experienced criminal acts a drastic decline. However, freedom and privacy are hard to come by in a rigid or tight environment. In his book, Discipline and Punish, Michael Foucault once wrote, published in 1975, explained that individuals can be efficiently monitored and controlled. Discipline works by forcing and regulating the individual’s motion and experience with space and time. He said this in relation to the concept of prison as a monitoring technique: control and identification of individuals, regulation of their movements, activities, and effectiveness. Control and power prohibit freedom from daily human life. According to Karl Marx, freedom is the ability to free oneself from anything that hinders one’s growth, one’s relationship with others. We are free when we can express ourselves before any authority, talk about what is harming us, and make our lives better.Inconclusion, the Betham Grid provides security from crimes, yet it creates an illusion that the security that these people have been keeping them safe without fear, but in reality, human needs their freedom. Once this freedom is taken from them, they live in a paranoid state, knowing their moves are beingWhatmonitored.happens when the grid system has access to and control over all New Yorkers? How does that affect their privacy?Humans, as individuals who need privacy for themselves, come to life in a transparent world in this film, through the DNA data of each citizen providing access for law enforcement to know all the citizens’ movements. In this film, New Yorkers give up their privacy. Instead, they live a quiet life without crime. However, making privacy spaces are no longer present in human life in New York.Privacy is a fundamental human right that is used to control unwanted interpersonal interactions and communications. Privacy is the idea of choice, free will, or freedom to control, not to control the flow of information at individual, group, or social levels. Privacy creates a choice between isolation and interaction and can create perceptions of solitude. The threat of privacy in public spaces is a surveillance technology to provide security and public safety. However, in this film, The Grid presents surveillance technology that has unlimited access to the lives of its residents, making these residents have no free space other than their own homes.
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According to Pier Vilorio Aureli, the city is the most explicit indicator of power relations (Aureli, City as political form). However, that does not mean that those in power control the city. The residents have the right to have freedom and privacy. User freedom in architecture first emerged as a reaction to authoritarian directions in planning and design. The short film plurality provides an overview of government power through The Grid system. The Grid eliminates the privacy of humans in their lives, the only place where humans can still feel privacy in this short film is in their own homes, where their homes are free from surveillance systems that provide opportunities for them to express themselves. This film depicts Foucault’s theory of prisons and Jeremy Bentham’s concept of the Panopticon, which is applied to the city surveillance system. However, in my opinion, the Grid technology in plurality films, when applied to a city, can have a good impact on the city, but it has a bad impact on the people living in that city. Digital surveillance by a strict and authoritarian government gives excessive control over the population, makes the city residents lose their freedom to act, and eliminates free will and the human right to have privacy.
CAM22584+09:08:52:06 PLURALIT Y OMEG A 88.17 % Someone’s information appears on the screen Someone’s information apperas on the screen Someone’sprojector information appears on the tablet060504
59 Aureli, P. V. (2011). City as poli cal form. Architectural FoucaultDesign and Architecture - McGill University. (n.d.). Guardian News and Media. (2015, July 23). What does the panopticon mean in the age of digital surveillance? The Guardian. Screenwriter., I. filmmaker and, Elvis. (2012, October 16). One small window. One Small Window. The New York Times. (n.d.). The New York Times. Ucl. (2019, April 9). The panopticon. Bentham WitteProject.Nathan (2003): “Privacy: Architecture in Support of Privacy Regulation”, University of Cincinnati, Architectural Thesis Foucault /// Foucault and architecture: The encounter that never was. The Funambulist Magazine. References:
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The Possibilities of Cyber-Physical Architecture “Hated in the Nation” (2016) “Hated in the Nation poster,” Hawes, J, Hated in the Nation, 2016.
David Student
Possibility how the drones can make up the building itself, becoming the elements that create configurability spaces Creating a specific shape in the company.
What is the main message of Hated in the Nation? That the online hive mind condemns without thought of consequence, laying into targets with the same ferocity, whether they have committed crimes or simply made an offensive joke. How best to symbolize that? Killer robot bees flying into people’s brains, of course! -The Atlantic But the use of bees also strengthens the point of Brooker’s script without constantly underlining it. (The constant underlining is a Black Mirror problem consistent across all seasons.) The idea of a social media swarm using a hashtag to single out various people for death, only to have the bees actually carry out that death, is a great example of how much power the show can gain from simply making some of its more outlandish ideas literal.
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According-VoxtoWikipedia, Black Mirror is a show with each of its episodes exploring a diversity of genres, with most showing near-future dystopias utilizing science fiction technology. However, even though Black Mirror tends to portray how technology leads to and would be like in a dystopian setting, looking at it from another angle, these technologies could also be explored in a more positive light. Most reviews about the movie talk about the (negative) social side of the episode, how they act like a mob or a hive mind, and acting disregard of consequence, a consequence which is then meted out by drones called ADIs (Autonomous Drone Insects).
Courtesy of Hawes, J, 2016 They were manipulated to be affected by the #DeathTo hashtag. Courtesy of Hawes, J, 2016
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In a project by the Institute for Computational Design and Construction in the University of Stuttgart, a project close to this future was done, where drones assemble specially made canopy panels, the drones then learn and reassemble according to the weather to give optimum shade, or can be programmed manually through an app. This shows that the adaptability and programmability of the building itself increase significantly by implementing dynamic elements to currently static parts.
The way I choose to approach this episode is a little different. I am looking more at drones and how they could be applied to architecture. In the episode, the drones can construct their own hive-like factories and be programmed to form volumes, and it is also shown to be affected by the social media mob, albeit through the programming of the antagonist.Inthe
episode Hated in the Nation, with the extinction of bees, the ADIs have taken their place. The problem arises when the antagonist with a vendetta against online anonymity. How it lets people act without consequences manipulates these drones alongside the #DeathTo tag on social media to set up a death poll of sorts. This was all part of an elaborate moral lesson. The real targets were the participants who participated in using this tag all along, being killed at the end due to their actions.However, about drones in a more general sense, relating to architecture, drones have been used for construction surveillance; even usage of drones in the construction itself is becoming more common as well. A study by Sebastien Goessens and Pierre Latteur, researchers at Université Catholique de Louvain, with Caitlyn Mueller, a Researcher from MIT, concluded that: “The possibility of designing Unmanned Aerial Vehicles capable of transporting building elements of several tens of kilograms and assembling them with a sufficient accuracy appeared uncertain and even wacky at the beginning of this research project but seems now obvious.” -Goessens, Mueller, Latteur The study mentions how getting drones to lift and even place building components was hard, but it was certainly possible with the help of specialized building components made for construction with drones, named drinks, and droxels. However, the usage of drones in construction would come with its own limitations, mainly the limited flight time of drones caused by the battery capacity, which would call for an increased number of drones on larger scales. Increasing the quantity would then relate to the next issue, which is safety; the drones would need to be able to avoid midair collisions. Other than that, in the event of system failures, falling drones are a hazard, especially in places with large crowds. Lastly, drones are prone to turbulence. Due to their relatively smaller size, drones are more prone to high winds blowing them off course. However, that is talking about the drones in construction. What I am proposing as a possibility is how the drones can make up the building itself, becoming the elements that create spaces. In drone shows, drones seemingly create shapes. Furthermore, as seen in the episode, when drones of such a size gather to create a shape, it allows for more freedom of the space created.“In architectural history, the advent of new fabrication and construction technologies has always been a catalyst for design innovation, and the latent next paradigm shift facilitated by the introduction of cyber-physical production systems will be no exception.” -Menges, A Achim Menges, Director of the Institute for Computational Design at the University of Stuttgart, mentions a computational system to be the next step in architectural construction, a cyber-physical system, so to say. What this refers to is a more involved digital or cyber role in architecture. The physical adaptability of the system and programmability open it to spatial and architectural application of advances in artificial intelligence where a building can physically learn and adapt.
Drones
It is akin to having people move around modular furniture to give a different feel to the room. However, back to the possibility I mentioned, what if the whole room was made up of dynamic components, in this case, the drones? Having every component that makes up the space dynamic would allow for an even more increase in configurability, something that can be adapted to the user’s needs at theIntime.Hated in the Nation, the flexibility of these small-sized drones is seen, albeit for the wrong purposes. Being used by the antagonist, the ADIs swarm was placed in search of the target that had been ‘chosen’ by the public, the swarm created by the drones is also another example of small-sized drones creating a volume. From this, we can see how it would be used in conjunction with social media, like how the drones decided whom to target in the episode. Maybe we could set presets of drone configurations that people, using social media, decide on. The possibility of such an architecture is there, although the limitations for it may persist for some time. However, once it does arrive, design could be based more heavily on behavior since the spaces created would have a temporary element to it, capable of autonomous rearrangement, other than adaptive. Such a system could also be interactive or even intelligent. form a large space form a small space
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65 Goessens, S., Mueller, C., Latteur, P. (2018) Feasibility study for drone-based masonry construction of real-scale structures Menges, A. (2015) The new cyber-physical making in architecture: computational construction. Sims, D. (2016, November 16). ‘Black mirror is back’: ‘Hated in the nation’ considers online shaming. The VanDerWerff,Atlantic. E. (2016, October 30). Black mirror’s “Hated in the Nation” has one true villain: Creator Charlie Brooker. (Also, bees.). Vox. Wood, D., Yablonina, M., Aflalo, M., Chen, J., Tahanzadeh, B., Menges, A. (2017) CyberPhysical Macro Material as a UAV [re]Configurable Architectural System
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Spatializing Memory “The Entire History of You” (2011) “The Entire History of You poster,” Welsh, B, The Entire History of You, 2011.
Jessica Sanusi Student
68 Human memory is an interesting topic. A therapist and priest named Rev. Dr. D. Scott Stoner once said, “Memory is the foundation of culture and identity. While I affirm the wisdom of ‘living in the present moment’ and not getting ‘stuck in the past,’ I also know that we can become ‘stuck in the present’ when we fail to remember how much our present, our identity and our culture are all shaped by our history.” But those memories cannot be stored forever as the human brain have the ability to remember as well as forget. However, what if we can not only remember our past but also remember our whole life and the feeling and experience of space that happens in the past.
The Entire History of You
The human obsession to remember is supported by grain technology and architectural elements,so the projected memories degree of privacy depends on how public and private the architecture spatial elements surround us. Memory projection can be seen everywhere including in the car. Courtesy of Welsh, B, 2011 People gathering in the living room watching memories instead of TV. Courtesy of Welsh, B, 2011
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‘The Entire History of You’ is the final episode of the first season of Black Mirror series episode, directed by Brian Welsh and written by Jesse Armstrong. It portrays the concept about modern era technology that allows humans to record their audiovisual memory of life. This concept highlights the importance of “being able to forget things” in human relationships.Memory is supposed to be private. And privacy is provided by architecture, how it controls audiovisual exposure of people. Once the space surroundings do not support audiovisual privacy, that is when the nature of our memory has changed and is no longer private in this movie.The Entire History of You is a futuristic movie that takes place in 2050 where there is a technological invention
According to this movie, there are two ways to see a person’s memory, the first is by playing it in one’s own eyes, which turns the person’s eyes grey as if they are wearing solid contact lenses, and the second is to project it onto a plane of glass that has a certain technology. Staying true to the movie’s concept, everything that a person sees, hears, or experiences will be recorded and can be played back and zoomed in to great detail unless it is covered by a wall or a solid plane. Here the crucial architectural element is the transparent glass. Glass is an architectural element that can be used
69 that allows humans to record audiovisual sensory memories from their lives and can be played back whenever they want using a small remote. This technology is only as small as a grain, hence the socalled ‘grain’ technology that is placed behind the human ear. The movie begins with a lawyer named Liam Foxwell (Toby Kebbell), who comes home from work and goes to dinner at his wife’s friend, Ffion’s (Jodie Whittaker) house, with some of Ffion’s old friends. At dinner, Liam analyses the interaction between Ffion and her friend Jonas. Liam became suspicious about their relationship, and even after dinner, Liam kept replaying his memory to see the interaction between the two, which made him more uneasy. In his suspicions, Liam scrutinizes his memories from the entire dinner party to find out the truth of his suspicions using the ‘grain’ technology. Memory and Society Grain technology became one of the essential elements in human daily life at that time. From paying for a taxi up to monitoring one’s health, the technology is needed. If now at the airport we are asked to show ‘Peduli Lindungi’ and fill in ‘EHAC,’ in this movie we are asked to show all our activities in the last two weeks. Things like this cause the privacy of human life- especially those who use grain technology- to no longer be private. Although there are still a small number of people who do not use grain technology, but in a world where the ‘grain’ was used for almost everything, not having one made life much more difficult. Like Helen, Ffion’s friend, whose grain was stolen and sold, caused her privacy to be stolen and used for terrible things. In one scene of the movie, it’s seen that Helen cannot testify in court because she cannot show what she hasThisseen.technology is changing how a community comes together. At dinner, Ffion and her friends no longer gathered on the sofa to watch tv, but instead, they took turns watching their memories. Human nature also changes because they no longer trust each other unless they show audiovisual evidence. When a person remembers all the events in his life down to the most detailed, then that person will become obsessed (Levine, 2019). Same thing with Liam, who became obsessed with his suspicions. Liam kept replaying memories of Ffion and paying close attention down to the smallest details to find something. Just as Lambie (2011) said, “Liam begins to obsess over his memories, searching through them for evidence of an affair.” This memory makes Liam obsessed with exploring the relationship between Ffion and Jonas. Even Liam forced Ffion to show proof of her innocence by showing her memories with Jonas. Jonas is also forced by Liam to erase all his memories of Ffion. In the end, Liam’s obsession only brings him a loss because, in the end, Liam is left alone and finally revokes the ‘grain’ technology because he prefers to forget than to forgive Ffion. In reality, sometimes, what we need to forgive is to forget them. Because forgetting something is what makes humans human. What defines humans is the ability to forget, not to remember (Foer, 2011).
Architecture and Memory Architecture elements are the main reason why the nature of human memory’s privacy has changed. Architecture controls what we can see and hear as they limit our sights and hearing with solid plane, choice of materials, and the shape of the space.
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70 060504 as a floor, wall, or ceiling. The usage of a transparent glass as a wall reduces the room’s privacy because it can be seen from the other side. In this movie, transparent glass is used as a memory projection area, so it can be seen from both sides of the glass, making one’s memory more transparent and less private, just like the characteristic of the glass itself. This projection glass can be seen used in various places for different purposes. It can be used as a TV or as a substitute for a painting frame that aims to entertain and enliven the living room when gathering together.
The location of the glass plane determines the degree of privacy of the memory. If the memory is played on the bedroom TV, then it is more private because it can only be accessed by a few people, but when the memory is played on the living room TV, it becomes more public. How we label the specific location of the glass that makes a memory private or public is determined by its architectural elements. How people see the glass, outdoor or indoor, and how many people can access that space.Thething that distinguishes between these glasses is their size. Different glass sizes affect how we see the memory, either as the main object in the room or just as a room ornament. Therefore, the privacy of the memory depends on the architectural element of glass. The size of the glass itself is affected by the spatial architecture in the room. Architecture elements control how big or small the glass size can be. The choice of transparent glass to be used as the memory projector in this Memory played in the car only be seen by a few Memorypeople played in the bedroom can only seen by a few Memorypeopleplayed in public can be seen by many people 060504
654321 Banerjee, R. (2018, January 16). An entire history of you. Foer,Medium.J.(2011). Moonwalking with einstein: The art and science of remembering everything. Penguin Gravitz,Books. L. (2019, July 24). The forgotten part of memory. Nature News. Lambie, R. (2011, December 19). Black mirror episode 3 review: The entire history of you. Den of TheGeek.Rev.
Dr. D. Scott Stoner. (2018, May 14). The importance of remembering. Living Compass. Wikimedia Foundation. (2022, May 2). The entire history of you. Wikipedia.
References:
71 film is not only for the symbolization of the minimalist and modern future, but the specification choice of transparent glass and not translucent is to describe the nature of the memory itself. A memory is supposed to be protected by a ‘solid wall’ inside our head, but the creation of the ‘grain’ technology turns the memory to have a transparent glass wall surrounding it. As all the memory in the ‘grain’ can be projected and is open to all who see the projection- not to forget that the projection itself can also be seen 360°. There is no barrier that protects the memory to be an exclusive private thing to an individual. In this movie, transparency is the essence of the movie that describes the life situation at that time. Memory, Society, and Architecture In today’s life, we often wish we could remember everything because it would make us happy. From this movie, it is evident that remembering everything will only bring a worse impact on our daily lives. If a family is destroyed just because of one small technology, how will human life as a whole be going forward? Just like how Liam’s obsession in this movie to remember and uncover everything only ends up at his own disadvantage, human nature is also the same; we are obsessed with knowing everything and not thinking about the long-term impact. As Banerjee (2018) said,”’The Entire History of You’ shows that however powerful human beings become, however much the world changes, human nature will not change. In fact, as technology gives us power and makes information more accessible, it enables us to act on those primordial instincts rather than curbing them.”
The human obsession to remember is not only supported by this ‘grain’ technology but also supported by architectural elements, that is the role of transparent glass as a memory projector that can support the destruction of human society. Architectural elements determine the degree of privacy of a memory. Furthermore, when privacy is lost- because all memories can be accessed in any glass room- it makes humans become obsessed with the right or wrong and win or lose. The social interactions seen in this movie reflect how strongly technology and architecture actually play a role in our lives. How a glass room can instantly make our lives and our memories exposed publicly, and how only one architecture element like a wall can help hide our memories from certain angles. Our memories’ degree of privacy depends on the architecture spatial elements surrounds us. Also, it makes us aware that architecture also controls this technology, how private or public it is. Seeing how architecture controls the technology that controls our memory, it can be concluded that architecture controls our private lives and how we can live our lives in the society.
Finding the Ideal Home in 2054 “Minority Report” (2002) “Minority Report poster,” Spielberg, S, Minority Report, 2002.
Michelle Melody Tjioenata Student
74 House is one of the primary needs of human life, but what makes the meaning of a house essential? Phillip Moffitt, a meditation instructor and author of Dancing With Life, once said that the meaning of a home is a place to take refuge and calm down. Tadao Ando, a well-known architect who always uses concrete as his architectural exploration, turns out to live in a small house made of wood. This explains that the house does not have to look modern and sophisticated. As long as a house can be a space to shelter and feel calm, then the house can be called an ideal one.Taking refuge is a person’s effort to place himself in space to avoid unwanted things. In architecture, the security of a house is very dependent on access to the house itself, such as doors and windows. Usually, in a house, the thing that limits access to the outside world is a transition/threshold area. This is the area that I will observe in the film Minority Report, which is set in 2054. Was the meaning of a house still the same at that time? And does the threshold area play an important role as an ideal house criterion? Minority Report is a film that was published in 2002. Directed by Steven Spielberg, this film tells about Washington D.C. police force life in 2054. In 2054 the police force has a special department called PreCrime that can catch people who will commit crimes. Using clues from Pre-Cogs, three humans who have mutated and can predict crime by looking to the 01 Security control is equipped with technology and modified plants at the threshold area, so that it can maintain lower degree of trespassing Eye scanner. Courtesy of Spielberg, S, 2022 Plant modification. Courtesy of Spielberg, S, 2022 030201
Matt Hanson, a writer and film director, has also said that “The future of reality by Spielberg is a very relevant expectation in the world of data-mining, satellite monitoring, and pre-emptive strikes. This is very essential because, at the time of this film, people were disturbed by border patrols and homeland security (the federal department responsible for public security). (Fortin, 2016).
An example of trespassing occurs in the early scene, where Anderton enters Howard’s house by breaking a window. Another trespassing occurred when the police deployed a spider robot inside the apartment to look for Anderton, where the robot recorded almost all private or non-private activities of the residents there.
Trespassing itself means an action to enter a space or room without permission by manipulating boundaries (such as destroying, shifting, or avoiding) (Aksa Khera & dang). In architecture, trespassing occurs when someone breaks into a private area and disturbs the people’s personal space in that area. Ambiguous space and public space are not included as a room that can apply this theory, therefore, the use of the word trespassing in residential areas deserves to be questioned.
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75 future, PreCrime manages to bring the homicide rate down to zero percent. However, Precog has one drawback that PreCrime covers, namely the existence of an “alternative reality.” An alternative reality is a different vision of a predetermined future. This is covered up because it can lead to a decrease in public trust in PreCrime’s performance because the existence of alternative realities is proof that what the pre-cogs see is not always true. Minority Report was set in a futuristic city filled with cutting-edge technologies, and almost all human movements are controlled by technology. Likewise, in the various houses owned by the residents, some are filled with technology, and some do not have technology at all in them. The conventional residential area that first appears in the Minority Report film is when Anderton (Tom Cruise), the main character, gets a murder case committed by Howard (Arye Gross), who will kill his wife while having an affair. In the film, Howard lives in a Georgian-style house that is completely free from technology. The next conventional housing is a villa-like house in the middle of the countryside, which is inhabited by Anderton, his ex-wife, and his son. Lastly, is the house belonging to Lamar (Max von Sydow), a high-ranking Precrime official, and his wife. Unlike the conventional houses above, Anderton, who was depressed when he lost his child and divorced his wife, moved to a luxury condominium full of technology. His house has a floating table, a 3D hologram screen, and sophisticated hydroponic plants. The Anderton Room is rated as the ideal condo in the metropolitan area by 2054 according to Koolhas in the book Architecture and science-fiction films. The last house is the house of Iris Hineman (Lois Smith), a researcher who invented pre-cog technology who later retires and lives alone in his house and greenhouse. Unlike the previous houses, the Irish Hineman house has a conventional physique, but the house is covered by modified plants that have been designed to attack people who break in. This explains that in the Minority Report, there are three types of houses in terms of technology: houses that do not use technology at all, houses that use technology, and houses that apply technology to the evolution of organisms.Inthe Minority Report movie, it can be seen that there is often trespassing in people’s houses, which causes a house to no longer be a safe area. Matrix (Fortin, 2016) mentions the “asymmetrical flow” of digital information, an arrangement that “leads inevitably to injustice, inefficiency, and myriad social problems.” The asymmetric distribution of technological advances in the Minority Report film results in injustice, inefficiency, and other social problems.
Trespassing occurs because there is no threshold. In the book Threshold Spaces, Till Boettger explains that
In the film Minority Report, sacred or secret rooms are limited by eye-scanning technology. The first example is when Dany cannot enter the altar where the pre-cog sleeps because he does not have access and a high position in the PreCrime company. The second example is when Anderton becomes a fugitive, he cannot access public areas anymore. It was only when he had completed eyeball replacement surgery that he was able to visit public areas such as malls without having to be afraid to activate a warning alarm. This shows that, in fact, there is a technology that can limit a person’s movement and also prevent Trespassing in the house, but why do some people choose not to use it? Why do families who do not use technology live happily, but Anderton, who uses an ideal condo in a metropolitan area, feel lonely and depressed? On the other hand, Ian Douglas, a writer on science, technology, and health (2020), brings the opposite theory. According to him, the more technology develops, the higher the feeling of “sickness” for technology; this can be seen in the development of children who experience depression in the 4.0 era until now. Based on this theory, it makes sense that the seemingly ideal Anderton condo will be a non-ideal home in However,2054.
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Threshold acts as a space barrier that is used to divide one space from another.
Trespassing is still an unpleasant event and a very disturbing activity in the house. Therefore I try to observe the threshold owned by each house and how often the Trespassing frequency is in it.
Terrace (door and window) Eye scanner Modified plant House observation, threshold, and possibility of trespassing The three types of thresholds. Courtesy of Tjioenata, M, 2022 0807060504
77 Based on the table above, it can be seen that even with the technology owned by Anderton condominium, his house can still be trespassed. Even Iris Hineman’s house was breached by Anderton. Only then was Anderton attacked by Iris’ plants and nearly got poisoned.The diagram above illustrates the three types of thresholds in the Minority Report film and their traits: weak, normal, and strong. Weak Threshold types only use plants and terraces, while the moderate category uses Technology because the government still has control over technology. The strongest is a house with a threshold in the form of organisms that have been genetically modified so that they can maintain trespassing and can only be controlled by the owner. This article concludes that in the future, the meaning of a house will remain unchanged, namely as a place to take refuge and calm down. It is just that this ideal house does not always have to be equipped with sophisticated and up-to-date technology. On the other hand, based on the Minority Report, it can be seen that the ideal house is one whose security control is equipped with technology at the threshold area but whose access control is not regulated by external parties.
Aksa Khera & Dang (2015). Trespass. Armand, A. (2013). Arsitektur yang lain. Gramedia Pustaka Utama. Fortin, D. T. (2016). Architecture and science-fiction film: Philip K. Dick and the spectacle of home.
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McLennan,Routledge. J. F. (2004). The philosophy of sustainable design: The future of architecture. Ecotone publishing. Moffitt, P. (2012). Dancing with life: Buddhist insights for finding meaning and joy in the face of suffering.
ThamesRodale. & Hudson (2020). Is Technology Making Us Sick?. Ian Douglas.
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Eyefulness in The Fulfillment of Green Scope in Place to Live “Connected” (2017) “Connected poster,” Satola, C, Connected, 2017.
Richard Hizkia Student
Presenting nature through technological representations (holograms and smart panels) that can replace direct human experience Timmy and his family. Courtesy of Satola, C, 2022 Interior when the technology is not turned on. Courtesy of Satola, C, 2022 Smart panel. Courtesy of Satola, C, 2022 Nature hologram. Courtesy of Satola, C, 2022
The social life experienced by Timmy invites much controversy due to the use of AI as a constraint to human movement. As said by a reviewer (Hitchcoc, 2019), “They May as Well Not Exist - This is a setting where people no longer have any will.
Timmy always follows AI’s command from the moment he wakes up or follows his advice before leaving for school and takes AI’s decisions as the primary consideration. The desire to get a “ humane “ relationship” arises when he sees a family that has not been affected by the AI system. Timmy feels curious and longing when he sees them interacting without being limited by the devices that filter their minds. Timmy felt the desire to be doing things freely without the AI’s command to happen in his family. Apart from a life directed and controlled by AI, technological developments are also seen in the background, such as holograms and smart windows that display what humans want in front of their eyes. For example, displaying natural scenery that looks real on the smart window.
Connected is a short film about the loss of human free will towards a life determined by artificial intelligence (AI) decisions in their daily life. In the transition period to the use of AI, not all families have applied this system of using AI. Timmy, the main character, played by Ethan Sues, is a child from a family that has implemented the system, but Timmy wants to change this system in his family so they can freely act using their hearts and minds together.
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81 They are “connected,” which means a machine does all their thinking for them. Everything is bone white, their clothes, their homes, their furniture. A boy begins to realize that he and his parents are zombies. It is quite sad and hopeless.” (Kirpianuscus, 2018) “the perfect world - A white, aseptic world. Moreover, a boy becomes, more and more, stranger by it. The connection between family members, as a tool against conflicts and for wise use of time, images from the ordinary existence of another family, and the temptation of a “real” park. A film about the form of dictatorship. Or just a warning. Inspired cinematography, Admirable performance of EthanPeopleSuess.”will possibly say that the life that happens in the film becomes a meaningless life as a result of the dictatorship of an AI that seizes people’s freedom of expression, thought, and expression. However, in addition to being the controller of human life, Connected (the AI system in this film) offers conveniences, such as showing the direction of the road, providing reminders of the daily agenda, and giving commands to do something. All the assistance was done without thinking that the human being was forced to do it. The life that depends on technology makes this film suitable to be called a hybrid life. In this film, when Timmy wants to take his parents to the park, it can be seen that both of Timmy’s parents refuse to leave, and their solution is to bring the park into their home. Timmy’s family downloaded a “nature” feature into their home. The “nature” appears in the room through holograms and Timmy’s family smart panels, but alternatives to green land or balconies to replace their journey are not shown in the film. Visually, can the presence of nature using holograms and smart panels replace the experience of coming to a park? If what is needed is only a pleasant view for the eye, then the need has been fulfilled because smart panels provide a realistic view and holograms give off a 3D effect of trees, flowers, and others. However, if what is needed is a function and a feeling of completeness, such as being directly in a garden, the need is displeased.
From the previous matter, it can be concluded that presenting nature through representational technology is indeed exciting and makes human life easier, but when this convenience changes human lifestyles where it replaces many fundamental things, do we need to limit the use of technology? In conclusion, technology as a human convenience cannot thoroughly answer all human needs, such as the plot in the short film Dust “Connected.”
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Are these various technologies something to be avoided or concerned about? These technologies might be threatening if their sophistication shifts the actual existence of nature. For instance, when the presence of nature in residence can be downloaded and displayed visually, will the green space in residence be replaced? Indeed, open green space which serves as city parks will keep on existing. However, the effects that will be perceived on residential buildings in the context of architecture can change, such as residential areas becoming narrower and condensing livable space due to the loss of housing space function.
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83 21 Pallasmaa, J. (2012) The Eyes of the Skin. Architecture and the Senses. Peterson, M. (2020) The Senses of Touch. Affects and References:Technologies.
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“Technology scene,” Spielberg, S, Ready Player One, 2018.
Hybridtual Technology Impact on Social and Architecture “Ready Player One” (2018) “Ready Player One poster,” Spielberg, S, Ready Player One, 2018.
Antony Ong Student
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Ready Player One (2018) tells the story of a teenager named Wade Watts (Tye Sheridan) who lives in Columbus, Ohio. He and the rest of the population lived a hard life at that time due to problems such as pollution, climate change, politics, and unemployment. However, a virtual world with VR or a device allows us to see the virtual world and its world called OASIS, which allows users to do anything, including changing identities. OASIS became so popular that it was said to be a second life.
Our society is now being reshaped by rapid advances in information technologies, computers, telecommunications networks, and other digital systems that have vastly increased our capacity to know, achieve, and collaborate. These technologies allow us to transmit information quickly and widely, linking distant places and diverse areas of endeavor in productive new ways and creating communities that just a decade ago were unimaginable.
In this digital era, one of the technologies that are often used is multimedia technology which is also developing. The delivery of information can be delivered more interactively and effectively because it can reach the human senses, for example, VR (Virtual Reality). VR is a computer-generated environment with scenes and objects that appear to be accurate, making the user feel they are immersed in their surroundings. This environment is perceived through a device known as a Virtual Reality headset or helmet.
Human can interact with computer-generated environments in a way that mimics real life and allows us to interact globally as if we were one of the characters through virtual reality technology Wade Watts using VR technology in a van. Courtesy of Spielberg, S, 2018 Avatar watching a physical world footage from virtual world. Courtesy of Spielberg, S, 2018
The scene that relates to this statement is when Wade understands his regrets about his life. Halliday always felt more comfortable living in video games than in the real world, and he always felt more comfortable in the past than in the present. At the end of his life, after losing his chance at love and his partnership with his best friend, Halliday came to understand the importance of reality, which he described as “the only thing that’s real.”
89 This film aims to break an obstacle or “easter egg” created by the developer or maker of the OASIS. Through this film, the critical part that I want to discuss is the relationship between the use of VR and the physical world. What kind of space experience is described in the film? With the existence of VR technology, human life is changing toward positive or negative from the point of view of architecture and social interactions. In Ready Player One, the use of VR has both positive and negative impacts on how humans can interact with each other either through the real world or the virtual world itself. The positive impact generated by using VR is that social interaction with the virtual world using avatars is easier because it can be done globally and provide more information. We can obtain much more information because that avatar usage makes a person who uses VR technology not have to show his true identity. Psychology and communication researcher Dr. Shane in ECU (Edith Cowan University, 2021) study comparing social interactions where people engaged in VR conversation versus face-to-face. They used full face and body motion capture technology to create a ‘realistic motion avatar’ that closely mimicked their real-life counterpart. Afterward, they analyzed how people interacted with avatars compared to people and found that it can make people more comfortable interacting with each other using this tech. The virtual entity representing a human in a collaborative environment is called an avatar. An avatar may be a somewhat realistic representation of the person or an abstract representation. Alan B. Craig, Ph.D. is the Associate Director for HumanComputer Interaction at the Institute for Computing in Humanities, Arts, and Social Science (I-CHASS), and Jeffrey D. Will is Associate Professor at Valparaiso University (2009) argue that the mere presence of avatars can greatly improve the ability of the collaborators to communicate through nonverbal means. For example, pointing in a direction, waving an arm, or even just looking in a particular direction can convey valuable information from person to Whileperson.thenegative side of using VR is that people become more focused on solving problems in the virtual world rather than problems in the physical world. Because in the virtual world, humans can live according to what they want, which makes them tend to feel more comfortable using VR so that what is in the real world is forgotten.
In passing that lesson on, he gave Wade a more fantastic prize than anything in the game: An understanding that he cannot spend his whole life Inescaping.Ready Player One, the dimensions of space in the physical world do not significantly affect the virtual world. Through Wade’s scene, the main character enters the virtual world using VR with a narrow physical world dimension (the back of the van) but can freely move in the virtual world for exploration. Then everything building in the virtual world is more effortless. They are formed without the need for long construction as in the physical world, so that the experience of space is easy to feel in the presence of the VR. Mixed Realities (MR) presents a curated selection of projects and texts contributed by leading international architects and designers using virtual reality technologies in their design process. It triggers discussion and debate
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90 0504 on exploring the aesthetic potential and establishing its language as an expressive medium in architectural design. Although virtual reality is not new and the technology has evolved rapidly, the medium’s aesthetic potential is still emerging, and there is a great deal more to explore.“Another possibility of asynchronous collaboration is to record all the participant’s actions (s), allowing other participants to replay that experience later. The collaborators can leave annotations (such as messages or virtual pictures) for others who enter the space later.” – Virtual Reality in an architectural relationship. (Craig & Will, 2009).Anton Reznikov is an IT entrepreneur and executive with a solid background in Software Engineering, Project Management, and Business Administration; he quote, “Applications for VR in healthcare are already abundant and are rapidly expanding. VR is expected to be a mainstay in hospitals shortly. They are eager to support patients suffering from physical pain and mental problems.” His research shows that the use of VR, in general, can add to human happiness from various aspects. Examples are in the work aspect, facilitating work that requires simulation (architecture, doctors, the military), helping people with disabilities to experience different space experiences, facilitating the educational learning process, and much more. So, I disagree with the main character’s view in the film, who concludes that reality is the only place where you can find true happiness and thinks that virtual reality is just a fake.
Because Reznikov’s research has shown In the real world, communication can’t be done Virtualglobally world using avatars can communicate through nonverbal and globally
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91 that life requires a balance between reality and virtual, technology such as VR can help many aspects of human life. Virtual reality is a compelling computer application by which humans can interface and interact with computer-generated environments to mimic real life and engage all the senses. Although its most widely known application is in the entertainment industry, the real promise of virtual reality lies in such fields as medicine, engineering, oil exploration, and the military, to name just a few. VR allows us to immerse ourselves in video games as if we were one of the characters, learn how to perform heart surgery, or improve the quality of sports training to maximizeMeaningful,performance.engaging, and exciting research is currently being undertaken in the development and application of VR, much of which will lead to valuable products. Currently, most VR systems are expensive and, therefore, beyond the reach of ordinary users. However, low-cost, less functional systems could be and must be developed, particularly for disabled people. These systems will enable them to participate in the new and unusual experiences which VR promises Barker, Philip. (1993). Virtual reality: Theoretical basis, practical applications. Burdea, Grigore C., Coiffet, Philippe. (2003). Virtual Reality Technology. Craigh, Alan B., Will, Jeffrey D. (2009). Developing Virtual Reality Applications Eloy. Sara., Kreutzberg. Anette. (2021). Virtual Hicks,Aesthetics.Paula. (2013). Deteriorates Human Jaya.,ConnectionsHendra. (2012). Journal of Vocational Malaby,EducationThomas M. (2009). Making Virtual World Rogers, Shane L., Broadbent. Rebecca., Brown, Jemma. (2021). Realistic Motion Avatars are the Future for Social Interaction in Virtual Reality. Frontiers in Virtual Reality.
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Paradise Found “Free Guy” (2021) “Free Guy poster,” Spielberg, S, Free Guy, 2021.
Kyra Keely Kumala Student
94 Free Guy (2021) starts by introducing us to an NPC (Non-Player Character) player named Guy (starring Ryan Reynolds) in a famous and successful video game called “Free City.” A game with goals to earn money by killing and stealing, like games we usually have. He wears the same outfit every day and goes to work at the bank, which gets robbed multiple times in a day by real players of the game. He did not mind this until one day, he met Millie’s avatar (starring Jodie Comer), a real player of the game, who broke his coding. Making him a selfaware artificial intelligence who has his own free will to do and be anyone. Back in the real world, we find that the “Free City” code was stolen by a man named Antoine (staring Taika Waititi) from Millie and Keys (staring Joe Keery), which is actually for their original game, “Life Itself.” Here, they are working to develop a virtual game, a world where instead of just giving gamers violent missions, players can interact with each other and the characters in the game. The film ends with Guy and the other NPC characters living in a virtual world with different environments and settings than the natural world and even the previous game, where real players can watch them evolve. A utopia with many natures and greeneries dominating the place. After watching the film, there are aspects found that are interesting that I will discuss and study further. Two main questions were formed from the technology, social and architectural points of view.
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01 Sound, atmosphere and distance plays a big part in the romantic development between human and technology (computer, handphone, and earphone) Utopia is represented with greens. Courtesy of Spielberg, S, 2021 City is equipped with greenery. Courtesy of Spielberg, S, 2021
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How is socializing in the real world and the game different? (social)
. At the end of the film “Life Itself,” what statement is trying to be shown? (architectural) Self-aware artificial intelligence (AI) and a virtual world are the two technologies found in this film. As we know, AI can be classified into four different types. The first two types have been found in many technologies today: Reactive, AI with no memory and only responds to different stimuli, and Limited Memory, which uses memory to learn and improve its responses. While other two AI now exist as concepts or works in progress: Theory of mind, understanding other intelligent entities’ needs. Moreover, Self-Aware AI is essentially the final type of AI where the machines are aware of themselves and can perceive their internal states and others’ emotions and behaviors (Naveen Joshi, 2019). This self-aware artificial intelligence can be found in the film Guy. His advanced coding makes him self-aware like an average human. In this virtual world (the game), interactions occur between NPC characters and authentic players, their avatars. In online interaction (virtually), there is a more significant percentage of anonymity among each person. What we show others might not be accurate. It could be a facade hiding our true selves, and these are called avatars. The mere presence of avatars can significantly improve the ability of the collaborators to communicate through nonverbal means. The primary benefits of virtual shared spaces allow collaboration via computer networks (Alan Craig, William Sherman, and Jeffrey Will, 2009). Accordingly, the virtual world provides a broader and more diverse range of communication. With a more significant percentage of anonymity, in some way, the interaction between others may be more straightforward and more accessible, seeing as they will not know each other. An example of this can be seen throughout the film, where the avatars players use to communicate are nothing like their real selves. How is socializing in the real world and the game different? In “Life Itself” (the name of the final game), we see characters and real players connect, communicate, and interact in this virtual world. One of the examples of this is when Guy and Millie are communicating with one another and other NPC characters in one of the film’s final scenes. However, as shown multiple times throughout the film, players are not how they are in real life. Many examples of this are shown repeatedly, one of which is a young boy with an avatar opposite him. While in real life, he is a young boy, in the game, his avatar is an older man with a mustache and beard. Having a relationship and socializing with people with authenticity is essential. Being authentic is the tiebreaker between a happy, healthy relationship and a relationship filled with self-doubt. Authenticity means not being afraid to show your partner who you are, warts and all. It is true that early on in a relationship when everything is new and exciting, we are often on our best behavior to attract others and keep them from being scared off by the reality of our ‘less than perfect’ selves (Krystal Woodbridge, 2015). Psychological theorists also consider authentic selfexpression a vital feature of a healthy individual and relationships (Abraham Maslow, 1970) (Erik Erikson, 1968). When an individual is authentic, by Maslow’s theory, they will be open to new experiences and be empathetic, non-judgmental, and non-hostile towards others. Moreover, as suggested by Erikson (1968), without authenticity and voice, an individual might suffer from conflicts of identity and be destined to be withdrawn, depressed, and unready to exercise the resourcefulness required for true intimacy.Iagreewith Krystal Woodbridge that we are often on our best behavior when starting any new relationship. It is tempting to fake masks to protect ourselves from feeling vulnerable instead of revealing our authentic selves. However, it can be tougher to expose vulnerabilities as relationships bloom as time goes by. Agreeing with Maslow and Erikson, a healthy individual and
96 060504 relationship require authenticity. At the same time, we cannot find authenticity when we are socializing in a game or virtual world. Physical contact with one another is also missing here. In the film, we see all the players in the game using different profiles and filters than their actual selves (avatars). Further proofing that is socializing virtually is nowhere near the authenticity and genuinely found in real-life relationships, which makes real-life interaction superior. Moving on to the next question, what statement is trying to be shown at the end of the film in “Life Itself”? This question brings us to the word utopia. Utopia was first presented in the year 1516 by Sir Thomas More. It is a word used to describe a perfect imaginary world. In More’s book, utopia is imagined as a complex, self-contained community set on an island, on which people share a common culture and way of life. There are no greed, corruption, or power struggles in a utopia because there is no money or private property (Thomas More, 1516). Since then, there have been many ideas on the word utopia. Frank Lloyd Wright’s idea of utopia can be seen in his book. In “The Disappearing City” (1932), he writes that he imagines spacious landscaped highways, giant roads, themselves great architecture, passes public service stations, no longer eyesores, expanded to include all kinds of service and comfort. They unite and separate, separate and unite the series of diversified units, the farm units, the factory units, the roadside markets, the garden schools, the dwelling places (each on its acre of individually adorned and cultivated ground), and the places 1987’s architecture and back to young protagonist 2002’s architecture and back to young protagonist Present architecture and old protagonist060504
97 for pleasure and leisure. These units are so arranged and integrated that each citizen of the future will have all forms of production, distribution, selfimprovement, and enjoyment within a radius of a hundred and fifty miles of his home now readily and speedily available through his car or plane. This integral whole composes the great city that I see embracing all of this country, the Broadacre City of tomorrow (Frank Llyod Wright, Generally,1932).innovels and movies, a utopian world almost always follows the same patterns/description. Raymond Williams, a pioneer in the early history of what is now known as cultural studies, have in his final decade, turned his attention to the concept of utopia and distinguished these patterns/descriptions of utopia found in science fiction into four distinct types: The Paradise which a happier life is described as simply existing elsewhere, The Externally Altered World which a new kind of life has been made possible by an unlooked-for natural event, The Willed transformation which a new kind of life has been achieved by human effort and The Technological Transformation which a new kind of life has been made possible by a technical discovery (Raymond Williams, 1979). Another example of utopia can be found in the movie Tomorrowland, where there is a more advanced and futuristic world with flying cars and floating buildings At the end of Free Guy film, in the virtual world (the game), we see a proposal idea of a utopia. In contrast to previous ideas and theories on utopia, the idea of utopia is represented with greens dominating the city instead of flying cars and advanced technologies. Interestingly, there has never been a discussion or theory on a utopia filled and dominated by nature and greeneries. Hence, it can be concluded that in the virtual world, the architecture and environment were made different in order to propose a new idea of utopia. Which seemed to be influenced by the utopia that we are now striving for. As there are many common theories and opinions on utopia (Sir Thomas More, Frank Lloyd Wright, and Raymond Williams’ four types), this new idea of utopia, in my opinion, should and is a compelling angle to be explored. Many research and studies have been done that time and time again how vital nature and connecting to nature is. Psychological health and wellbeing heavily rely on nature, and our cities very much lack the inclusion of nature in their landscape and buildings. People who are more connected with nature are usually happier in life. Nature can generate many positive emotions, such as calmness, joy, and creativity, and can facilitate concentration. A good nature connectedness can lower depression and anxiety levels (Mental Health Foundation). The existence of this utopia in the film further proves and acts as a statement to everyone on the importance of natural elements in our living areas and life. A utopia where our cities are dominated by nature, plants, and landscapes that can connect us back to the earth and provide various health benefits. A paradise filled with nature and greeneries breathing back life into our monotonous cities.
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American Psychological Association. (n.d.). Apa PsycNet. American Psychological Association. Barton, J. (2015, February 13). Do you really know your other half as well as you think you do? HuffPost UK. Goldhill, O. (n.d.). There’s a clear way to know if you’re being inauthentic, according to psychologists. Lcc.Quartz.(2015, April 6). Authenticity in relationships. MentalMedium.Health Foundation. (2021, May 13). Nature: How connecting with nature benefits our mental health. Mental Health Foundation.
More, T. (2010). Utopia: Thomas more. Feather Trail Press. Pierce, R. J. (2021, October 14). ‘free guy’ artificial intelligence: Can an ai be actually self-aware? Tech ScienceDirectTimes. . (n.d.). Virtual spaces. Virtual Spaces - an overview | ScienceDirect Topics. Strategies by Design. (2020, February 17). Empathy – key to belonging. Strategies by Design. Williams, R. (n.d.). Science fiction studies. Utopia and Science Fiction. Wright, F. L. (1932). The disappearing city. William Farquhar Payson.
References:
Learning From San Junipero “San Junipero” (2016) “San Junipero poster,” Harris, O, San Junipero, 2016.
Pasha Maulana Yusuf Student
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It’s undeniable that people were shocked by the premiere of UK’s hit tv show Black Mirror when it first landed on Netflix. Since the first episode came out, that depicts the relationship between the UK’s Prime Minister and an animal to free her daughter that was taken by ransom. Until their latest season, proving that they have broadened their horizon in experimenting in new settings such as the United States. Aside from all the bleak themes of Black Mirror, one episode stood out of the ordinary according to the viewers. Season three, episode four, San Junipero. “San Junipero is a story of selfishness— but the deserved kind is earned (Zutter, 2020). Natalie Zutter from Den of Geek described the episode as an act of selfishness of us humans in a ‘deserving’ way. Emily VanDerWerff from VOX writes that San Junipero is the show’s most beautiful, hopeful episode yet (VanDerWerff, 2016). She further explained how this particular episode is different and sets apart from the rest of the third season, “it beautifully balances character revelations with plot and setting revelations.” Senior associate editor of The Atlantic called San Junipero the standout of the season. He claimed that the future in San Junipero is the one we might eventually arrive at, depicting its flaws and limits within a powerful purpose. “It may have stood out because its tone was so radically different—this is the one story in which the implications of future technology are somewhat bright.”
Citizens can return to their favorite decade through computational system that has an effect on architectural visualization: complex architecture in the past and simple architecture in the present in the past. Courtesy of Harris, O, 2016
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101 This article provides another point of view on this episode. While I agree with what they are saying about San Junipero, I think there needs to be more light shared on architectural space within the episode. This episode gives us a glimpse into the future, and I believe that the future in this episode will not have any significant change in architectural style.
The future in the San Junipero episode or the present time is depicted as a minimalistic setting. Everything is stripped down to a minimum. No
Season three, episode four of Black Mirror, titled San Junipero, shares a story about when the artificial reality was already accessible to all of us humans. Two main protagonists are introduced in this episode. They develop an interest in each other in San Junipero, while the other is only looking for a fling, the latter developing feelings and looking for something serious. In the episode, the settings are divided into two: San Junipero and the present. Timeframes are divided into the desired time of the protagonist. San Junipero is depicted in the episode as a beach party town where the artificial reality manifests its endless frolics. Citizens and tourists inside can return to their favorite decades and idealized ages for a more potent dose of nostalgia. Consequences are not applicable in San Junipero, so strangers can get with each other or go for deadly joyrides that will not leave a scratch on them, as there is a thing called pain sliders. When turned to zero, the person will not feel pain. It is safe to say that it is a computer-created afterlife where older adults can upload their consciousness and live their best lives. Sims described San Junipero as a virtual world, a massive database in the cloud that people’s consciousness can be uploaded to, guaranteeing virtual immortality to the dead (Sims,2016). According to the episode, the setting of San Junipero and where it took place to become a point of interest as to what the future looks like. During the present time, when the protagonist is not spending time in San Junipero, the spaces surrounding them start to become more Inapparent.adiscussion of the architectural form of the future, a couple of theories would take this discussion to another level. First, I would like to introduce a theory written by Patrik Schumacher on Parametricism. Patrik Schumacher is an architect and architectural theorist based in London, famously known as the principal architect of Zaha Hadid Architects. Schumacher coined the term Parametricism, unveiling it as a new global style for Architecture and Urban Design.The future city will consist of novel architectural forms designed using the latest computational tools. According to him, the state of Parametricism is already ongoing, and it will not be long until it becomes worldwide known. Schumacher outlines the design of logic of Parametricism, which he maintains, has now superseded modernism and other contemporary styles. Aesthetically, the elegance of ordered complexity and the sense of seamless fluidity is akin to natural systems that constitute the hallmark of Parametricism (Schumacher, 2009).Another theory that I would like to introduce to the equation comes from Mario Carpo. Mario Carpo is an architectural historian and critic. His expertise surrounds the history of architectural theory and the history of cultural technologies. Carpo wrote a book titled The Digital Turn in Architecture 1992-2012. He stated that big data could give us a new form of architecture. Big data refers to the number of data sets that may be analyzed computationally to reveal patterns, and trends, especially in human behavior and interactions. Carpo argues that the sheer amount of ‘messy’ data available today has led to a new messy, ‘voxelated’ style of architecture. That big data will birth or give a new influence to a new particular aesthetic (Carpo,While2013).Iunderstand that Schumacher and Carpo believe that there will come a change of style in architecture, my view from this episode is that the style will not change.
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Bratton argued about the state of architectural style in the future. Bratton is an American sociologist, architectural, and design theorist. He stated that we humans should forget about futuristic architectural forms. Going the other way from Schumacher and Carpo, Bratton observes an advanced computational device that is already changing our experience of cities: the simple iPhone.
102 ornaments are shown in the architecture where the setting surrounds the movie.
TCKR Systems must be the most notable building that is shown in the episode. It is a place where the human consciousness is uploaded to spend time in SanAsJunipero.statedbefore, San Junipero is all digital, and consciousness is uploaded. Particular scenes show that the building looks more straightforward than what was imagined by Schumacher and Carpo. It will be a space to store some hard drives of human consciousness, which will be uploaded to the cloud. The San Junipero shows what the future would look like when humans and technology or robots start to live together on a more drastic scale. Many people assume that this is posthumanism or at least the start of it, so they depict a world with posthuman design’s influence. What makes posthuman design different is how we approach designing it. As time passes, we gradually become aware that man itself is not the center of the universe. We do not design based on a ‘normative’ body as a universal calibration standard when artificial intelligence, artificial reality, robots, and others are thrown into theBenjaminmix.
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103 Although it has little impact on the design of cities, it has already impacted how we humans operate in existing cities (Bratton, 2009). I agree with Bratton regarding the state of architecture style in the future based on Black Mirror’s San Junipero that computation has not given us new seductive forms but rather new ways of operating.AsMario Carpo has discovered, “That big data will birth or give a new influence to a new particular aesthetic.” It does not go hand in hand with what San Junipero portrays about the state of our future in the world. The future in this episode depicts the idea of Benjamin Bratton’s writing regarding that rather than seductive forms being birthed. There are new ways of operating in the world that directly affect humans. While I think Schumacher and Carpo raised a good argument regarding the style of the future, I would not deny the fact that technologies are gradually rising at a fast pace. Then what if the future architecture style would not reflect Schumacher’s claim on it being an ordered complexity, seamless, and others that he visions it to be. What if the future pushes us to design or produce much simpler buildings as they would only be stored for our consciousness. (2009). Architectural Digest: Digital Cities. IPhone City, 79(4), 90–97. Carpo, M. (2013). The Digital Turn in Architecture 1992 - 2012. Wiley. Global Style for Architecture and Urban Design, 79(4), 14–23. Leach, N. (2021). Architecture in the Age of Artificial Intelligence: An Introduction to AI for Architects (1st ed.). Bloomsbury Visual Arts. Schumacher, P. (2009). Architectural Digest: Digital Cities. Parametricism: A New. Sims, D. (2016, November 16). ‘Black Mirror’ Recap: ‘San Junipero’ Is the Standout Episode of This Season. The VanDerWerff,Atlantic.E.(2016, October 31). Black Mirror season 3, episode 4: “San Junipero.” Vox. Is the show’s most beautiful, most hopeful episode yet. Zutter, N. (2020, February 8). The Good Place, San Junipero, and the Ethics of Love.
987654321References:Bratton,B.
Chapter Four When All The Three Bubbles Influences Each SimultaenouslyOther 04
“Technology scene,” Pfister, W, Transendence, 2014.
What Power of Gender Can Do “Transcendence” (2014) “Transcendence poster,” Pfister, W, Transcendence, 2014.
Aulia Gina Aisha Student
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The act of home-making, the establishment or management of a home, is naturally constructed and considered a female practice. In Transcendence, however, the act of homemaking is mainly composed indirectly by the male. When in reality, the process of homemaking should be structured by the collective participation of both actors, the female, and male. Architecture and domesticity in Transcendence predominantly have masculine connotations as the driving forces.
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Michael O’Sullivan, a film critique and reporter from Washington Post, observes the movie itself is the epitome of the male dominance; “The dystopian future envisioned by last year’s critical darling “HER” reappears in “Transcendence,” albeit with a lot more testosterone. You could even call this new thriller — in which a godlike artificial intelligence, played by Johnny Depp, starts building an army of cyborg zombies — “Him” (2017). I agree with O’Sullivan’s statement that the male character in Transcendence is dominant but to amplify the discussed matter, I will further explore the dominance of the male character in the process of homemaking and domesticity and its impact on the dwelling of the couple.
Spike Jonze’s (movie director) HER (2013) offers insight that, rather than battling for dominance with artificial intelligence, it might take us on a romantic journey of unending bliss and companionship. However, in Transcendence, I argue that it is like wiping a clean slate by giving us
Will consciousness that has been uploaded to the intelligent machine is completely transformed into an artificial human, making the reduction of decorations and ornaments to a minimum in the home, and changes in the way couples interact on a daily basis. Will’s consciousness is uploaded inside PINN’s core. Courtesy of Pfister, W, 2014 the house seems dull and cold since there is no recollection of any personal objects. Courtesy of Pfister, W, 2014
109 the technophobia that gives off the impression of a cyber-thriller like a movie Virtuosity. Transcendence gets underway with a professor named Will (Johnny Depp), an expert in artificial intelligence (AI), who conducts an experiment to build intelligent machines that anti-tech organizations oppose. This extremist organization managed to poison Will, putting his life on the brink of death. In desperation, Will’s wife, Evelyn (Rebecca Hall), thinks she can upload Will’s consciousness into the AI machine called Physically Independent Neuro-network (PINN). An intelligent entity that has emotions and self-awareness. In line with the theme discussed in Blade Runner, I argue that this film shows a change in domestic culture.Domestic Cultures examine the meanings and values associated with home and how these have changed over time. With Will’s altered physical form, everything around him changes, including the domesticity and how the couple establishes and manages their home.Before we dive into the main discussion, what is the influence of artificial intelligence on social interactions that arise in the film that affects the process of home-making and domesticity? Most of the social interactions that appear in this film use a medium, whether physical or digital. Because Will’s consciousness has been uploaded into PINN, the intelligent machine he created, Will now no longer has a physical form or body and is fully transformed into an artificial human. In this film, body movements, facial expressions, and eye gaze are challenging to read because Will is part of artificial intelligence which is difficult to express emotions and establish regular interactions like humans in general, and most interactions are done verbally. This makes the interactions between Will and all the characters look stiff and cold because of the lack of intimateTherelationships.charactersinteract in three ways; the first is digital interaction, such as texting, calling, and video calling—next, physical interaction, such as touching, hugging, kissing, and others. The last one is hybrid interaction, where the two previous interactions, namely digital and physical, become one. Certain scenes when two reallife characters talk and interact with Will in the virtual world can be set as an example of hybrid interaction between characters. In my opinion, digital interaction allows everything to be connected and easier to reach. However, on the other hand, it also makes everything seem disconnected in real life because many people are texting instead of talking. In correlation to our previous discussion, this technology (AI) is creating social and legal challenges that have to do with data accessibility and integrity, privacy, safety, algorithmic bias, the explainability of outcomes, and transparency (Przegalinska A, 2019.) In the film, Transcendence heavily gravitates toward AI as the basis of all problems that appear in the movie. A film critique, Manohla Dargis in 2014, asserts that as Will’s power expands, his wife becomes progressively more isolated. This clarifies why their laboratory facility is distantly built from the bustling city and is now secluded. Furthermore, Will’s uploaded consciousness grants him the ability to access countless databases and even geo-locating suspects in real-time, as mentioned in the film, delineating Will’s power as he controls almost everything, especially in the house. Will can effortlessly make a simple gesture like turning on music.
The involvement of AI technology in conjunction with digital social interaction in the movie changes how the character senses the meaning of home. At the beginning of the film, Evelyn and Will’s house has a lot of sentimental objects scattered around their house. Many personal and historical memories are contained in the objects in their home that make this house feel warm and alive when the interaction between them is still physical. In the next scene, the state of their house is no longer the same. Their house looks cold and is no longer filled with sentimental objects or
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The absence of a book collection, photographs, personal belongings, and other sentimental objects is apparent in the later scene. This happened since the interaction between Will and Evelyn turned utterly digital. Before the further discussion on the matter, it is essential to understand the nature of how males and females dwell. As John Ruskin (1870) states, The woman’s power is for rule, not for battle – and her intellect is not for invention or creation but sweet ordering, arrangement, and decision. [. . .] The man, in his rough work in the open world, must encounter all peril and trial; [. . .] But he guards the woman from all this; within his house, as ruled by her [. . .] need enter no danger, no temptation, no cause of error or offense. This is the true nature of home – it is the place of Peace.In the aftermath of their different natures, men are prone to suit their role in the open world or public realm while female, on the contrary, fit their role in the private realm of dwelling involved in the process of home-making. A scene from the film shows the activity done by the female, such as gardening in the backyard as the husband builds what they call a Christopher“sanctuary.”Reed, in his book, argues that modernist architects associate themselves with “avantgarde,” showing their stance on being undomestic. According to Reed, modernist architects endorsed a The character interact digitally The character interact physically The character interact in a hybrid way
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traces of personal belonging that they share in the house. They stripped-down everything to the barest minimum of decoration and ornaments, leaving only the essential object around the house.
111 living where the barest minimum of decoration and ornament around the house is reduced with the existence of machines (1996). In addition to Reed, a German philosopher Walter Benjamin declared that dwelling in the twentieth century no longer satisfies the need to be a permanent imprint but the more temporary and transitory interior as the result of the new society and environment that are more transparent and open:Forit is the hallmark of this epoch that dwelling in the old sense of the word where security had priority has had its day. Giedion, Mendelsohn, and Corbusier turned the abiding places of man into a transit area for every conceivable kind of energy and for electric currents and radio waves. The time that is coming will be dominated by transparency (1980). As Ruskin stated in the previous discussion, the process of home-making is naturally constructed by females. However, in the movie Transcendence, the process of home-making and domesticity is under the male’s control as he possesses more dominance. Will’s dominant masculine power over his wife leaves her no room to shape her own house. Ever since Will’s consciousness is uploaded into the PINN’s core, his power has grown; he has complete control of everything around the house. A simple example in one of the scenes is that he can play and pause music independently without Evelyn’s consent and even replay a video. Digitized objects controlled by Will around the house can be seen in a few scenes where they are trying to mimic an aquarium and window-like view by adding virtual fish and a virtual window with green scenery. They are losing the essence of experiencing home and an organic life because everything can be rewound and rewatched. The spatial arrangement of the house changed as the house became smaller, and all spaces were intertwined with each other without boundaries, showing an openness. With Will’s altered physical form, they no longer need physical objects. The character uses the house only for primary activities, and no personal activities occur.In conclusion, I conclude that the reduction of decoration and ornament to its barest minimum in the house in this movie was influenced by household gadgets and intelligent technology, leaving only the essentials in the house and the shift in how the couple interacts daily. For example, a physical aquarium is being replaced with a digital image of a moving fish. They were eliminating unnecessary objects since they no longer needed them. I agree with Reed and Walter’s claim about the background of domesticity changes, but both of them did not mention AI technology, and both also have different timelines. So, for further discussion, AI technology and the male and female nature heavily influence the act of home-making. It explains why when one actor is more dominant than others, it creates a massive impact on the changes in domesticity around the house. Walter. (1980). (Collected Writings. Work edition, vol. 8), Frankfurt: Suhrkamp. Dargis, Manohla. (2014). I Am My Own Monster (Technology Rules!). O’Sullivan. (2017). ‘Transcendence’ movie review Przegalinska, A. (2019). State of the art and future of artificial intelligence, Policy Briefing, Policy Department for Economic, Scientific, and Quality of Life Policies. Directorate-General for Internal Policies. European Parliament.
Reed, Christopher. (1996). “Introduction,” in Christopher Reed (ed.), Not At Home. The Suppression of Domesticity in Modern Art and Architecture, London: Thames & Hudson
Reed, Christopher. (1996). “Introduction,” in Christopher Reed (ed.), Not At Home. The Suppression of Domesticity in Modern Art and Architecture, London: Thames & Hudson Ruskin, John. (1870). “Of Queens” Gardens’ in John Ruskin, Sesame and LiLies and The Crown of Wild Olive, New York, The Century Co.
7654321References:Benjamin,
Virtual EmotionsAtmospheres:BetweenRealities “White Christmas” (2014) “White Christmas poster,” Tibbetts, C, White Christmas, 2014.
Dennis Pranata Student
If you are curious about how cutting-edge technological advancements might shape our future, Charlie Brooker’s Black Mirror anthology series can give you a quick glimpse of a possible dystopian future full of horrors brought by their manipulative effects on people’s personal lives and behaviors. If I were to mention one lasting image from the second season’s fourth and final episode White Christmas (2014), it would be Matthew Trent (staring Jon Hamm) persuading cookie Greta (staring Oona Chaplin) by leaving her insane in an empty all-white virtually simulated space with nothing to do until she agrees to work as an AI controlling real Greta’s smart home for the entirety of its existence.BryceEdward Brown (2019) and Harry’s Moving Media (2016), YouTube content creators focusing on movie commentaries, have classified White Christmas in the same group as The Entire History of You (2011), the final episode of the first season, as it explores a quite similar eye-integrated device. In contrast, I would consider grouping White Christmas with Playtest (2016), the anthology’s second episode of the third season, since both explore VR/ AR development, specifically focusing on atmosphere experience. In this article, therefore, I will interrogate this emphasis on the virtual atmosphere and how it can influence human beings’ perceptions, emotions, actions, and behaviors—further questioning whether human’s perception of architectural The existence of zed-eyes and the cookie technology makes human lines blur out between two realities, namely physical reality and virtual Zed-eyes.reality
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Courtesy of Tibbetts, C, 2014 The cookie. Courtesy of Tibbetts, C, 2014
Surrounding Objects and Architectural Environment
White Christmas’s Cookie explores Virtual Reality that other people generate to create a specific space with a particular atmosphere. We can call it a virtual atmosphere. These atmospheric experiences can influence human perceptions, emotions, actions, and behaviors. We first see this extraordinary feature of the Cookie’s gadget to create a simulated body and space for the digital copy (Cookie) to experience an actual space in a scene where Matthew Trent exploited this feature to force cookie Greta into borderline slavery. Later, the episode introduces the horrors of this feature, assuming that what Matthew did to Cookie Greta was not terrifying enough. Matthew created a simulated space, precisely a copy of Beth’s father’s home, where Joe murdered Beth’s father.
115 atmosphere in VR, as experienced by the Cookies, is the same as in physical reality. The Block Culture The episode introduces two technologies, the Zed-Eyes and the Cookie. Zed-Eyes is a device integrated with its owner’s eyes capable of making phone calls, magnifying vision, taking photos, and blocking people. It is a mobile smartphone installed in your eyes. On the other hand, the Cookie is an Artificial Intelligence device created by making digital copies of its owner through their memory. As cookie Greta is a digital copy of the honest Greta, it has an excellent ability to know precisely what Greta wants and needs and complement her daily activities. However, in the traditional Black Mirror fashion, these cutting-edge technologies took a turn for the worse. Zed-Eyes have some privacy issues due to the Eye-Link feature. People can easily stream and share what you are seeing through your eyes. The photo and magnify feature also add to this already problematic privacy issue. Imagine having someone stalking and taking pictures of you without even knowing about it. In addition to that, its block feature has shaped society into thinking that it is the only way to solve any conflict. Rather than confronting their problems, people in this rendition of black mirror reality are shaped to always avoid their social problems by blurring and muting people out as if they do not exist. The Cookie is an intelligent home system that uses the user’s memory as the AI operates it. However, The Cookie is even more problematic, illustrating that people can manipulate your digital copy, fully equipped with your memory, into doing and admitting things without your consent. This episode is even scarier because these scenarios are not far from our reality. We have these technologies in development. It is scary because it is plausible. As Sam Wollaston (2014) from The Guardian wrote,“... his dystopia is not outrageous, it is plausible and all the more terrifying for it. Less sci-fi, more like now after a couple of software updates.” We are first introduced to this block culture from a brief scene of Matthew Trent’s wife using it after finding out about Matthew’s unusual side job. Matthew’s Job, on the side, as a virtual dating coach through EyeLink, helping guys get girls for sex. He also streams the Eye-Link of his clients having sex to his friends for money. We later found out that not all people handle the block very well. Later in the episode, we see Joe Potter (Rafe Spall) getting frustrated and developing a stalking habit of seeing his girlfriend Beth (Janet Montgomery) and their child. The situation got even worse when Joe killed Beth’s father due to frustration. I think all of this would not happen if Beth and Joe would talk and settled their argument. Black Mirror describes this as dystopian, and I cannot agree more. As social beings, humans are supposed to be able to communicate and confront problems. The block feature in Zed-Eyes is not a solution; instead, it is the opposite.
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In addition, he tweaked the time setting, making Joe believe that he had known and lived with Matthew in that cottage for five years. As Matthew’s interrogation gets more intense, the lighting in the cottage becomes cooler, similar to the ones in an interrogation room. As Cookie Joe, and Matthew chatted in the cottage, the more Joe recognized the cottage he was in. Cookie Joe became more vulnerable, sad, and full of regret as the virtually simulated space helped him remember his crime. Matthew finally succeeded as Cookie Joe confessed all his crimes in the virtually simulated space. In the final scene, Cookie Joe got to experience time at 1000 years per minute, with Wizzard’s I Wish It Could Be Christmas every day, played as Joe Killed Beth’s father, on repeat, which leads to him losing his mind as he experiences the atmosphere.PeterZumthor said, “I enter a building, see a room, and - in the fraction of a second - have this feeling about it.” in his lecture transcript Atmospheres: Architectural Environments - Surrounding Objects. Zumthor implies that humans can have a feeling about space in a matter of a split second as they enter and experience it. According to Zumthor (2005), the atmosphere is a multi-sensory experience.“Sowhat moved me? Everything. The things themselves, the people, the air, noises, sound, colors, material presences, textures, forms too - forms I appreciate. What else moved me? My mood, my feelings, the sense of expectations as I was sitting there.” Zumthor then summarizes all aspects that influence the atmosphere and how humans experience it into nine main points; i.e., the body of architecture, material compatibility, the sound of the space, the temperature of the space, surrounding objects, composure and seduction, interior, exterior tension, intimacy, and light on things.What Cookie Joe experienced while being interrogated by Matthew is multi-sensorial. Mid-way conversation, Joe started noticing that the surrounding objects were changing, and the cottage’s interior was starting to resemble the cottage where he committed his crime. As Joe admits his crimes, the lighting turns colder, pressuring him further.
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Eyes that can record activities Blocking sight and hearing Influence atmosphere
The climax of Joe’s atmospherically experience is when Wizzard’s I Wish It Could Be Christmas every day starts playing, the song that played as he killed Beth’s father, driving him insane and full of regret. The episode proves that atmospheric experiences are multisensorial and can influence our feelings, emotions, behavior, and actions. Juhani Pallasmaa (2014) confirmed this hypothesis in his paper Space, Place, and Atmosphere: Peripheral Perception in Existential Experience, “The judgment of environmental character is a complex multi-sensory fusion of countless factors which are immediately and synthetically grasped as an overall atmosphere, feeling, mood, or ambiance.”
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Even though multi-sensorial atmospheric experiences are proven to influence human feelings, emotions, behaviors, and actions, what both Cookie Joe and Greta essentially experience are virtually simulated. In contrast, Zumthor’s theories on atmospheres that Pallasmaa approves are based on physical experiences and not virtually simulated. However, I claim that the virtual and physical atmospheric experiences will become indistinguishable with technology as good as The Cookie. Humans will not be able to notice whether they are in their actual reality or a virtually simulated one, just like Joe during his scenes with Matthew in the cottage. Joe even thought that he knew Matthew and lived in the cottage for five years, where Matthew virtually simulates these thoughts and perceptions through the Cookie. The scene depicts these two grown men sharing stories of their life problems, though with some suspicion from Joe.Anders Hermund and Lars Simon Kint’s (2016) experiment in The Royal Danish Academy titled. Virtual and Physical Architectural Atmosphere concludes that if the virtual atmosphere is experienced through a self-representing simulated body, desired perception of architectural space, ambiance, and atmosphere can be easily achieved with a simple BIM model. Their study compares similarities between the perception of architectural space experienced in physical space, intending to clarify the extent of architectural attributes that can be conveyed through direct use of Building Ten to twenty years later, we are just digital copies of ourselves. Information Modeling in VR. Their results show high similarities between the two atmospheric experiences with differences of only up to 5%. This will help the early architecture design phase as they“Theargue,importance of this relates to the limitations of time and money in the early architectural design phase, that for the present simply makes the creation of a photorealistic VR environment.”
However, in the White Christmas episode, Cookie Joe does not know that he is in a virtually simulated space. Both Cookie Joe and Cookie Greta did not know that they were digital copies of their authentic selves put in simulated bodies until Matthew told them so. If there is such technology, this shows that it will blur out the lines between the virtual and the physical. Virtually simulated atmospheres will be able to mimic and have as much influence on human feelings, emotions, behaviors, and actions as physically experienced atmospheres have. Suppose we can surmise the outcome of the virtual atmosphere simulation ability of The Cookie. In that case, we could go with Hermund and Kint’s optimism that it will significantly help the early stages of architectural design processes. On the other hand, such technology might blur out the lines between two realities. Nobody will ever know when the Cookie might be used against them, just like how Joe did not, as he could not distinguish between realities. If this is the case, it comes to whether trading our sense of reality for efficiency is worth it. Do we still need our physical reality more intimately, or are we moving on? Brown. (2019). The Ending of White Christmas Explained | Black Mirror Season 2 Explained [Video]. Youtube. Harry’s Moving Media. (2016). Black Mirror Analysis: White Christmas [Video]. Youtube. Hermund, A., Klint, L. S. (2016). Virtual and Physical Architectural Atmosphere. The Royal Danish Pallasmaa,Academy. J. (2020). Space, Place and Atmosphere: Peripheral Perception in Existential Experience. University of Helsinki. Wollaston, S. (2014). Black Mirror: White Christmas - Review: The Funny, Freaky, Tragic Near-Future. The Zumthor,Guardian.P.(2005).
Atmospheres: Architectural Environments - Surrounding Objects. Birkhauser Publishers for Architecture.
654321References:BryceEdward
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How is the Human Obsession With Technology Have Come So Far “15 Million Merits” (2011) “15 Million Merits poster,” Lyn, E, 15 Million Merits, 2011.
Faried Haekal Muhsin Student
The role of the screen and the interactive led wall makes humans have different perceptions because he is too attached to the screen
Enclosed-led box kind of room. Courtesy of Lyn, E, 2011 Bring outdoor quality indoor. Courtesy of Lyn, E, 2011
The second episode of the Black Mirror series with the title “Fifteen Millions Merits” (2011) provides an overview of advanced technology that may be created in the future when almost all of life’s interactions are presented on interactive digital screens. Sound familiar? This story takes our obsession with entertainment to the next level.
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The story begins by showing how the world of screens happens here, where every surface offers vapid entertainment or near-constant advertisement throughout the day. Every morning, they display the sunrise as their entertainment, living in a small room where there is no single door or window to the outside world. The serial episode that was released in 2011 illustrates how technology takes a high role in daily human life and shows how human obsession will increase in the future.
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The episode with a dystopian theme tells the story of a man named Bingham “Bing” Madsen (Daniel Kaluuya), who lives in a world where he interacts with interactive screens all day long, from waking up to bedtime at night. Even though Bing is interacting with other people, Bing will still focus on the screen. For example, when Bing is talking to his friend, he remains focused on pedaling(where he earns his merits), looking at the interactive screen. This episode tries to describe Bing’s excessive obsession with the screen, as in today’s era, we always use our cellphone or laptop screens continuously from morning to night.
There are two views on this issue. The first is Janet Fulk’s theory, “Social Construction of Communication Technology,” which proves that our daily lives shape the existence of increasingly sophisticated technology. This article describes how people’s daily lives (in this film, the character of Bing) result from Bing’s needs which created technology (in this film, interactive led wall). Fulk also explained that technology could be understood and created by people who understand how technology works. This series means that the technology is described as an interactive led wall. The person who understands it, namely the character Bing, proves that the interactive led wall was created because the man’s daily life already understands and needs it. (Janet Fulk, The1993)second view and theory that is actually the opposite are Thomas Hauer’s (2017) “Technological determinism and new media.” Hauer argues that not Bing shaped the technology, but quite the opposite. This film means using an interactive led wall, which affects how Bing operates. This article states that what made the technology itself born was the need for Bing. In the scene in this series, Bing’s
121 What is interesting to be discussed is the debate about how technology and human daily life influences each other. According to a critical article “Black Mirror: the dark side of technology Movie Review (Allocine, 2019),” this episode focuses on the issue of the influence of screens as a technology that shapes human habits today, which can trigger the loss of social interaction. Technology is so cruel because we never know what will happen in the future, whether it will be worse or better. In his critique, he also discusses how Bing’s daily life interacts with interactive screens; he explains how Bing’s dayto-day life is affected by screens to how Bing makes money through screens. (Allocine,While2019)according to another critique, “Black Mirror: 15 Million Merits – Konstruksi Sosial terhadap Teknologi Movie Review (Samantha, 2019)” argues that technological change is created because of the fulfillment of community needs. For example, when Bing spends his time in front of the screen every day, he sees that human needs bring the technology. So when the screen in the past was a huge computer in this film, it has now developed into a screen that is sufficient in human pockets and still has the same function. He also gave an example of when Bing could buy food with just one touch in the film. This critique explains that the busy activity of Bing needs things that are more efficient, namely the presence of a touch screen. This is enough to describe how human habits today ultimately support technological progress. My point of view is more focused on the “Black Mirror: 15 Million Merits – Konstruksi Sosial terhadap Teknologi Movie Review (Samantha, 2019)” critique. (Samantha, 2019)Does the use of screens on the walls of the room impact the social interactions that occur? In the film, it can be seen that with the use of screens on all walls of the room, Bing’s character is more likely to stay in his room. A scene shows how Bing’s daily activities start from waking up until nightfall. With a screen that can interact, Bing sits in the room and can easily interact virtually. With his daily life like this, Bing has become a person who tends to be aloof and difficult to interact with when meeting face to face. This is also proven when Bing meets other people several times; she chooses to be alone and avoids other people, such as when Bing is in the cafeteria and chooses to eat alone. On the other hand, Bing can still interact well when virtually through the screen.
An interesting issue to be discussed next is how the use of an interactive led wall in the series “Black Mirror: 15 Million Merits” affects the daily life of Bing’s character? As the film shows, this interactive led wall is present throughout the day, from waking up, working, shopping, and eating until going back to sleep. Therefore, it can be seen how the interactive led wall influences Bing’s daily activities.
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122 060504 character appears to be buying daily necessities when she is in her room; this interactive led wall is what helps Bing to get what he needs. So it is proven that this article argues that the human or serial is described by Bing, which requires the technology, namely the interactive led wall. From these two views, I am more inclined to agree with Thomas Hauer’s theory the view that it is human needs that do shape today’s technology.Regarding the architectural aspect of the “Black Mirror: 15 Million Merits” series, the wall aspect has a new role. Has the role of the wall that we know as the boundary of space lost its identity? As we know that the use of interactive led walls in Bing character rooms changes the perception of walls. According to a view of Thomas Thiis-Evensen (2020), “What the Wall Does” states that the role of walls in architecture and dividing territory also limits social behavior. As in this film, it is not seen that the role of the wall limits it. It can be seen in the scene where Bing feels uncomfortable with the annoying advertisements on the screen on the interactive led wall in her room. This is contrary to the argument in the article that walls can give clear boundaries to a room.The next theory is the view of Amal Wasfi (2021), “When Virtual Wall Becomes Real.” In his article, he argues that with the passage of time and the development of technology, nothing is impossible, such as the use of walls will develop. He stated that virtual walls can not only limit a space but can present things outside that space virtually. As seen in the scene where when Bing Samantha in Theo’s pocket shirt Samantha on Theo’s hand Samantha at Theo’s surrounding area060504
‘Black Mirror’: the dark side of Blacktechnology.Mirror: 15 Million Merits” – Konstruksi Sosial terhadap Teknologi. (2017). Hauer, T. (2017). Education, Technological Determinism and New Media. INTED2017 Proceedings, 1(2), 10026–10030. Thiis-Evensen, T. (2020). What the Wall Does. Wasfi, A. (2021). When Virtual Wall Becomes Real.
I think the interactive led walls in Bing’s daily life affect how Bing carries out its daily activities. One of the characteristics of Bing as a person who tends to be quiet is also influenced by the interactive led wall. In addition, the almost continuous exposure of screens ranging from interactive led walls to the screens he finds and interactions with every day also affects how difficult it is for Bing to interact with its surroundings. However, the role of the screen and the interactive led wall helps Bing to get what he wants more easily because he is so attached to the screen.
54321References:Allocine.(2019).
123 wakes up in the morning, she can see the morning view through the virtual wall in her room. This proves that over time the wall in the architectural aspect can develop. From these two views, I agree with the second view that the wall in the architectural aspect must certainly develop following the development of increasingly sophisticated technology. In this film, I think the role of technology, such as screens in everyday life and virtual walls, really affects people who use them in their daily activities. The role of virtual walls makes humans have different perceptions; when humans are in a room full of screen walls, humans can feel things outside the wall. Then the role of screens in daily human life helps humans to get desires more efficiently while making humans so attached to using Overall,screens.
AI Romance “Her” (2013) “Her poster,” Jonze, S, Her, 2013.
Jennifer Sidharta Student
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Both Hawthorne and Anderton concluded that the romance that happened in the film between humans and technology would come in the near time. They came to the same conclusion because they saw the buildings seen in this film are like the same buildings they can see in the present time. Unlike them, I want to ask how do humans engage in spatial qualities to help Artificial Intelligence (AI) sense romantic emotions? This paper will discuss how humans can make AI fall in love with them. I will also see Peter Zumthor’s theory on atmosphere and Edward T. Hall’s theory on proxemics to see the relevance.
Sound, atmosphere and distance plays a big part in the romantic development between human and technology (computer, handphone, and earphone) Samantha on Theo’s hand. Courtesy of Jonze, S, 2013 Samantha on Theo’s hand. Courtesy of Jonze, S, 2013
HER is a 2013 American science-fiction romantic comedy film written, directed, and produced by Spike Jonze. The film follows Joaquin Phoenix as Theodore Twombly and Scarlett Johansson as the voice of Samantha. In this film, Theodore is a professional letter writer. His life changes when he becomes interested in a new, sophisticated operating system advertised as the world’s first artificial intelligence system, Samantha. According to the Oxford dictionary, Artificial Intelligence (AI) is defined as the development of computer systems that can copy the intelligence of human behavior. Theo is delighted to meet Samantha, a bright
Architectural critique Christopher Hawthorne (2014) and journalist Frances Anderton (2014) have discussed the architecture of the film HER, where they both see the architecture just as buildings. They asked, “How close is it to real near-future Los Angeles?”
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The question is, does AI have emotions?
AI needs data to detect, hear and learn so that it can be the basis of how it reacts and behaves to imitate human emotions. (Olivia Brookhous, 2020) I continue to see what aspects can be data for AI and what it can capture. AI is now advanced, where they can detect faces and voices and are also capable of detecting human body temperature. (Bosch, 2021) A study conducted by Richmond Alake (2020) on AI, machines, and deep learning techniques, also states that AI can now detect objects that they see, so it detects not only faces but also backgrounds than it detects, such as statues, bicycles, buildings, bed, carpets, etc. Everything that AI detects will have its analysis, providing information about the object. Apart from that, AI can also detect ambientAfterlight.studying these things, several things can be seen from the HER. There is the distance between Theo and Samantha and the atmosphere of Theo’s world, which becomes data for how Samantha behaves & reacts. First, I will see & observe Theo and Samantha’s distance using the Proxemics theory by Edward T. Hall (1991). In his foundational work on proxemics, The Hidden Dimension, Hall emphasized the impact of proxemic behavior (the use of space) on interpersonal communication. According to Hall, the study of proxemics is valuable in evaluating the way people interact with others in daily life. Hall described the interpersonal distances of humans in four distinct zones intimate, personal, social, and public distance. Intimate distance (0.5m) for interactions among someone with a special relationship, personal distance (1.2m) for interactions among friends or family, social distance (3.6m) for interactions among acquaintances, and public distance (7.6m) used for public speaking.Toanalyze, I redraw the distances and positions of Theo and Samantha in this film. Theo and Samantha are always at an intimate distance, 0 - 0.5m. From morning activities outside until getting sleepy at night. From Hall’s theory, being at an intimate distance also means having a special relationship with that person (Hall, 1991). In addition to that, I look at Peter Zumthor’s theory of the atmosphere (2006) in his book Atmospheres: Architecture Environments, which states that the atmosphere of a space is very influential on humans and their attitudes reactions, and moods. The architectural qualities discussed are materials, sound, light, temperature, and surrounding objects. He explains how different materials and noise can make humans feel comfort or fear. This book also discusses how temperature affects human behavior and that a certain light ambiance can make humans react differently in darker, warmer, or lighter rooms. Zumthor claimed that humans’ behavior is influenced by the atmosphere of space.
AI and neuroscience researchers agree that AI cannot have its own emotions but can mimic them, such as empathy.
127 female voice who is insightful, sensitive, and funny. Their friendship grew from a mere system owner to a couple. In this film, what caught my interest was how humans can establish a romantic relationship with technology.
Furthermore, I continue to see whether AI can capture the atmosphere that Zumthor states? To analyze, I chose three significant scenes that are pretty powerful. I will observe the different atmospheres that can be captured by Samantha and what kind of scenario or mood it produces.
The technology used in this film is an earpiece (with a microphone), a mobile device (for Theodore to record images or videos, in the form of a threecamera direction), and a desktop OS. These three technologies become one integrated AI system named Samantha.
(1) Theo and Samantha’s date in the theme park, (2) Theo and Samantha’s date in Theo’s room, (3) Theo and Samantha’s date on the beach. However, before that, I think it is also essential to know how wide Samantha can see through the camera lens on Theo’s device. I checked through the scenes in this movie. Theo’s device is a camera with a 28mm zoom lens throughout these three scenes.
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The atmosphere/data for Samantha: Crowds of people, colorful flashing lights, moving people, rollercoasters, loud noises, children’s screaming, people talking and laughing together. Scenario created: In this scene, Theodore and Samantha can have fun together, dancing together like no one sees them.
Two,Theodore and Samantha’s date in Theodore’s room
One, Theodore and Samantha’s date in the theme park
Scenario created: This scene shows how Theodore and Samantha enjoy their time together, from Theo singing a romantic song for Samantha until they finally have phone sex.
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Samantha in Theo’s pocket shirt Samantha on Theo’s hand Samantha at Theo’s surrounding area
128 060504
The atmosphere/data for Samantha: Sunny, bright light, with people smiling and sunbathing in swimsuits, hats, sunglasses, children playing in the sand, the waves are rolling, the sound of it with its rhythm, and the sound of children and adults laughing. Scenario created: This scene shows how Theodore and Samantha enjoy their time together; they can relax together under the warm sun while lying down and facing each other.
The atmosphere/data for Samantha: Dimmed warm light, a bed with soft blankets, views of the city with beautiful lights, and the room is relatively calm.
Three, Theodore and Samantha’s date on the beach
129 From the studies that Bosch and Alake have carried out regarding the sophistication of AI and after examining the three scenes in this film, I believe that Samantha can detect the atmosphere of physical space, such as sound, light, human body temperature, as well as objects along with detailed analysis of what was in the background of Theodore’s physical space. Even though it is only with a 28mm camera lens, Samantha can see a reasonably good picture when Theo puts his camera in his shirt pocket while he is out, so what Samantha sees is enough. Everything Samantha sees becomes data for her to react or behave like a human, as in the atmospheric theory by Zumthor. For instance, When the room is dimmer in Theo’s room and quiet against the backdrop of the Los Angeles city lights at night, Samantha can capture and feel the romantic atmosphere. I concluded that humans could take advantage of physical distance and atmosphere of space to help engage spatial qualities to help AI sense romantic emotions. After learning these, I agree with Hall’s theory on proxemics (1991), how a certain distance can affect and means something to humans, how keeping someone at an intimate distance means you have a special relationship with another individual, and that shows how much you are comfortable around that person. However, when Hall did this study, it applied only to humans, but after looking at this film, I claim that Hall’s theory also applies between technology and humans. When it comes to HER, most of us will readily agree that voice plays the most significant part in the development of the romance between humans and technology. Where this agreement usually ends, I discovered that not only the voice but distance and atmosphere that plays a big part in the romantic development between human and technology. How Does AI Detect Objects? (Technical). Architecture,Medium.D.,Anderton, F., Events, U., KCRW, A., FAQ, H., & Benefits, F. et al. (2022). KK. Barrett and the Production Design for Her: How Close is it to Real Near-Future LA?. KCRW. Brookhouse, O. (2022). Can Artificial Intelligence understand emotions? - Think Big. Think Big. Hall, E. T. (1963). A system for the notation of proxemic behavior. American Anthropologist, 65(5), Hawthorne,1003-1026. C. (2022). Spike Jonze’s ‘Her’ a refreshingly original take on a future LA.. Los Angeles Times. Reports, R. (2022). Bosch launches AI human skin temperature detection. Pharmaceutical Technology. Zumthor, P. (2006). Atmospheres: Architectural Environments. Birkhäuser.
7654321References:Alake,R.(2022).
Student
Lecturer130 Andreas Y. Wibisono Fernisia Richtia Winnerdy Student of Universitas Pelita Harapan Adrian Tantrajaya Antony Ong Audria Metta Taneli Aulia Gina Aisha Bobby
PashaNatashaNataliaMichelleKyraJessicaJenniferFariedDennisDavidCatherineWijayaViolettaPranataHaekalMuhsinSidhartaSanusiKeelyKumalaMelodyTjioenataMicheelnjoReinaldoIvenaMaulanaYusuf
of Podomoro University Richard Hizkia Article Credit
131 Illustration Credit Page Hawes,09J. (Director). (2016). Hated in the Nation [Film]. Zeppotron. Page Ponsoldt,21 J. (Director). (2017). Circle [Film]. EuropaCorp, etc. Page Welsh,65B. (Director). (2011). The Entire History of You [Film]. Zeppotron. Page Spielberg,97 S. (Director). (2018). Ready Player One [Film]. Warner Bros, etc. Page 123 Pfister, W. (Director). (2014). Transendence [Film]. Alcon Entertainment, etc. Introduction Page Wibisono,12 A. (2022). The Ecosystem of Criticism Page Wibisono,14 A. (2022). Three Types of Architectural Criticism According to Wayne Attoe. Page Wibisono,15 A. (2022). Wayne Attoe’s Category of Criticim as Different Warrant in Toulmin Method of Argumentation. Page Wibisono,17 A. (2022). The Diagram of Toulmin’s Method of Argumentation, Wayne Attoe’s Method of Architecture Criticism and Claim Positioning in Conversation. Chapter Three Page Spielberg,86,89S. (Director). (2018). Ready Player One [Film]. Warner Bros, etc. Page Spielberg,92,95S. (Director). (2021). Free Guy [Film]. Berlanti Productions, etc. Page Harris,98,101O.(Director). (2016). San Junipero [Film]. Sony Picture Classics, etc Chapter Four Page 106,109 Pfister, W. (Director). (2014). Transendence [Film]. Alcon Entertainment, etc. Page Tibbetts,112,115C.(Director). (2014). White Christmas [Film]. Joel Collins. Page 118,121 Lyn, E. (Director). (2011). 15 Million Merits [Film]. Zeppotron. Page Jonze,124,127S.(Director). (2013). Her [Film]. Annapurna Pictures. Chapter One Page Mostow,22,25J.(Director). (2010). Surrogates [Film]. Touchstone Pictures, etc. Page Ponsoldt,28,31J. (Director). (2017). Circle [Film]. EuropaCorp, etc. Page Verbruggen,34,37 J. (Director). (2016). Man Against Fire [Film]. Zeppotron. Page Noyce,40,43P.(Director). (2014). The Giver [Film]. Walden Media. Page Wright,46,49J.(Director). (2016). Nosedive [Film]. House of Tomorrow, etc. Chapter Two Page 54,57 Liu, D. (Director). (2021). Plurality [Film]. Jon Hawes,PageChen.60,63J.(Director). (2016). Hated in the Nation [Film]. Zeppotron. Page Welsh,66,69B.(Director). (2011). The Entire History of You [Film]. Zeppotron. Page Spielberg,72,75S. (Director). (2002). Minority Report [Film]. 20th Century Fox, etc. Page Tjioenata,77 M. (2022). Three Types of Thresholds in the Minority Report Film. Page Satola,78,81C.(Director). (2017). Connected [Film]. Agnieszka Satola.
The first chapter is the most basic; it is about when technology interrupts human life. Comparing the ven diagram of this chapter to the others, we can see how all the other chapters are the continuation/ development of this basic one. Technology created by humans changes the way humans identify themselves and others. Not only that they become dependent on technology, but it also changes the way they interact with other people. In the article “Monotone People, Monotone Buildings,” for example, Siapa underlines how, in the movie “Nosedive,” social media technology allows people to peek into each other’s curated life and thus generates a certain standard of goodness that everyone aims to pursue. The change in social relations might be the impact of these technologies.Thesecond chapter is about when technology changes human life through its architecture. In this chapter, the movies illustrate how technology enables humans to pursue specific ideal values in the way they live. In her article “Spatializing Memory,” Jessica Sanusi discusses how the grain technology in “The entire history of you” promotes honesty and openness between people. While they are not without negative consequences, technology is initially created and used for the greater good of human beings. So much so that they need to change the physical architecture to support or become part of the technology.
The third chapter is about when humans penetrate technology. While in the second chapter, physical architecture is changed to support the technology, in this chapter, virtual architecture is explored to pursue the utopian ideal of living. Let us peek into the article “Paradise Found.” Kyra Keely discusses how technology allows humans to participate in the virtual gaming world in the movie Free Guy. Using an avatar, a human player can interact with other human players or virtual characters in the game. They can manipulate their identity and relationship with others while having the freedom to create the world they live in. In the end, it shows a human longing for utopian ideals. The fourth chapter is the one with the most complex relationship. It is when humans, technology, and architecture influence each other. Take the article “AI Romance.” Jennifer Sidharta explicates how through architecture in the movie “Her,” a human character and an AI character can fall in love and build a romantic relationship. Interestingly, it is the physical ambiance that promotes the series of events that build their relationship over time. We chose “Binge-watching Architecture” as the title of this book to show that architectural critique does not have to be too formal, heavy, and serious. Since architecture can be found everywhere in all our spatial aspects of life, it can be used as the subject or spectacle of criticism.
