Hands have no tears to flow

Audience, 1966

000

Audience, 1966

000

Manually Moved Atoms, 1993

020

010

10 – 10 m, 1868

Manually Moved Atoms, 1993

020

010

10 – 10 m, 1868

040

030

040

030

Cirsium, 1915–1925

060

050

Album, C. 1933

Cirsium, 1915–1925

060

050

Album, C. 1933

10 18 10 15

m exa m peta

E seit 1975 P seit 1975

10 12 10 9 10 6

m tera m giga m mega

T seit 1960 G seit 1960 M seit 1960

10 ³ 10 ² 10 ¹

m Kilometer m Hektameter m Dekameter

km seit 1795 h seit 1795 da seit 1795

M

Meter

m seit 1795

10–1 10–2 10–3

m m m

Dezi Zenti Milli

d seit 1795 c seit 1795 m seit 1795

10–10

m Ångström

Å seit 1868

10–6 10–9

10–12 10–15 10–18

m m

Mikro Nano

μ seit 1960 n seit 1960

m m m

Piko Femto Atto

p seit 1960 f seit 1964 a seit 1964

10–21 10–24

m m

Zepto Yokto

z seit 1991 y seit 1991

080

Y seit 1991 Z seit 1991

070

m yotta m zetta

There´s Plenty of Room at the Bottom, 1959

10 24 10 21

10 18 10 15

m exa m peta

E seit 1975 P seit 1975

10 12 10 9 10 6

m tera m giga m mega

T seit 1960 G seit 1960 M seit 1960

10 ³ 10 ² 10 ¹

m Kilometer m Hektameter m Dekameter

km seit 1795 h seit 1795 da seit 1795

M

Meter

m seit 1795

10–1 10–2 10–3

m m m

Dezi Zenti Milli

d seit 1795 c seit 1795 m seit 1795

10–10

m Ångström

Å seit 1868

10–6 10–9

10–12 10–15 10–18

m m

Mikro Nano

μ seit 1960 n seit 1960

m m m

Piko Femto Atto

p seit 1960 f seit 1964 a seit 1964

10–21 10–24

m m

Zepto Yokto

z seit 1991 y seit 1991

080

Y seit 1991 Z seit 1991

070

m yotta m zetta

There´s Plenty of Room at the Bottom, 1959

10 24 10 21

Fp2-C2 Fp1-C2 F8-C2 F7-C2 T4-C2 T3-C2 T6-C2 T5-C2 O2-C2 O1-C2 Fp2-A2 Fp1-A1 F4-A2 F3-A1 C4-A2 C3-A1 P4-A2 P3-A1 O2-A2 O1-A1

Berger Effect, 1924

100

090

Der Grundrythmus wird beim Augenรถffnen blockiert

Fp2-C2 Fp1-C2 F8-C2 F7-C2 T4-C2 T3-C2 T6-C2 T5-C2 O2-C2 O1-C2 Fp2-A2 Fp1-A1 F4-A2 F3-A1 C4-A2 C3-A1 P4-A2 P3-A1 O2-A2 O1-A1

Berger Effect, 1924

100

090

Der Grundrythmus wird beim Augenรถffnen blockiert

Napoleonskurve, undated

120

110

Willenskurven, 1912

Napoleonskurve, undated

120

110

Willenskurven, 1912

EEG, 1953

140

130

EEG, 1953

EEG, 1953

140

130

EEG, 1953

Sleep, 1963

160

150

Graph of Involuntary Blink, 1964

Sleep, 1963

160

150

Graph of Involuntary Blink, 1964

Toposcope Laboratory

180

170

Toposcope, 1957

Toposcope Laboratory

180

170

Toposcope, 1957

Os Temporale

200

190

Cochlea, 1918

Os Temporale

200

190

Cochlea, 1918

Bat, Pig, Dog

220

210

A single Hair Cell of a Frog Ear, 2007

Bat, Pig, Dog

220

210

A single Hair Cell of a Frog Ear, 2007

Skin Graft, 1954

240

230

Thumb

Skin Graft, 1954

240

230

Thumb

Heart-Lung, 1937

260

250

Heart-Lung, 1937

260

250

Heart (55 Hours), 1981

280

270

Heart (64 Hours), 1969

Heart (55 Hours), 1981

280

270

Heart (64 Hours), 1969

10º m – Powers of Ten, 1977

300

290

Venus, Cupid Folly and Time, 1989

10º m – Powers of Ten, 1977

300

290

Venus, Cupid Folly and Time, 1989

320

310

320

310

CONTENTS BOOK I Preface 3 The Education of the Architect 5

The Fundamental Principles of Architecture 13 The Departments of Architecture 16 The Site of a City 17 The City Walls 21 The Directions of the Streets; with Remarks on the Winds 24 The Sites for Public Buildings 31 BOOK II Introduction 35 The Origin of the Dwelling House 38 On the Primordial Substance according to the Physicists 42 Brick 42 Sand 44 Lime 45 Pozzolana 46 Stone 49 Methods of building Walls 51 Timber 58 Highland and Lowland Fir 64 BOOK III Introduction 69 On Symmetry: in Temples and in the Human Body 72 Classification of Temples 75 The Proportions of Intercolumniations and of Columns 78 The Foundations and Substructures of Temples 86 Proportions of the Base, Capitals, and Entablature in the Ionic Order 90 BOOK IV Introduction 101 The Origins of the Three Orders, and the Proportions of the Corinthian Capital The Ornaments of the Orders 107 Proportions of Doric Temples 109 The Cella and Pronaos 114 How the Temple should face 116 The Doorways of Temples 117 Tuscan Temples 120 Circular Temples and Other Varieties 122 Altars 125 BOOK V Introduction 129 The Forum and Basilica 131 The Treasury, Prison, and Senate House 137 The Theatre: its Site, Foundations, and Acoustics 137 Harmonics 139 Sounding Vessels in the Theatre 143 Plan of the Theatre 146 Greek Theatres 151 Acoustics of the Site of a Theatre 153 Colonnades and Walks 154 Baths 157 The Palaestra 159 Harbours, Breakwaters, and Shipyards 162 BOOK VI Introduction 167 On Climate as determining the Style of the House 170 Symmetry, and Modifications in it to suit the Site 174 Proportions of the Principal Rooms 176 The Proper Exposures of the Different Rooms 180 How the Rooms should be suited to the Station of the Owner 181 The Farmhouse 183 The Greek House 185 On Foundations and Substructures 189 BOOK VII Introduction 195 Floors 202 The Slaking of Lime for Stucco 204 Vaultings and Stucco Work 205 On Stucco Work in Damp Places, and on the Decoration of Dining Rooms 208 The Decadence of Fresco Painting 210 Marble for use in Stucco 213 Natural Colours 214 Cinnabar and Quicksilver 215 Cinnabar (continued) 216 Artificial Colours. Black 217 Blue. Burnt Ochre 218 White Lead, Verdigris, and Artificial Sandarach 219 Purple 219 Substitutes for Purple, Yellow Ochre, Malachite Green, and Indigo 220

102

2. For the human body is so designed by nature that the face, from the chin to the top of the forehead and the lowest roots of the hair, is a tenth part of the whole height; the open hand from the wrist to the tip of the middle finger is just the same; the head from the chin to the crown is an eighth, and with the neck and shoulder from the top of the breast to the lowest roots of the hair is a sixth; from the middle of the breast to the summit of the crown is a fourth. If we take the height of the face itself, the distance from the bottom of the chin to the under side of the nostrils is one third of it; the nose from the under side of the nostrils to a line between the eyebrows is the same; from there to the lowest roots of the hair is also a third, comprising the forehead. The length of the foot is one sixth of the height of the body; of the forearm, one fourth; and the breadth of the breast is also one fourth. The other members, too, have their own symmetrical proportions, and it was by employing them that the famous painters and sculptors of antiquity attained to great and endless renown.

Powers of Ten, 1968

340

BOOK X Introduction 281 Machines and Implements 283 Hoisting Machines 285 The Elements of Motion 290 Engines for raising Water 293 Water Wheels and Water Mills 294 The Water Screw 295 The Pump of Ctesibius 297 The Water Organ 299 The Hodometer 301 Catapults or Scorpiones 303 Ballistae 305 The Stringing and Tuning of Catapults 308 Siege Machines 309 The Tortoise 311 Hegetor’s Tortoise 312 Measures of Defence 315 Note on Scamilli Impares 320 Index

330

BOOK IX Introduction 251 The Zodiac and the Planets 257 The Phases of the Moon 262 The Course of the Sun through the Twelve Signs 264 The Northern Constellations 265 The Southern Constellations 267 Astrology and Weather Prognostics 269 The Analemma and its Applications 270 Sundials and Water Clocks 273

De Architectura Libri Decem, 22 B.C.

BOOK VIII Introduction 225 How to find Water 227 Rainwater 229 Various Properties of Different Waters 232 Tests of Good Water 242 Levelling and Levelling Instruments 242 Aqueducts, Wells, and Cisterns 244

CONTENTS BOOK I Preface 3 The Education of the Architect 5

The Fundamental Principles of Architecture 13 The Departments of Architecture 16 The Site of a City 17 The City Walls 21 The Directions of the Streets; with Remarks on the Winds 24 The Sites for Public Buildings 31 BOOK II Introduction 35 The Origin of the Dwelling House 38 On the Primordial Substance according to the Physicists 42 Brick 42 Sand 44 Lime 45 Pozzolana 46 Stone 49 Methods of building Walls 51 Timber 58 Highland and Lowland Fir 64 BOOK III Introduction 69 On Symmetry: in Temples and in the Human Body 72 Classification of Temples 75 The Proportions of Intercolumniations and of Columns 78 The Foundations and Substructures of Temples 86 Proportions of the Base, Capitals, and Entablature in the Ionic Order 90 BOOK IV Introduction 101 The Origins of the Three Orders, and the Proportions of the Corinthian Capital The Ornaments of the Orders 107 Proportions of Doric Temples 109 The Cella and Pronaos 114 How the Temple should face 116 The Doorways of Temples 117 Tuscan Temples 120 Circular Temples and Other Varieties 122 Altars 125 BOOK V Introduction 129 The Forum and Basilica 131 The Treasury, Prison, and Senate House 137 The Theatre: its Site, Foundations, and Acoustics 137 Harmonics 139 Sounding Vessels in the Theatre 143 Plan of the Theatre 146 Greek Theatres 151 Acoustics of the Site of a Theatre 153 Colonnades and Walks 154 Baths 157 The Palaestra 159 Harbours, Breakwaters, and Shipyards 162 BOOK VI Introduction 167 On Climate as determining the Style of the House 170 Symmetry, and Modifications in it to suit the Site 174 Proportions of the Principal Rooms 176 The Proper Exposures of the Different Rooms 180 How the Rooms should be suited to the Station of the Owner 181 The Farmhouse 183 The Greek House 185 On Foundations and Substructures 189 BOOK VII Introduction 195 Floors 202 The Slaking of Lime for Stucco 204 Vaultings and Stucco Work 205 On Stucco Work in Damp Places, and on the Decoration of Dining Rooms 208 The Decadence of Fresco Painting 210 Marble for use in Stucco 213 Natural Colours 214 Cinnabar and Quicksilver 215 Cinnabar (continued) 216 Artificial Colours. Black 217 Blue. Burnt Ochre 218 White Lead, Verdigris, and Artificial Sandarach 219 Purple 219 Substitutes for Purple, Yellow Ochre, Malachite Green, and Indigo 220

102

2. For the human body is so designed by nature that the face, from the chin to the top of the forehead and the lowest roots of the hair, is a tenth part of the whole height; the open hand from the wrist to the tip of the middle finger is just the same; the head from the chin to the crown is an eighth, and with the neck and shoulder from the top of the breast to the lowest roots of the hair is a sixth; from the middle of the breast to the summit of the crown is a fourth. If we take the height of the face itself, the distance from the bottom of the chin to the under side of the nostrils is one third of it; the nose from the under side of the nostrils to a line between the eyebrows is the same; from there to the lowest roots of the hair is also a third, comprising the forehead. The length of the foot is one sixth of the height of the body; of the forearm, one fourth; and the breadth of the breast is also one fourth. The other members, too, have their own symmetrical proportions, and it was by employing them that the famous painters and sculptors of antiquity attained to great and endless renown.

Powers of Ten, 1968

340

BOOK X Introduction 281 Machines and Implements 283 Hoisting Machines 285 The Elements of Motion 290 Engines for raising Water 293 Water Wheels and Water Mills 294 The Water Screw 295 The Pump of Ctesibius 297 The Water Organ 299 The Hodometer 301 Catapults or Scorpiones 303 Ballistae 305 The Stringing and Tuning of Catapults 308 Siege Machines 309 The Tortoise 311 Hegetor’s Tortoise 312 Measures of Defence 315 Note on Scamilli Impares 320 Index

330

BOOK IX Introduction 251 The Zodiac and the Planets 257 The Phases of the Moon 262 The Course of the Sun through the Twelve Signs 264 The Northern Constellations 265 The Southern Constellations 267 Astrology and Weather Prognostics 269 The Analemma and its Applications 270 Sundials and Water Clocks 273

De Architectura Libri Decem, 22 B.C.

BOOK VIII Introduction 225 How to find Water 227 Rainwater 229 Various Properties of Different Waters 232 Tests of Good Water 242 Levelling and Levelling Instruments 242 Aqueducts, Wells, and Cisterns 244

Rearrangement, 2012

360

350

Vitruvian Proportion System, 2012

Rearrangement, 2012

360

350

Vitruvian Proportion System, 2012

The Big Feast, 1973

380

370

Modulor, 1951

The Big Feast, 1973

380

370

Modulor, 1951

Hand, 2008

400

390

Organ of Touch, 1803

Hand, 2008

400

390

Organ of Touch, 1803

Billy Wilder, 1950

420

410

The Universe in Forty Jumps, 1957

Billy Wilder, 1950

420

410

The Universe in Forty Jumps, 1957

Powers of Ten, 1977

440

430

Figure in Time, 1993

Powers of Ten, 1977

440

430

Figure in Time, 1993

Powers of Ten, 1977

460

450

Café Müller, 1978

Powers of Ten, 1977

460

450

Café Müller, 1978

Toposkop, W. Grey Walter, 1961

Snare Picture (Detail), 1992

480

470

Nico, 1966

Toposkop, W. Grey Walter, 1961

Snare Picture (Detail), 1992

480

470

Nico, 1966

Charles (in Lift), 1968

500

490

Viking Lander 1, Sol 3, Camera 1, 1976

Charles (in Lift), 1968

500

490

Viking Lander 1, Sol 3, Camera 1, 1976

520

510

Charles and Demetrios, 1968

520

510

Charles and Demetrios, 1968

540

530

540

530

Chart Plotting Sequences of Powers of Ten, 1968

560

550

Voyager 1, 1977

Chart Plotting Sequences of Powers of Ten, 1968

560

550

Voyager 1, 1977

Powers of Ten, 1977

580

570

Area 21, 2011

Powers of Ten, 1977

580

570

Area 21, 2011

Pat.No.4.685.928 1987

Pat.No.0252485A1 Pat.No.0223457A1 Pat.No.085225A1 Pat.No.102484A2 2011 2011 2011 2008

Powers of Ten, 1977

Pat.No.3.344.792 Pat.No.7.299.086

600

1967 2007

Pat.No.0257764A1

590

2011

Are Clothes Modern?, 1944

Pat.No.0259343A1 2011

Pat.No.4.063.048 1977 1990 Pat.No.4.969.901

1955 1959 1962 1963 1972 2004 2011 2011 2011 Pat.No.2.702.035 Pat.No.2.917.751 Pat.No.3.057.356 Pat.No.3.097.366 Pat.No.3.641.591 Pat.No.0097861A1 Pat.No.0212477A1 Pat.No.0224566A1 Pat.No.0271967A1

2011 2011 Pat.No.0245918A1 Pat.No.0263497A1

1953 1993 1994 2003 2004 2005 2007 2007 2007 2010 2011 2011 2011 2011 2011

Pat.No.2.648.822 Pat.No.5.215.088 Pat.No.5.219.888 Pat.No.0153841A1 Pat.No.0249302A1 Pat.No.0267597A1 Pat.No.0106143A1 Pat.No.7.254.500B2 Pat.No.7.280.870B2 Pat.No.7.729.773B2 Pat.No.0054583A1 Pat.No.0245844A1 Pat.No.0263497A1 Pat.No.0264186A1 Pat.No.0270350A1

Pat.No.4.685.928 1987

Pat.No.0252485A1 Pat.No.0223457A1 Pat.No.085225A1 Pat.No.102484A2 2011 2011 2011 2008

Powers of Ten, 1977

Pat.No.3.344.792 Pat.No.7.299.086

600

1967 2007

Pat.No.0257764A1

590

2011

Are Clothes Modern?, 1944

Pat.No.0259343A1 2011

Pat.No.4.063.048 1977 1990 Pat.No.4.969.901

1955 1959 1962 1963 1972 2004 2011 2011 2011 Pat.No.2.702.035 Pat.No.2.917.751 Pat.No.3.057.356 Pat.No.3.097.366 Pat.No.3.641.591 Pat.No.0097861A1 Pat.No.0212477A1 Pat.No.0224566A1 Pat.No.0271967A1

2011 2011 Pat.No.0245918A1 Pat.No.0263497A1

1953 1993 1994 2003 2004 2005 2007 2007 2007 2010 2011 2011 2011 2011 2011

Pat.No.2.648.822 Pat.No.5.215.088 Pat.No.5.219.888 Pat.No.0153841A1 Pat.No.0249302A1 Pat.No.0267597A1 Pat.No.0106143A1 Pat.No.7.254.500B2 Pat.No.7.280.870B2 Pat.No.7.729.773B2 Pat.No.0054583A1 Pat.No.0245844A1 Pat.No.0263497A1 Pat.No.0264186A1 Pat.No.0270350A1

Desire Sensitive Space, 1993

620

610

Foot, 1994

Desire Sensitive Space, 1993

620

610

Foot, 1994

Brain, 2007

640

630

Flesh, 1994

Brain, 2007

640

630

Flesh, 1994

Couch, 1964

660

650

Gesichtsschichtenlinien, 1996

Couch, 1964

660

650

Gesichtsschichtenlinien, 1996

Sleep, 1963

680

670

Geodesic Net , 2002

Sleep, 1963

680

670

Geodesic Net , 2002

The Flicker: Film, 1965

700

690

The Flicker: Model, 1965

The Flicker: Film, 1965

700

690

The Flicker: Model, 1965

Mouse

720

710

Sleep, 1963

Mouse

720

710

Sleep, 1963

740

730

740

730

Sleeping Figure with Thermal Effect, 2012

760

750

Realities Built by the Human Brain, 2012

Sleeping Figure with Thermal Effect, 2012

760

750

Realities Built by the Human Brain, 2012

780

770

BeweiĂ&#x;e, 1910

780

770

BeweiĂ&#x;e, 1910

Ray Eames Preparing Set Up, 1968

800

790

Eat, 1963

Ray Eames Preparing Set Up, 1968

800

790

Eat, 1963

Razor-Thin Slices, 2010

820

810

Eat, Andréa Ferréol in The Big Feast, 1973

Razor-Thin Slices, 2010

820

810

Eat, Andréa Ferréol in The Big Feast, 1973

Der Komantsche, 1979

840

830

We Require the Neuronal Code [!], 2003

Der Komantsche, 1979

840

830

We Require the Neuronal Code [!], 2003

5.500:1

25.000:1

Floor, 1894

860

850

Pyramidal Cell in the Human Temporal Cortex, 2002

600:1

5.500:1

25.000:1

Floor, 1894

860

850

Pyramidal Cell in the Human Temporal Cortex, 2002

600:1

880

870

880

870

900

890

Video Ergo Sum, 2004

900

890

Video Ergo Sum, 2004

Interiors: Benny 3, 2102

920

910

Interiors: Carla 1, 2012

Interiors: Benny 3, 2102

920

910

Interiors: Carla 1, 2012

In the short story “Allal,” Paul Bowles describes how a young man is roused from sleep, feeling a light weight on his chest. It is a coiled-up, red-gold snake which, lying on his body, rises and falls to the rhythm of his breathing and whose eyes are looking at him as if he were the one looking at himself. Several breaths later it is actually the case then: The young man’s consciousness has glided into the snake; he rises and falls within it, still to the rhythm of his previous own breath, and looks back at his deserted body. Ten years earlier, around 1968, a photo can be dated that shows the half-kneeling Charles Eames in a close-up with his face hidden by a medium format camera, not as if he were taking pictures, but as if he were scanning, measuring or analyzing the young man, sleeping with open eyes, lying in front of him.

Both scenes, “Allal” and the kneeling architect, have a hypnotizing character. Both are magical, both suggest a moment of transition. And both can be used as evidence. The architect does not examine buildings anymore, but rather sleeping people.

930

Endo [Greek: inside], C. 1980

From Counterblast (1954) by Marshall McLuhan, based on the Dylan Thomas poem “The Hand That Signed the Paper.”

In the short story “Allal,” Paul Bowles describes how a young man is roused from sleep, feeling a light weight on his chest. It is a coiled-up, red-gold snake which, lying on his body, rises and falls to the rhythm of his breathing and whose eyes are looking at him as if he were the one looking at himself. Several breaths later it is actually the case then: The young man’s consciousness has glided into the snake; he rises and falls within it, still to the rhythm of his previous own breath, and looks back at his deserted body. Ten years earlier, around 1968, a photo can be dated that shows the half-kneeling Charles Eames in a close-up with his face hidden by a medium format camera, not as if he were taking pictures, but as if he were scanning, measuring or analyzing the young man, sleeping with open eyes, lying in front of him.

Both scenes, “Allal” and the kneeling architect, have a hypnotizing character. Both are magical, both suggest a moment of transition. And both can be used as evidence. The architect does not examine buildings anymore, but rather sleeping people.

930

Endo [Greek: inside], C. 1980

From Counterblast (1954) by Marshall McLuhan, based on the Dylan Thomas poem “The Hand That Signed the Paper.”

000

1966

Audience at Showing of Tony Conrad’s The Flicker; Fourth New York Film Festival at Lincoln Center, September 15, 1966 A “cinema of expansion without camera, and also without screen or �ilmstock,” a cinema in which “anything can be used as a screen, the body of a protagonist or even the bodies of the spectators; anything can replace the �ilm stock, in a virtual �ilm which now only goes on in the head, behind the pupils.”

Joseph, Branden W. Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (A “Minor” History).

New York: ZONE Books, 2008. 304, quoting Gilles Deleuze from Cinema 2: Time-Image, Minneapolis, MN: University of Minnesota Press, 1989. 215.

… Early audiences’ reactions to … [The Flicker] ranged from disorientation, temporary hypnosis, and intense experiences of colors, patterns, and even hallucinogenic imagery … to headaches and violent bouts of nausea, all seemingly caused by the pulsating light’s interaction with the brain’s alpha waves. ...

010

Joseph, Branden W. Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (A “Minor” History).

New York: ZONE Books, 2008. 279.

Image: Photo: Elliott Landy © Elliott Landy, Landyvision.

1868

Ångström = 10-10 m In his work titled Recherches sur le Spectre Soleil and published in 1868, the physicist Anders Jonas Ångström outlined the wavelength of light as a dimension, which can also be used as a unit to measure distances on atomic scales. *

[Ångström] is … a unit of length equal to 10-10 m. It is used in atomic and molecular measurements and for the wavelength of electromagnetic radiation in the visible, near infra-red and near ultraviolet regions of the spectrum. The de�inition of the unit is based on the red emission line of the cadmium spectrum, which has an internationally agreed wavelength of 6438.4696 Å in dry air at standard atmospheric pressure at a temperature of 15°C and containing 0.03% carbon dioxide by volume. … The unit was introduced by the International Union for Solar Research in 1907. It was named after A. J. Ångström (1814�1874), the Scandinavian scientist who used units of 10-10 m to describe wavelengths in his classical map of the Solar spectrum made in 1868. … For over half a century the Ångström was equal to 1.0000002 × 10-10 m, but when the metre was de�ined in terms of the wavelength of krypton in 1960, the Ångström became equal to 10-10 m exactly. …

Jerrard, H. G. and McNeill, D. B. Dictionary of Scienti�ic Units. London: Chapman & Hall, 1992.

Image: © Creative Commons: Cweiske, 2007.

020

In “Allal,” identity and consciousness, like heat in a heat exchanger, glide from one subject to another. Can the same apply to architecture? Can – or must – the rulebook of the architecture of buildings be “swapped” to bodies? Could these absorb the functions of buildings? And is the construction site then no longer the building, but the body itself? And how will our building component warehouse develop?

Oxygenating Unit for Extracorporeal Circulation Devices, Patent No. 2.702.035, Pub. Date: Feb. 15, 1955; Mechanical Heart, Patent No. 2.917.751, Pub. Date: Dec. 22, 1959; Soft Shell Mushroom Shaped Heart, Patent No. 3.641.591, Pub. Date: Feb. 15, 1972; Arti�icial Arm and Hand Assembly, Patent No. 4.685.928, Pub. Date: Aug. 11, 1987; Head Sensor Positioning Network, Patent No. 5.291.888, Pub. Date: Mar. 8, 1994; Methods and Systems for Processing of Brain Signals, Patent No. 2004/0097861A1, Pub. Date: May 20, 2004; Neural Interface System with Embedded ID, Patent No. 2005/0267597 A1, Pub. Date: Dec.1, 2005; Optically-connected Implants and Related Systems and Methods of Use, Patent No. 7.280.870 B2, Pub. Date: Oct. 9, 2007; Monitoring and Representing Complex Signals, Patent No. 7.254.500 B2, Pub. Date: Aug. 7, 2007; Inkjet Printing of Tissues and Cells, Patent. No. 2009/102484 A2, Pub. Date: Aug. 20, 2008; Neural Stimulation and Optical Monitoring Systems and Methods, Patent No. 7.729.773 B2, Pub. Date: Jun. 1, 2010; Flexible and Scalable Sensor Arrays for Recording and Modulating Physiologic Activity, Patent No. 2011/0054583 A1, Pub. Date: Mar. 3, 2011; [Inkjet Printing of Life Tissue onto Living Organisms] Delivery System, Patent No. 2011/085225 A1, Pub. Date: July 14, 2011; Integrated Tank Filter for a Medical Therapeutic Device, Patent No. 2011/0245644 A1, Pub. Date: Oct. 6, 2011; Repositionable Endoluminal Support Structure and its Applications, Patent No. 2011/0245918 A1, Pub. Date: Oct. 6, 2011; Devices, Systems, and Methods for Reshaping a Heart Valve Annulus, Patent No. 2011/0251684 A1, Pub. Date: Oct. 13, 2011; Novel Gene Disruptions, Compositions and Methods Relating Thereto, Patent No. 2011/0252485 A1, Pub. Date: Oct. 13, 2011; Powered Ankle-Foot Device, Patent No. 2011/0257764 A1, Pub. Date: Oct. 20, 2011; Multiple Electrode Lead and a System for Deep Electrical Neurostimulation including Such a Lead, Patent No. 2011/0257764 A1, Pub. Date: Oct. 20, 2011; Transventricular Implant Tools and Devices, Patent No. 2011/0271967 A1, Pub. Date: Nov. 10, 2011, ... *

1993

Atoms on a Surface Moved Manually One-By-One into a Circle (Corral) Jakob Bork in an interview on 19 March 2012: The diameter

000

1966

Audience at Showing of Tony Conrad’s The Flicker; Fourth New York Film Festival at Lincoln Center, September 15, 1966 A “cinema of expansion without camera, and also without screen or �ilmstock,” a cinema in which “anything can be used as a screen, the body of a protagonist or even the bodies of the spectators; anything can replace the �ilm stock, in a virtual �ilm which now only goes on in the head, behind the pupils.”

Joseph, Branden W. Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (A “Minor” History).

New York: ZONE Books, 2008. 304, quoting Gilles Deleuze from Cinema 2: Time-Image, Minneapolis, MN: University of Minnesota Press, 1989. 215.

… Early audiences’ reactions to … [The Flicker] ranged from disorientation, temporary hypnosis, and intense experiences of colors, patterns, and even hallucinogenic imagery … to headaches and violent bouts of nausea, all seemingly caused by the pulsating light’s interaction with the brain’s alpha waves. ...

010

Joseph, Branden W. Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (A “Minor” History).

New York: ZONE Books, 2008. 279.

Image: Photo: Elliott Landy © Elliott Landy, Landyvision.

1868

Ångström = 10-10 m In his work titled Recherches sur le Spectre Soleil and published in 1868, the physicist Anders Jonas Ångström outlined the wavelength of light as a dimension, which can also be used as a unit to measure distances on atomic scales. *

[Ångström] is … a unit of length equal to 10-10 m. It is used in atomic and molecular measurements and for the wavelength of electromagnetic radiation in the visible, near infra-red and near ultraviolet regions of the spectrum. The de�inition of the unit is based on the red emission line of the cadmium spectrum, which has an internationally agreed wavelength of 6438.4696 Å in dry air at standard atmospheric pressure at a temperature of 15°C and containing 0.03% carbon dioxide by volume. … The unit was introduced by the International Union for Solar Research in 1907. It was named after A. J. Ångström (1814�1874), the Scandinavian scientist who used units of 10-10 m to describe wavelengths in his classical map of the Solar spectrum made in 1868. … For over half a century the Ångström was equal to 1.0000002 × 10-10 m, but when the metre was de�ined in terms of the wavelength of krypton in 1960, the Ångström became equal to 10-10 m exactly. …

Jerrard, H. G. and McNeill, D. B. Dictionary of Scienti�ic Units. London: Chapman & Hall, 1992.

Image: © Creative Commons: Cweiske, 2007.

020

In “Allal,” identity and consciousness, like heat in a heat exchanger, glide from one subject to another. Can the same apply to architecture? Can – or must – the rulebook of the architecture of buildings be “swapped” to bodies? Could these absorb the functions of buildings? And is the construction site then no longer the building, but the body itself? And how will our building component warehouse develop?

Oxygenating Unit for Extracorporeal Circulation Devices, Patent No. 2.702.035, Pub. Date: Feb. 15, 1955; Mechanical Heart, Patent No. 2.917.751, Pub. Date: Dec. 22, 1959; Soft Shell Mushroom Shaped Heart, Patent No. 3.641.591, Pub. Date: Feb. 15, 1972; Arti�icial Arm and Hand Assembly, Patent No. 4.685.928, Pub. Date: Aug. 11, 1987; Head Sensor Positioning Network, Patent No. 5.291.888, Pub. Date: Mar. 8, 1994; Methods and Systems for Processing of Brain Signals, Patent No. 2004/0097861A1, Pub. Date: May 20, 2004; Neural Interface System with Embedded ID, Patent No. 2005/0267597 A1, Pub. Date: Dec.1, 2005; Optically-connected Implants and Related Systems and Methods of Use, Patent No. 7.280.870 B2, Pub. Date: Oct. 9, 2007; Monitoring and Representing Complex Signals, Patent No. 7.254.500 B2, Pub. Date: Aug. 7, 2007; Inkjet Printing of Tissues and Cells, Patent. No. 2009/102484 A2, Pub. Date: Aug. 20, 2008; Neural Stimulation and Optical Monitoring Systems and Methods, Patent No. 7.729.773 B2, Pub. Date: Jun. 1, 2010; Flexible and Scalable Sensor Arrays for Recording and Modulating Physiologic Activity, Patent No. 2011/0054583 A1, Pub. Date: Mar. 3, 2011; [Inkjet Printing of Life Tissue onto Living Organisms] Delivery System, Patent No. 2011/085225 A1, Pub. Date: July 14, 2011; Integrated Tank Filter for a Medical Therapeutic Device, Patent No. 2011/0245644 A1, Pub. Date: Oct. 6, 2011; Repositionable Endoluminal Support Structure and its Applications, Patent No. 2011/0245918 A1, Pub. Date: Oct. 6, 2011; Devices, Systems, and Methods for Reshaping a Heart Valve Annulus, Patent No. 2011/0251684 A1, Pub. Date: Oct. 13, 2011; Novel Gene Disruptions, Compositions and Methods Relating Thereto, Patent No. 2011/0252485 A1, Pub. Date: Oct. 13, 2011; Powered Ankle-Foot Device, Patent No. 2011/0257764 A1, Pub. Date: Oct. 20, 2011; Multiple Electrode Lead and a System for Deep Electrical Neurostimulation including Such a Lead, Patent No. 2011/0257764 A1, Pub. Date: Oct. 20, 2011; Transventricular Implant Tools and Devices, Patent No. 2011/0271967 A1, Pub. Date: Nov. 10, 2011, ... *

1993

Atoms on a Surface Moved Manually One-By-One into a Circle (Corral) Jakob Bork in an interview on 19 March 2012: The diameter

pressure – there are very few particles present. The sample is completely frozen as long as you do not move the measurement tip too close. To put a single atom on a surface and keep it there, the temperature needs to be very low. At room temperature the atoms will move very rapidly around the surface and coalesce into bigger lumps. Lowering the temperature to below 20 K (-253°C) will make the atoms stay where they arrive at the surface.

Jakob Bork, PhD in Nanoscience, Max Planck Institute for Solid State Research, Stuttgart, Germany.

Image: The Making of the Circular Corral © Don Eigler, IBM.

030

of an atom is around 2�3 Å or 0.2�0.3 nm. The distance between two, e.g., copper atoms in a crystal lattice is 2.54 Å. When manipulating atoms, the imaging technique commonly used is called Scanning Tunneling Microscopy (STM). There is no lens and therefore no effective zoom in and out. When enlarging the image, the precision of the measurement is increased. An analogue would be a digital camera with a �ixed lens. To go closer to the sample, you would need to increase the resolution. An image generated by an STM is actually a topographic map – a height map of the surface of a metallic sample. Light itself cannot be focused to such a small scale and can therefore not be used to image this scale. The imaging technique consists of an extremely sharp metal tip running over the surface to detect the height of the surface through electrical interactions (measuring current). The same tip that is used for imaging can also be used for manipulation by simply going really close to a single atom lying on top of a �lat surface and mechanically pushing the atom. This is only possible because the atom is loosely attached to the surface. Think of atoms as pool balls.

The surface is a close-packed structure of pool balls laying sideby-side (like inside the triangle when starting a game of pool). A single extra pool ball lying on top of the others is loosely attached and can easily be pushed around. It will have its preferred spots but can be moved around. Different atoms will have different sizes and thereby require different energies to move. The atoms are staying still (not diffusing around the surface) due to the very low temperature of the experiment. If the temperature is raised above ~20 K (-253°C), the atoms will have enough kinetic energy to move around by themselves.

The real wonder is the massive amount of preparations and requirements needed to make images and manipulations like this.

At this size-level the equipment is extremely vibration-sensitive and the whole equipment is therefore encased in an acoustically isolated box. The equipment is balanced on several different vibration technologies and handled remotely through a special computer interface. The whole thing is about 3 m high. It is a huge ordered system of wires and connections, because everything can be changed or adapted for each experiment. To keep the surface of the metallic sample clean from impurities, the surrounding air is removed in the chamber. This creates a vacuum. The better the vacuum, the cleaner the sample. The vacuum is normally very low: 0.0000000000001 bar (10-10 mbar). A gas molecule normally travels 40 km before it will hit another gas molecule at this

US Patent No. US7.818.065 B2: Conducting Polymer Nanowire Brain-Machine Interface Systems and Methods Brain-machine interfaces, brain-computer interfaces and mind-machine interfaces are devices which allow for direct communication between brain and machine. *

US Patent No. US7.818.065 B2 … relates to conducting polymer nanowires and their use in a brain-machine interface which is secure, robust and minimally invasive. … Nanoscale conducting polymer electrodes [nanowires] are small enough so that even with a large number of electrodes (610), the interface can be removed without violating the integrity of the brain. … Its small size does not interfere with blood �low, gas or nutrient exchange and it does not disrupt brain activity. [The brain-machine interface] comprises a set of conducting polymer nanowires … [which], prior to deployment, are coiled-up within a compartment at the tip of a catheter (sit.1). As the compartment is opened … they may spread in a “bouquet” arrangement (sit.2) into a particular portion of the brain’s vascular system. Such a “bouquet” arrangement can support a very large number of probes (e.g., several million). Each conducting polymer nanowire is used to record the electrical activity of a single neuron or small group of neurons, without invading the brain parenchyma. Each conducting polymer nanowire preferentially ends in … a “sail” to help move the electrode within the body, e.g., within the vascular network. …

The smallest vascular elements, the capillaries, are signi�icantly larger (15�25 micrometer diameter) than conducting polymer nanowires (0.1 – 10 micrometer). As such, resistance to movement within small arteries and arterioles is minimal. Although blood pressure decreases with distance from the heart, it should provide adequate pressure to move the nanowires into place.

In large blood vessels closer to the heart, the pressure drastically pulsates with each heartbeat, and blood velocity is maximal.

As vessel diameter decreases with increasing distance from the

pressure – there are very few particles present. The sample is completely frozen as long as you do not move the measurement tip too close. To put a single atom on a surface and keep it there, the temperature needs to be very low. At room temperature the atoms will move very rapidly around the surface and coalesce into bigger lumps. Lowering the temperature to below 20 K (-253°C) will make the atoms stay where they arrive at the surface.

Jakob Bork, PhD in Nanoscience, Max Planck Institute for Solid State Research, Stuttgart, Germany.

Image: The Making of the Circular Corral © Don Eigler, IBM.

030

of an atom is around 2�3 Å or 0.2�0.3 nm. The distance between two, e.g., copper atoms in a crystal lattice is 2.54 Å. When manipulating atoms, the imaging technique commonly used is called Scanning Tunneling Microscopy (STM). There is no lens and therefore no effective zoom in and out. When enlarging the image, the precision of the measurement is increased. An analogue would be a digital camera with a �ixed lens. To go closer to the sample, you would need to increase the resolution. An image generated by an STM is actually a topographic map – a height map of the surface of a metallic sample. Light itself cannot be focused to such a small scale and can therefore not be used to image this scale. The imaging technique consists of an extremely sharp metal tip running over the surface to detect the height of the surface through electrical interactions (measuring current). The same tip that is used for imaging can also be used for manipulation by simply going really close to a single atom lying on top of a �lat surface and mechanically pushing the atom. This is only possible because the atom is loosely attached to the surface. Think of atoms as pool balls.

The surface is a close-packed structure of pool balls laying sideby-side (like inside the triangle when starting a game of pool). A single extra pool ball lying on top of the others is loosely attached and can easily be pushed around. It will have its preferred spots but can be moved around. Different atoms will have different sizes and thereby require different energies to move. The atoms are staying still (not diffusing around the surface) due to the very low temperature of the experiment. If the temperature is raised above ~20 K (-253°C), the atoms will have enough kinetic energy to move around by themselves.

The real wonder is the massive amount of preparations and requirements needed to make images and manipulations like this.

At this size-level the equipment is extremely vibration-sensitive and the whole equipment is therefore encased in an acoustically isolated box. The equipment is balanced on several different vibration technologies and handled remotely through a special computer interface. The whole thing is about 3 m high. It is a huge ordered system of wires and connections, because everything can be changed or adapted for each experiment. To keep the surface of the metallic sample clean from impurities, the surrounding air is removed in the chamber. This creates a vacuum. The better the vacuum, the cleaner the sample. The vacuum is normally very low: 0.0000000000001 bar (10-10 mbar). A gas molecule normally travels 40 km before it will hit another gas molecule at this

US Patent No. US7.818.065 B2: Conducting Polymer Nanowire Brain-Machine Interface Systems and Methods Brain-machine interfaces, brain-computer interfaces and mind-machine interfaces are devices which allow for direct communication between brain and machine. *

US Patent No. US7.818.065 B2 … relates to conducting polymer nanowires and their use in a brain-machine interface which is secure, robust and minimally invasive. … Nanoscale conducting polymer electrodes [nanowires] are small enough so that even with a large number of electrodes (610), the interface can be removed without violating the integrity of the brain. … Its small size does not interfere with blood �low, gas or nutrient exchange and it does not disrupt brain activity. [The brain-machine interface] comprises a set of conducting polymer nanowires … [which], prior to deployment, are coiled-up within a compartment at the tip of a catheter (sit.1). As the compartment is opened … they may spread in a “bouquet” arrangement (sit.2) into a particular portion of the brain’s vascular system. Such a “bouquet” arrangement can support a very large number of probes (e.g., several million). Each conducting polymer nanowire is used to record the electrical activity of a single neuron or small group of neurons, without invading the brain parenchyma. Each conducting polymer nanowire preferentially ends in … a “sail” to help move the electrode within the body, e.g., within the vascular network. …

The smallest vascular elements, the capillaries, are signi�icantly larger (15�25 micrometer diameter) than conducting polymer nanowires (0.1 – 10 micrometer). As such, resistance to movement within small arteries and arterioles is minimal. Although blood pressure decreases with distance from the heart, it should provide adequate pressure to move the nanowires into place.

In large blood vessels closer to the heart, the pressure drastically pulsates with each heartbeat, and blood velocity is maximal.

As vessel diameter decreases with increasing distance from the

heart, the total area of the vessels sharply increases. The �low becomes laminar and slow. As such, the blood �low through the free vessel branch can be viewed as being relatively constant. ...

horizontal or vertical perspective. …

Blossfeldt, K. Urformen der Kunst: Photographische P�lanzenbilder. Berlin: Wasmuth Verlag, 1928. 259.

Image: Karl Blossfeldt: Cirsium (Blütenboden einer Distel), 1915�1925. Plate 44. © Karl Blossfeldt – Archive of Ann and Jürgen Wilde, Zülpich 2012.

Nanowire in the Brain … To provide a sense of the size of electrodes involved in the interface of the present invention, … FIG. 7B illustrates an exemplary neuro-vascular structure in the brain and a nanowire electrode therein for comparison purposes. … FIG. 7B shows … a nanowire (300) having a diameter of 0.9 micrometers within a capillary of the Purkinje cell. …

… I am not afraid to consider the �inal question as to whether, ultimately – in the great future – we can arrange the atoms the way we want; the very atoms, all the way down!

What would happen if we could arrange the atoms one by one the way we want them …

080

Hannah Höch’s Album contains over 400 photographs cut out of magazines and newspapers. She collected them between 1925 and 1933 and pasted them onto the pages of two issues of Die Dame magazine, which she had fastened back-to-back. There are early aerial photographs, but also magni�ied closeups of plants, some of them borrowed from Karl Blossfeldt’s photographic herbaria Urformen der Kunst (1928) and Wundergarten der Natur (1932). It had become Hannah Höch’s artistic credo to drift between the polar opposites of micro- and macro-sphere. *

US Patent No. US2.648.822: Wave-Form Analyzing Apparatus

Source: Borck, C. Hirnströme. Eine Kulturgeschichte der Elektroenzephalographie. Göttingen: Wallstein Verlag, 2005.

060

Merkert, J. »Wie eine Biene und der Mond« oder: Die ganze Hannah Höch. Ed. R. Burmeister: Hannah Höch. Aller Anfang ist DADA! Berlin: Ost�ildern, 2007. 152.

Image: Section of a page from Hannah Höch: Album. c. 1933. Collage. (36 x 28 cm) Artist´s Archive, Berlinische Galerie, State Museum of Modern Art, Photography and Architecture. © VBK, Vienna 2012.

Karl Blossfeldt, Cirsium (Blütenboden einer Distel) … He [Karl Blossfeldt] produced most of his images in the macro range, i.e., on a negative scaled 1:1 or larger; he later enlarged them further in a copying process. He used a selfconstructed plate camera to take pictures in three different negative formats: 6 x 9 cm (2.4 x 3.5 in), 9 x 12 cm (3.5 x 4.7 in), and 13 x 18 cm (5.1 x 7.1 in). He placed the plants before a neutral background and photographed them in soft daylight from a

1953

1929 saw the �irst publication of a curve illustrating brain waves, an electroencephalogram. The “electric writing of the human brain” was expected to record a person’s thoughts. W. Grey Walter tried various visualisation processes to overcome the limitations of early EEGs.

… I want to demonstrate that small is also large and large is also small […]. I would like to show the world one day as a bee sees it, and the next day as the moon sees it. …

1915�1925

Feynman, Richard P. “There’s Plenty of Room at the Bottom: An Invitation to Enter a New Field of Physics.”

Talk given on the 29th of December, 1959 at the annual meeting of the American Physical Society at Caltech, US. Published in: Engineering and Science 23.5 (1960): 34.

Image: Richard Feynman lecturing on quantum mechanics. Courtesy of the Archives, California Institute of Technology. © Photograph of Richard Feynman reprinted with permission of Melanie Jackson Agency, LLC. Table compiled by Wolfgang Tschapeller ZT GmbH.

050

Hannah Höch, Album

There’s Plenty of Room at the Bottom

Source: International Bureau for Weights and Measurements BIPM, Paris: SI-brochure, 8th edition 2007; p. 3.

US Patent No. US7.818.065 B2: Rodolfo R. Llinas et al., NYU and MIT, Oct. 19, 2010.

Image: US Patent No. US7.818.065 B2: Conducting Polymer Nanowire Brain-Machine Interface Systems and Methods. Reprinted with permission from Rodolfo R. Llinas.

C. 1933

1959

Until the mid 20th century, the metre as a unit [from Greek: metron] was de�ined by a piece of metal. Only in 1983, science speci�ied a metre as a certain distance covered by light in a vacuum, and thus based it on a fundamental natural constant. Measurement units for the microsphere developed much later. From 1960, however, there is suddenly a plethora of new measurement units in the micro- and macro-sphere. At the same time the SI (International System of Units) was founded, based on the metre-kilogram-second system.

040

2010

070

US Patent No. US7.818.065 B2: Rodolfo R. Llinas et al., NYU and MIT, Oct. 19, 2010.

Image: Montage from US Patent No. US7.818.065 B2: Conducting Polymer Nanowire Brain-Machine Interface Systems and Methods. Reprinted with permission from Rodolfo R. Llinas and hand sketches from Wolfgang Tschapeller ZT GmbH.

… The electroencephalogram is a record of the oscillations of brain electric potentials recorded from perhaps 20 to 256 electrodes attached to the human scalp. The recorded electric potentials [mV] are transmitted to an EEG system composed of ampli�iers, �ilters, and paper chart or computer monitor. … 1 [The Wave-Form Analyzing] apparatus [is] capable of performing automatically continual analyses of, more particularly, complex semi-periodic wave-forms, such, for example, as those associated with the electrical potentials obtainable from biological material (e.g., electroencephalogram or heart-action potentials) or of the oscillations of vibrating machinery. … Fig. 16 is a circuit diagram of means for calibrating the wave-form analysing apparatus and for

heart, the total area of the vessels sharply increases. The �low becomes laminar and slow. As such, the blood �low through the free vessel branch can be viewed as being relatively constant. ...

horizontal or vertical perspective. …

Blossfeldt, K. Urformen der Kunst: Photographische P�lanzenbilder. Berlin: Wasmuth Verlag, 1928. 259.

Image: Karl Blossfeldt: Cirsium (Blütenboden einer Distel), 1915�1925. Plate 44. © Karl Blossfeldt – Archive of Ann and Jürgen Wilde, Zülpich 2012.

Nanowire in the Brain … To provide a sense of the size of electrodes involved in the interface of the present invention, … FIG. 7B illustrates an exemplary neuro-vascular structure in the brain and a nanowire electrode therein for comparison purposes. … FIG. 7B shows … a nanowire (300) having a diameter of 0.9 micrometers within a capillary of the Purkinje cell. …

… I am not afraid to consider the �inal question as to whether, ultimately – in the great future – we can arrange the atoms the way we want; the very atoms, all the way down!

What would happen if we could arrange the atoms one by one the way we want them …

080

Hannah Höch’s Album contains over 400 photographs cut out of magazines and newspapers. She collected them between 1925 and 1933 and pasted them onto the pages of two issues of Die Dame magazine, which she had fastened back-to-back. There are early aerial photographs, but also magni�ied closeups of plants, some of them borrowed from Karl Blossfeldt’s photographic herbaria Urformen der Kunst (1928) and Wundergarten der Natur (1932). It had become Hannah Höch’s artistic credo to drift between the polar opposites of micro- and macro-sphere. *

US Patent No. US2.648.822: Wave-Form Analyzing Apparatus

Source: Borck, C. Hirnströme. Eine Kulturgeschichte der Elektroenzephalographie. Göttingen: Wallstein Verlag, 2005.

060

Merkert, J. »Wie eine Biene und der Mond« oder: Die ganze Hannah Höch. Ed. R. Burmeister: Hannah Höch. Aller Anfang ist DADA! Berlin: Ost�ildern, 2007. 152.

Image: Section of a page from Hannah Höch: Album. c. 1933. Collage. (36 x 28 cm) Artist´s Archive, Berlinische Galerie, State Museum of Modern Art, Photography and Architecture. © VBK, Vienna 2012.

Karl Blossfeldt, Cirsium (Blütenboden einer Distel) … He [Karl Blossfeldt] produced most of his images in the macro range, i.e., on a negative scaled 1:1 or larger; he later enlarged them further in a copying process. He used a selfconstructed plate camera to take pictures in three different negative formats: 6 x 9 cm (2.4 x 3.5 in), 9 x 12 cm (3.5 x 4.7 in), and 13 x 18 cm (5.1 x 7.1 in). He placed the plants before a neutral background and photographed them in soft daylight from a

1953

1929 saw the �irst publication of a curve illustrating brain waves, an electroencephalogram. The “electric writing of the human brain” was expected to record a person’s thoughts. W. Grey Walter tried various visualisation processes to overcome the limitations of early EEGs.

… I want to demonstrate that small is also large and large is also small […]. I would like to show the world one day as a bee sees it, and the next day as the moon sees it. …

1915�1925

Feynman, Richard P. “There’s Plenty of Room at the Bottom: An Invitation to Enter a New Field of Physics.”

Talk given on the 29th of December, 1959 at the annual meeting of the American Physical Society at Caltech, US. Published in: Engineering and Science 23.5 (1960): 34.

Image: Richard Feynman lecturing on quantum mechanics. Courtesy of the Archives, California Institute of Technology. © Photograph of Richard Feynman reprinted with permission of Melanie Jackson Agency, LLC. Table compiled by Wolfgang Tschapeller ZT GmbH.

050

Hannah Höch, Album

There’s Plenty of Room at the Bottom

Source: International Bureau for Weights and Measurements BIPM, Paris: SI-brochure, 8th edition 2007; p. 3.

US Patent No. US7.818.065 B2: Rodolfo R. Llinas et al., NYU and MIT, Oct. 19, 2010.

Image: US Patent No. US7.818.065 B2: Conducting Polymer Nanowire Brain-Machine Interface Systems and Methods. Reprinted with permission from Rodolfo R. Llinas.

C. 1933

1959

Until the mid 20th century, the metre as a unit [from Greek: metron] was de�ined by a piece of metal. Only in 1983, science speci�ied a metre as a certain distance covered by light in a vacuum, and thus based it on a fundamental natural constant. Measurement units for the microsphere developed much later. From 1960, however, there is suddenly a plethora of new measurement units in the micro- and macro-sphere. At the same time the SI (International System of Units) was founded, based on the metre-kilogram-second system.

040

2010

070

US Patent No. US7.818.065 B2: Rodolfo R. Llinas et al., NYU and MIT, Oct. 19, 2010.

Image: Montage from US Patent No. US7.818.065 B2: Conducting Polymer Nanowire Brain-Machine Interface Systems and Methods. Reprinted with permission from Rodolfo R. Llinas and hand sketches from Wolfgang Tschapeller ZT GmbH.

… The electroencephalogram is a record of the oscillations of brain electric potentials recorded from perhaps 20 to 256 electrodes attached to the human scalp. The recorded electric potentials [mV] are transmitted to an EEG system composed of ampli�iers, �ilters, and paper chart or computer monitor. … 1 [The Wave-Form Analyzing] apparatus [is] capable of performing automatically continual analyses of, more particularly, complex semi-periodic wave-forms, such, for example, as those associated with the electrical potentials obtainable from biological material (e.g., electroencephalogram or heart-action potentials) or of the oscillations of vibrating machinery. … Fig. 16 is a circuit diagram of means for calibrating the wave-form analysing apparatus and for

reconstituting a wave-form being analysed. Fig. 17A, 17B, and 17C are representative tracings obtained with a four-channel electroencephalograph ampli�ier and recorders. …2

pages have been dedicated, he [Hyacinth Freiherr von Wieser] investigates the idea that particular forms of the human will can be translated into curve structures and vice-versa: that reading the respective shapes generates a corresponding volition.

This initially sounds like a prototypical “crazy” concept and may appear amusing to the reader. However, looking back at the historical context of 1912, one notices that von Wieser’s ideas were not far removed from contemporary occultist notions about visualising auras and so-called “shapes of thoughts”, very popular at the time. They re�lect, among other things, in the works of renowned artists such as the later Bauhaus teacher Wassily Kandinsky and Oskar Schlemmer.

120

Röske, T. Hyacinth Freiherr von Wieser, Willenskurven, 1912. Eds. Bettina Brand-Claussen and Erik Stephan.

Sammlung Prinzhorn: Wunderhülsen & Willenskurven. Bücher, Hefte und Kalendarien.

Heidelberg: Sammlung Prinzhorn, 2002. 141. With permission from the author.

Image: Hyacinth Freiherr von Wieser: Willenskurven, 1912. Pencil on paper. (20.4 x 16.3 cm) Prinzhorn Collection, Heidelberg University Hospital.

1953

EEG “… strange patterns, new and signi�icant, emerged...“ (a) The resting rhythm is at 8 c/s and �licker evokes another rhythm at 12 c/s.

Electroencephalographs in Joseph, Branden W. Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage. (A “Minor” History). New York: ZONE Books, 2008. 308. Figure 6.10. and Figure 9 from Walter, William Grey. The Living Brain. London: Duckworth & Co., 1953. 59.

Image: © W. Grey Walter.

110

Hyacinth Freiherr von Wieser, Willenskurven „2’ … 6. 1912, 13’30’. Vorsicht für andere gefährlich zu betrachten“ (“Careful – Dangerous for Others to Behold”) [Transcript from: Willenskurven] … In his expositions on “willology”, to which several other

In numerous pencil sketches and recordings, Hyacinth Freiherr von Wieser (born in 1883) wrote about his complex idea structures and conceptualised worlds, where everything is related to and impacts on everything else.

Wieser’s drawings hail from the Prinzhorn Collection in Heidelberg, which comprises around 5000 artistic works by psychiatric patients, produced between 1885 and 1930. *

The electroencephalogram is a report about electric activities inside the head [from Greek: enkephalos: en- in + kephalē head]. *

Walter, William Grey. The Living Brain. London: Duckworth & Co., 1953. 30.

Image: Drawn and compiled by Wolfgang Tschapeller ZT GmbH.

1912

Hyacinth Freiherr von Wieser, Napoleonskurve

Image: Hyacinth Freiherr von Wieser: Napoleonskurve, undated. Pencil on paper. (20.4 x 16.3 cm) Prinzhorn Collection, Heidelberg University Hospital.

130

Berger Effect: The Alpha Rhythm Is Blocked Upon Opening One’s Eyes … Berger carried the matter as far as his technical handicap permitted. He had observed that the larger and more regular rhythms tended to stop when the subject opened his eyes or solved some problem on mental arithmetic. … he was completely ignorant of the technical and physical basis of his method. He knew nothing about mechanics or electricity. This handicap made it impossible for him to correct serious shortcomings in his experiments. His method was a simple adaptation of the electro-cardiographic technique by which the electrical impulses generated by the heart are recorded. At �irst he inserted silver wires under the subject’s scalp; later he used silver foil bound to the head with a rubber bandage. Nearly always he put one electrode over the forehead and one over the back of the head; leads were taken from these to an Edelmann galvanometer, a light and sensitive “string” type of instrument, and records were taken by an assistant photographer. A potential change of one-ten-thousandth of a volt – a very modest sensitivity by present standards – could just be detected by this apparatus.

Each record laboriously produced was equivalent to that of two or three seconds of modern continuous pen recording. The line did show a wobble at about 10 cycles per second. He had lately acquired a valve ampli�ier to drive his galvanometer and his pride and pleasure in the sweeping excursions of line obtained by its use were endearing. …

140

1924

090/100

1 Nunez, Paul L, and Srinivasan, Ramesh. “Electroencephalogram.” Scholarpedia 2.2 (2007): 1348.

2 US Patent No. US2.648.822: Walter, William Grey, Bristol, England, Aug. 11, 1953.

Image: US Patent No. US2.648.822: Wave-Form Analyzing Apparatus. © W. Grey Walter.

1953

EEG

… “Are we then at the mercy of the theta rhythms?“ (a) Theta rhythm evoked by �licker in a temperamental subject during which he reported feelings of intense irritation. (b) Theta rhythm evoked by termination of a mildly agreeable stimulus in the same subject. Note the slow crescendo and abrupt

reconstituting a wave-form being analysed. Fig. 17A, 17B, and 17C are representative tracings obtained with a four-channel electroencephalograph ampli�ier and recorders. …2

pages have been dedicated, he [Hyacinth Freiherr von Wieser] investigates the idea that particular forms of the human will can be translated into curve structures and vice-versa: that reading the respective shapes generates a corresponding volition.

This initially sounds like a prototypical “crazy” concept and may appear amusing to the reader. However, looking back at the historical context of 1912, one notices that von Wieser’s ideas were not far removed from contemporary occultist notions about visualising auras and so-called “shapes of thoughts”, very popular at the time. They re�lect, among other things, in the works of renowned artists such as the later Bauhaus teacher Wassily Kandinsky and Oskar Schlemmer.

120

Röske, T. Hyacinth Freiherr von Wieser, Willenskurven, 1912. Eds. Bettina Brand-Claussen and Erik Stephan.

Sammlung Prinzhorn: Wunderhülsen & Willenskurven. Bücher, Hefte und Kalendarien.

Heidelberg: Sammlung Prinzhorn, 2002. 141. With permission from the author.

Image: Hyacinth Freiherr von Wieser: Willenskurven, 1912. Pencil on paper. (20.4 x 16.3 cm) Prinzhorn Collection, Heidelberg University Hospital.

1953

EEG “… strange patterns, new and signi�icant, emerged...“ (a) The resting rhythm is at 8 c/s and �licker evokes another rhythm at 12 c/s.

Electroencephalographs in Joseph, Branden W. Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage. (A “Minor” History). New York: ZONE Books, 2008. 308. Figure 6.10. and Figure 9 from Walter, William Grey. The Living Brain. London: Duckworth & Co., 1953. 59.

Image: © W. Grey Walter.

110

Hyacinth Freiherr von Wieser, Willenskurven „2’ … 6. 1912, 13’30’. Vorsicht für andere gefährlich zu betrachten“ (“Careful – Dangerous for Others to Behold”) [Transcript from: Willenskurven] … In his expositions on “willology”, to which several other

In numerous pencil sketches and recordings, Hyacinth Freiherr von Wieser (born in 1883) wrote about his complex idea structures and conceptualised worlds, where everything is related to and impacts on everything else.

Wieser’s drawings hail from the Prinzhorn Collection in Heidelberg, which comprises around 5000 artistic works by psychiatric patients, produced between 1885 and 1930. *

The electroencephalogram is a report about electric activities inside the head [from Greek: enkephalos: en- in + kephalē head]. *

Walter, William Grey. The Living Brain. London: Duckworth & Co., 1953. 30.

Image: Drawn and compiled by Wolfgang Tschapeller ZT GmbH.

1912

Hyacinth Freiherr von Wieser, Napoleonskurve

Image: Hyacinth Freiherr von Wieser: Napoleonskurve, undated. Pencil on paper. (20.4 x 16.3 cm) Prinzhorn Collection, Heidelberg University Hospital.

130

Berger Effect: The Alpha Rhythm Is Blocked Upon Opening One’s Eyes … Berger carried the matter as far as his technical handicap permitted. He had observed that the larger and more regular rhythms tended to stop when the subject opened his eyes or solved some problem on mental arithmetic. … he was completely ignorant of the technical and physical basis of his method. He knew nothing about mechanics or electricity. This handicap made it impossible for him to correct serious shortcomings in his experiments. His method was a simple adaptation of the electro-cardiographic technique by which the electrical impulses generated by the heart are recorded. At �irst he inserted silver wires under the subject’s scalp; later he used silver foil bound to the head with a rubber bandage. Nearly always he put one electrode over the forehead and one over the back of the head; leads were taken from these to an Edelmann galvanometer, a light and sensitive “string” type of instrument, and records were taken by an assistant photographer. A potential change of one-ten-thousandth of a volt – a very modest sensitivity by present standards – could just be detected by this apparatus.

Each record laboriously produced was equivalent to that of two or three seconds of modern continuous pen recording. The line did show a wobble at about 10 cycles per second. He had lately acquired a valve ampli�ier to drive his galvanometer and his pride and pleasure in the sweeping excursions of line obtained by its use were endearing. …

140

1924

090/100

1 Nunez, Paul L, and Srinivasan, Ramesh. “Electroencephalogram.” Scholarpedia 2.2 (2007): 1348.

2 US Patent No. US2.648.822: Walter, William Grey, Bristol, England, Aug. 11, 1953.

Image: US Patent No. US2.648.822: Wave-Form Analyzing Apparatus. © W. Grey Walter.

1953

EEG

… “Are we then at the mercy of the theta rhythms?“ (a) Theta rhythm evoked by �licker in a temperamental subject during which he reported feelings of intense irritation. (b) Theta rhythm evoked by termination of a mildly agreeable stimulus in the same subject. Note the slow crescendo and abrupt

170

termination 17 seconds after the end of stimulation. (c) A record taken a few minutes later in similar circumstances.

Note the coincidence of details with those of (b). …

150

Graph of Involuntary Blink

… The equipment was developed by Harold Shipton, whose imaginative engineering transformed the early models from entertainment to education. Two of its 24 channels are for monitoring the stimuli; the others, instead of being connected with pens, lead the electrical activity of the brain tapped by the electrodes for display on the screens of small cathode-ray tubes. So instead of wavy lines on a moving paper, the observer sees, to quote Sherrington … “a sparkling �ield of rhythmic �lashing points with trains of travelling sparks hurrying hither and thither.” Assembled in the display console, 22 of the tubes give a kind of Mercator’s projection of the brain. Frequency, phase and time relations of the rhythms are shown in what at �irst appears to be a completely bewildering variety of patterns in each tube and in their ensemble. Then, as the practised eye gains familiarity with the scene, many details of brain activity are seen for the �irst time. A conventional pen machine is simultaneously at the disposal of the observer, synchronised so that, by turning a switch, a written record of the activity seen in any �ive of the tubes can be made. Another attachment is a camera with which at the same time permanent snapshot records of the display can be obtained. …

The experiment studies the brain responses to two kinds of stimuli – clicks and air puffs. The graph displays the corresponding eye movement, tracing the conditioned reaction of shutting the eyelid as involuntary blink. *

Sleep

160

Image: Reprinted by permission from MacMillan Publishers Ltd: NATURE. W. Grey Walter et al., Burden Neurological Institute, Stapleton, Bristol: “Contingent negative variation: An electric sign of sensorimotor association and expectancy in the human brain.” Nature 203 (1964), p. 383.

1963

In a series of silent �ilms from the years 1963�64, Andy Warhol explored the motion picture as portrait and directed the camera at activities of everyday life.

Source: Biesenbach, Klaus, ed. Andy Warhol: Motion Pictures. Berlin: KW Institute for Contemporary Art, 2004. 16.

Bandy, Mary Lea. “Andy Warhol: Motion Pictures.” Ed. Klaus Biesenbach. Andy Warhol: Motion Pictures.

Berlin: KW Institute for Contemporary Art, 2004. 17.

Image: Andy Warhol: Sleep. 16 mm �ilm still. © 2012 The Andy Warhol Museum, Pittsburgh, PA, a museum of the Carnegie Institute. All rights reserved.

Walter, William Grey. The Living Brain. London: Duckworth & Co., 1953. 36�7.

Image: © W. Grey Walter.

180

[Andy Warhol: Sleep, starring John Giorno. 16 mm, 5 hours 21 minutes, B/W, silent, 16 fps. July 1963.] … After he purchased his 16 mm camera, Warhol started shooting three-minute �ilms of his friends on one-hundred-foot rolls of �ilm, and came up with the idea of �ilming the poet John Giorno in real time while he was sleeping, over various nights in summer 1963 – a real performance, if an unconscious one – and the �ilm became Sleep. … The �inal version of the edited footage, assembled from multiple copies of reversal prints made from the original rolls, runs not to eight hours but to �ive hours and twenty minutes, even at the retarded speed of sixteen frames per second. … Those who recognize the repetition of the footage may become absorbed by the fragmentation of sequences, which become abstractions of the reality of Giorno’s periods of sleep. The very nonlinear order of the footage should clue us in that we are seeing a portrait in a radically new way, as slowly moving of shifting image, yet the experience is not necessarily all that different from our study of a painted or photographed image; the images we see again and again enable us to see the whole picture, but over an extended time. …

Toposcope Unlike the EEG, which records brain activities merely on a temporal level, the toposcope was an early attempt to combine temporal and spatial representations. It was meant to correlate brain activities and locations.

Furthermore, the machine anticipated visualisation methods used in brain science today, where active zones of the brain are described not as curves, but as surface areas. *

Electroencephalographs in Walter, William Grey. The Living Brain. London: Duckworth & Co., 1953. 143.

Image: © W. Grey Walter.

1964

1957

“In this way is projected a moving panorama of the brain rhythms.” Toposcope Laboratory … The subject’s couch and triggered stroboscope (�licker) re�lector at extreme left beyond desk of 6-channel pen recorder with remote control panel. The 22-channel toposcope ampli�ier is in the background, the display panel at right centre, camera and projector at extreme right. …

Walter, William Grey. The Living Brain. London: Duckworth & Co., 1953. 37.

Image: © W. Grey Walter.

170

termination 17 seconds after the end of stimulation. (c) A record taken a few minutes later in similar circumstances.

Note the coincidence of details with those of (b). …

150

Graph of Involuntary Blink

… The equipment was developed by Harold Shipton, whose imaginative engineering transformed the early models from entertainment to education. Two of its 24 channels are for monitoring the stimuli; the others, instead of being connected with pens, lead the electrical activity of the brain tapped by the electrodes for display on the screens of small cathode-ray tubes. So instead of wavy lines on a moving paper, the observer sees, to quote Sherrington … “a sparkling �ield of rhythmic �lashing points with trains of travelling sparks hurrying hither and thither.” Assembled in the display console, 22 of the tubes give a kind of Mercator’s projection of the brain. Frequency, phase and time relations of the rhythms are shown in what at �irst appears to be a completely bewildering variety of patterns in each tube and in their ensemble. Then, as the practised eye gains familiarity with the scene, many details of brain activity are seen for the �irst time. A conventional pen machine is simultaneously at the disposal of the observer, synchronised so that, by turning a switch, a written record of the activity seen in any �ive of the tubes can be made. Another attachment is a camera with which at the same time permanent snapshot records of the display can be obtained. …

The experiment studies the brain responses to two kinds of stimuli – clicks and air puffs. The graph displays the corresponding eye movement, tracing the conditioned reaction of shutting the eyelid as involuntary blink. *

Sleep

160

Image: Reprinted by permission from MacMillan Publishers Ltd: NATURE. W. Grey Walter et al., Burden Neurological Institute, Stapleton, Bristol: “Contingent negative variation: An electric sign of sensorimotor association and expectancy in the human brain.” Nature 203 (1964), p. 383.

1963

In a series of silent �ilms from the years 1963�64, Andy Warhol explored the motion picture as portrait and directed the camera at activities of everyday life.

Source: Biesenbach, Klaus, ed. Andy Warhol: Motion Pictures. Berlin: KW Institute for Contemporary Art, 2004. 16.

Bandy, Mary Lea. “Andy Warhol: Motion Pictures.” Ed. Klaus Biesenbach. Andy Warhol: Motion Pictures.

Berlin: KW Institute for Contemporary Art, 2004. 17.

Image: Andy Warhol: Sleep. 16 mm �ilm still. © 2012 The Andy Warhol Museum, Pittsburgh, PA, a museum of the Carnegie Institute. All rights reserved.

Walter, William Grey. The Living Brain. London: Duckworth & Co., 1953. 36�7.

Image: © W. Grey Walter.

180

[Andy Warhol: Sleep, starring John Giorno. 16 mm, 5 hours 21 minutes, B/W, silent, 16 fps. July 1963.] … After he purchased his 16 mm camera, Warhol started shooting three-minute �ilms of his friends on one-hundred-foot rolls of �ilm, and came up with the idea of �ilming the poet John Giorno in real time while he was sleeping, over various nights in summer 1963 – a real performance, if an unconscious one – and the �ilm became Sleep. … The �inal version of the edited footage, assembled from multiple copies of reversal prints made from the original rolls, runs not to eight hours but to �ive hours and twenty minutes, even at the retarded speed of sixteen frames per second. … Those who recognize the repetition of the footage may become absorbed by the fragmentation of sequences, which become abstractions of the reality of Giorno’s periods of sleep. The very nonlinear order of the footage should clue us in that we are seeing a portrait in a radically new way, as slowly moving of shifting image, yet the experience is not necessarily all that different from our study of a painted or photographed image; the images we see again and again enable us to see the whole picture, but over an extended time. …

Toposcope Unlike the EEG, which records brain activities merely on a temporal level, the toposcope was an early attempt to combine temporal and spatial representations. It was meant to correlate brain activities and locations.

Furthermore, the machine anticipated visualisation methods used in brain science today, where active zones of the brain are described not as curves, but as surface areas. *

Electroencephalographs in Walter, William Grey. The Living Brain. London: Duckworth & Co., 1953. 143.

Image: © W. Grey Walter.

1964

1957

“In this way is projected a moving panorama of the brain rhythms.” Toposcope Laboratory … The subject’s couch and triggered stroboscope (�licker) re�lector at extreme left beyond desk of 6-channel pen recorder with remote control panel. The 22-channel toposcope ampli�ier is in the background, the display panel at right centre, camera and projector at extreme right. …

Walter, William Grey. The Living Brain. London: Duckworth & Co., 1953. 37.

Image: © W. Grey Walter.

Cochlea Antero-Lateral

3 4 5 6 7

190

1918

The cochlea is a snail shell-shaped sensory organ inside the os temporale. It contains speci�ic sensory cells (organ of Corti), whose ultimately mechanical stimulation produces auditory perception.

Source: Schünke, M., E. Schulte, and U. Schumacher. Prometheus LernAtlas der Anatomie: Kopf, Hals und Neuroanatomie. Stuttgart: Georg Thieme Verlag, 2009. 471.

8 9 10 11 12 13 14

210

Source: Creative Commons: Welleschik, 2009, adapted for this publication by Michél Dedeyan.

Image: © Creative Commons: Welleschik, 2009.

Source: Schünke, M., E. Schulte, and U. Schumacher. Prometheus LernAtlas der Anatomie: Kopf, Hals und Neuroanatomie. Stuttgart: Georg Thieme Verlag, 2009. 134.

1 2

Pars squamosa (scale-like portion of the temporal bone) Spina suprameatalis (protuberance above the auditory canal)

200

The inner ear (auris interna) is located inside the petrous bone [part of the os temporale] and contains the acoustic and equilibrium organs. It consists of a skin-like or membranous labyrinth (labyrinthus membranaceus) surrounded by an analogically shaped osseous hollow cavity (osseous labyrinth = labyrinthus osseus). Part of the acoustic organ is the cochlear labyrinth with a membranous duct shaped like a snail shell (ductus cochlearis). Together with its osseous shell, it forms the cochlea.

A Single Hair Cell of a Frog Ear Bat, Pig, Dog 10 photographs of sections through ears of different animals. * Image: © Mark Hill, School of Medical Sciences, Faculty of Medicine, The University of New South Wales.

Gray, Henry. Anatomy of the Human Body. Philadelphia: Lea & Febiger, 1942. 1070.

Image: Fig. 929 in Henry Gray: Anatomy of the Human Body. Philadelphia: Lea & Febiger, 1942, p. 1070. © Bartleby.

Os Temporale: Transection of a Human Left Temporal Bone

2007

Image: © Jason Meyers, Assistant Professor of Biology, Colgate University.

220

5’ 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Lateral semicircular canal; 1’ its ampulla Posterior canal Superior canal Conjoined limb of superior and posterior canals (sinus utriculi superior) Recessus utriculi; 5” Sinus utriculi posterior Ductus endolymphaticus Canalis utriculosaccularis Nerve to ampulla of superior canal Nerve to ampulla of lateral canal Nerve to recessus utriculi Facial nerve Lagena cochleæ Nerve of cochlea within spiral lamina Basilar membrane Nerve �ibers to macula of saccule Nerve to ampulla of posterior canal Saccule Secondary membrane of tympanum Canalis reuniens Vestibular end of ductus cochlearis ...

230

1 2 3 4

Meatus acusticus externus (outer auditory canal) Pars tympanica (tympanic part) Processus mastoideus (mastoid process) Fenestra ovalis (oval window) Promontorium (eminence caused by the �irst coil of the cochlea) Fenestra rotunda (round window) Eminentia pyramidalis (origin of the stapedius muscle) Apertura tympanica canaliculi chordae tympani (opening for the tympanic nerve) Sulcus tympanicus (groove for tympanic membrane) Aditus ad antrum (opening to the mastoid antrum) Canalis nervi facialis (canal for cranial nerve VII) Cochlea (snail shell-like structure) …

Right Thumb … How to Take Inked Fingerprints. The equipment required for taking �ingerprints consists of an inking plate, a cardholder, printer’s ink (heavy black paste), and a roller. This equipment is simple and inexpensive. In order to obtain clear, distinct �ingerprints, it is necessary to spread the printer’s ink in a thin even coating on a small inking plate. A roller similar to that used by printers in making galley proofs is best adapted for use as a spreader. Its size is a matter determined by individual needs and preferences; however, a roller approximately 6 inches long and 2 inches in diameter has been found to be very satisfactory. These rollers may be obtained from a �ingerprint supply company or a printing supply house. … The degree of pressure to be exerted in inking and taking rolled impressions is important, and this may best be determined through experience and observation. It is quite important, however, that the subject be cautioned to relax and refrain from trying to help the operator by exerting pressure

Cochlea Antero-Lateral

3 4 5 6 7

190

1918

The cochlea is a snail shell-shaped sensory organ inside the os temporale. It contains speci�ic sensory cells (organ of Corti), whose ultimately mechanical stimulation produces auditory perception.

Source: Schünke, M., E. Schulte, and U. Schumacher. Prometheus LernAtlas der Anatomie: Kopf, Hals und Neuroanatomie. Stuttgart: Georg Thieme Verlag, 2009. 471.

8 9 10 11 12 13 14

210

Source: Creative Commons: Welleschik, 2009, adapted for this publication by Michél Dedeyan.

Image: © Creative Commons: Welleschik, 2009.

Source: Schünke, M., E. Schulte, and U. Schumacher. Prometheus LernAtlas der Anatomie: Kopf, Hals und Neuroanatomie. Stuttgart: Georg Thieme Verlag, 2009. 134.

1 2

Pars squamosa (scale-like portion of the temporal bone) Spina suprameatalis (protuberance above the auditory canal)

200

The inner ear (auris interna) is located inside the petrous bone [part of the os temporale] and contains the acoustic and equilibrium organs. It consists of a skin-like or membranous labyrinth (labyrinthus membranaceus) surrounded by an analogically shaped osseous hollow cavity (osseous labyrinth = labyrinthus osseus). Part of the acoustic organ is the cochlear labyrinth with a membranous duct shaped like a snail shell (ductus cochlearis). Together with its osseous shell, it forms the cochlea.

A Single Hair Cell of a Frog Ear Bat, Pig, Dog 10 photographs of sections through ears of different animals. * Image: © Mark Hill, School of Medical Sciences, Faculty of Medicine, The University of New South Wales.

Gray, Henry. Anatomy of the Human Body. Philadelphia: Lea & Febiger, 1942. 1070.

Image: Fig. 929 in Henry Gray: Anatomy of the Human Body. Philadelphia: Lea & Febiger, 1942, p. 1070. © Bartleby.

Os Temporale: Transection of a Human Left Temporal Bone

2007

Image: © Jason Meyers, Assistant Professor of Biology, Colgate University.

220

5’ 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Lateral semicircular canal; 1’ its ampulla Posterior canal Superior canal Conjoined limb of superior and posterior canals (sinus utriculi superior) Recessus utriculi; 5” Sinus utriculi posterior Ductus endolymphaticus Canalis utriculosaccularis Nerve to ampulla of superior canal Nerve to ampulla of lateral canal Nerve to recessus utriculi Facial nerve Lagena cochleæ Nerve of cochlea within spiral lamina Basilar membrane Nerve �ibers to macula of saccule Nerve to ampulla of posterior canal Saccule Secondary membrane of tympanum Canalis reuniens Vestibular end of ductus cochlearis ...

230

1 2 3 4

Meatus acusticus externus (outer auditory canal) Pars tympanica (tympanic part) Processus mastoideus (mastoid process) Fenestra ovalis (oval window) Promontorium (eminence caused by the �irst coil of the cochlea) Fenestra rotunda (round window) Eminentia pyramidalis (origin of the stapedius muscle) Apertura tympanica canaliculi chordae tympani (opening for the tympanic nerve) Sulcus tympanicus (groove for tympanic membrane) Aditus ad antrum (opening to the mastoid antrum) Canalis nervi facialis (canal for cranial nerve VII) Cochlea (snail shell-like structure) …

Right Thumb … How to Take Inked Fingerprints. The equipment required for taking �ingerprints consists of an inking plate, a cardholder, printer’s ink (heavy black paste), and a roller. This equipment is simple and inexpensive. In order to obtain clear, distinct �ingerprints, it is necessary to spread the printer’s ink in a thin even coating on a small inking plate. A roller similar to that used by printers in making galley proofs is best adapted for use as a spreader. Its size is a matter determined by individual needs and preferences; however, a roller approximately 6 inches long and 2 inches in diameter has been found to be very satisfactory. These rollers may be obtained from a �ingerprint supply company or a printing supply house. … The degree of pressure to be exerted in inking and taking rolled impressions is important, and this may best be determined through experience and observation. It is quite important, however, that the subject be cautioned to relax and refrain from trying to help the operator by exerting pressure

as this prevents the operator from gauging the amount needed.

A method which is helpful in effecting the relaxation of a subject’s hand is that of instructing him to look at some distant object and not to look at his hands. The person taking the �ingerprints should stand to the left of the subject when printing the right hand, and to the right of the subject when printing the left hand. In any case, the positions of both subject and operator should be natural and relaxed if the best �ingerprints are to be obtained. …

1954

Reciprocal Skin Graft

240

Hoover, John Edgar and the Federal Bureau of Investigation. The Science of Fingerprints: Classi�ication and Uses. Washington, DC: United States Department of Justice, Chapter VIII. Image: Unidenti�ied �ingerprint.

On December 23, 1954, the �irst kidney transplant between identical twins was done by surgeon Joseph Edward Murray at the Peter Bent Brigham Hospital. The doctors performed various genetic tests beforehand to secure the true genetic identity of the twin brothers.

Source: Transplant Procedure Report, December 23, 1954. Peter Bent Brigham Hospital, Boston, Massachusetts.

… “Twin’s Life May Hang on Fingerprint Today” (The Boston Herald): A �ingerprinting at 4 p.m. today at Roxbury Crossing police station may save the life of a 23-year-old Marlboro man seriously ill in Peter Bent Brigham Hospital. The �ingerprinting is to determine whether Ronald Herrick of East Main Street, Marlboro, is the identical twin or merely the fraternal twin of Richard Herrick, critically sick with a kidney ailment. If the �ingerprints of Ronald, when they are taken this afternoon, match his brother’s, Ronald can, if he desires, donate a kidney that may save Richard’s life.

If the �ingerprints do not match, it still is not de�inite that the two boys are only fraternal twins. Doctors then will be forced to rely on a skin graft the size of a thumbnail they made from Ronald to Richard �ive weeks ago. So far the graft has stuck, which would indicate the twins are identical. Only the skin from an identical twin will stick after a transplant for any length of time. …

2004

US Patent No. US2004/0097861 A1: Arti�icial Heart-Lung Apparatus … An arti�icial heart-lung apparatus (1) … constructed and

250

“Twin’s Life May Hang on Fingerprint Today,” The Boston Herald. Transplant Procedure Report, December 23, 1954. Peter Bent Brigham Hospital, Boston, Massachusetts.

Image: © Neil Turner. Edinburgh Royal In�irmary Renal Unit and Lothian Health Services Archive, Scotland.

placed in close proximity to the surgical area (3) is utilized to perform substitute functions of a patient’s (4) heart and lungs during surgery where the heart has been stopped. It does this by removing blood from the patient through tubing (5) that leads to arti�icial heart-lung apparatus, heating or cooling the blood, supplying oxygen and simultaneously removing carbon dioxide from the blood, and returning the blood to the patient through tubing (6) ... The path of blood through the arti�icial heart-lung machine is as follows. Blood is removed from the patient through a blood draw cannula (5) that leads to the arti�icial heart-lung apparatus (1). Blood enters undulation pump (20) through blood inlet port (23) and arrives in cylindrical pump chamber. … Blood is pumped out of pump chamber … through outlet port (24) by the rapid precession motion of undulation paddle … Blood leaves outlet port (24) of undulation pump … and enters heat exchanger (10H) through oval channel (83). Blood passes through circular channel … of blood channel plate … where its temperature is regulated by heat exchange with media in adjacent circular channel … of media channel plate. … The media enter the heat exchanger (10H) through inlet port … and exit through outlet port. … Blood passes through circular channel … and exits the heat exchanger (10H) via channel … to cylindrical oxygenator (10).

Blood enters oxygenator (10) and passes among hollow �ibres (100) for gas exchange. Oxygen diffuses out from the inner lumen of the hollow �ibres (100). As oxygen-de�icient blood passes adjacent to the �ibres, it absorbs oxygen and releases carbon dioxide in an equilibrium reaction. Carbon dioxide from the blood, diffused into the inner lumen of the hollow �ibres (100), and residual oxygen exit through gas outlet port into the air. Blood exits oxygenator (10) through outlet port … located on the surface of casing. … Blood is returned to the patient via blood return cannula (6) and thus completes its extracorporeal circulation. …

2 control unit 11, 21, 61, 71 axes 60 drive unit 73 inlet port 74 outlet port 76 media channel US Patent No. US2004/0097861 A1: Yusuke Abe, May 20, 2004.

Image: US Patent No. US2004/0097861 A1: Arti�icial Heart-Lung Apparatus. © Yusuke Abe.

as this prevents the operator from gauging the amount needed.

A method which is helpful in effecting the relaxation of a subject’s hand is that of instructing him to look at some distant object and not to look at his hands. The person taking the �ingerprints should stand to the left of the subject when printing the right hand, and to the right of the subject when printing the left hand. In any case, the positions of both subject and operator should be natural and relaxed if the best �ingerprints are to be obtained. …

1954

Reciprocal Skin Graft

240

Hoover, John Edgar and the Federal Bureau of Investigation. The Science of Fingerprints: Classi�ication and Uses. Washington, DC: United States Department of Justice, Chapter VIII. Image: Unidenti�ied �ingerprint.

On December 23, 1954, the �irst kidney transplant between identical twins was done by surgeon Joseph Edward Murray at the Peter Bent Brigham Hospital. The doctors performed various genetic tests beforehand to secure the true genetic identity of the twin brothers.

Source: Transplant Procedure Report, December 23, 1954. Peter Bent Brigham Hospital, Boston, Massachusetts.

… “Twin’s Life May Hang on Fingerprint Today” (The Boston Herald): A �ingerprinting at 4 p.m. today at Roxbury Crossing police station may save the life of a 23-year-old Marlboro man seriously ill in Peter Bent Brigham Hospital. The �ingerprinting is to determine whether Ronald Herrick of East Main Street, Marlboro, is the identical twin or merely the fraternal twin of Richard Herrick, critically sick with a kidney ailment. If the �ingerprints of Ronald, when they are taken this afternoon, match his brother’s, Ronald can, if he desires, donate a kidney that may save Richard’s life.

If the �ingerprints do not match, it still is not de�inite that the two boys are only fraternal twins. Doctors then will be forced to rely on a skin graft the size of a thumbnail they made from Ronald to Richard �ive weeks ago. So far the graft has stuck, which would indicate the twins are identical. Only the skin from an identical twin will stick after a transplant for any length of time. …

2004

US Patent No. US2004/0097861 A1: Arti�icial Heart-Lung Apparatus … An arti�icial heart-lung apparatus (1) … constructed and

250

“Twin’s Life May Hang on Fingerprint Today,” The Boston Herald. Transplant Procedure Report, December 23, 1954. Peter Bent Brigham Hospital, Boston, Massachusetts.

Image: © Neil Turner. Edinburgh Royal In�irmary Renal Unit and Lothian Health Services Archive, Scotland.

placed in close proximity to the surgical area (3) is utilized to perform substitute functions of a patient’s (4) heart and lungs during surgery where the heart has been stopped. It does this by removing blood from the patient through tubing (5) that leads to arti�icial heart-lung apparatus, heating or cooling the blood, supplying oxygen and simultaneously removing carbon dioxide from the blood, and returning the blood to the patient through tubing (6) ... The path of blood through the arti�icial heart-lung machine is as follows. Blood is removed from the patient through a blood draw cannula (5) that leads to the arti�icial heart-lung apparatus (1). Blood enters undulation pump (20) through blood inlet port (23) and arrives in cylindrical pump chamber. … Blood is pumped out of pump chamber … through outlet port (24) by the rapid precession motion of undulation paddle … Blood leaves outlet port (24) of undulation pump … and enters heat exchanger (10H) through oval channel (83). Blood passes through circular channel … of blood channel plate … where its temperature is regulated by heat exchange with media in adjacent circular channel … of media channel plate. … The media enter the heat exchanger (10H) through inlet port … and exit through outlet port. … Blood passes through circular channel … and exits the heat exchanger (10H) via channel … to cylindrical oxygenator (10).

Blood enters oxygenator (10) and passes among hollow �ibres (100) for gas exchange. Oxygen diffuses out from the inner lumen of the hollow �ibres (100). As oxygen-de�icient blood passes adjacent to the �ibres, it absorbs oxygen and releases carbon dioxide in an equilibrium reaction. Carbon dioxide from the blood, diffused into the inner lumen of the hollow �ibres (100), and residual oxygen exit through gas outlet port into the air. Blood exits oxygenator (10) through outlet port … located on the surface of casing. … Blood is returned to the patient via blood return cannula (6) and thus completes its extracorporeal circulation. …

2 control unit 11, 21, 61, 71 axes 60 drive unit 73 inlet port 74 outlet port 76 media channel US Patent No. US2004/0097861 A1: Yusuke Abe, May 20, 2004.

Image: US Patent No. US2004/0097861 A1: Arti�icial Heart-Lung Apparatus. © Yusuke Abe.

290 270

First Total Arti�icial Heart Implant (64 Hours) … The TAH, designed by Liotta, was a pneumatically powered, double-chambered pump with Dacron-lined right and left in�low cuffs and out�low grafts. Wada-Cutter hingeless valves controlled the direction of blood �low through the pump.

The TAH itself was connected to a large external power unit, which unfortunately severely restricted patient mobility. The TAH performed adequately for 64 hours until transplantation. …

Frazier, O. H., Nyma A. Shah, and Timothy J. Myers. “Chapter 63: Total Arti�icial Heart.”

Eds. L. H. Cohn, L. H. Edmund, Jr. Cardiac Surgery in the Adult. New York: McGraw-Hill, 2003. 1507�14. © 2012 The McGraw-Hill Companies. All rights reserved.

Image: Liotta Total Arti�icial Heart. © Texas Heart Institute.

The Akutsu-III Total Arti�icial Heart (55 Hours)

10º m - Powers of Ten Powers of Ten was partly conceived by the American nuclear- and astrophysicist Philip Morrison; also on the list of credits: NASA, Geographic Films, Chicago Arial Survey, and Modern Filmeffects. Like their role model Kees Boeke had done in his book Cosmic View: The Universe in Forty Jumps (1957), Charles and Ray Eames constructed their �ilm around the narrative of a journey. With dizzying speed, we depart from a picnic by Lake Michigan and travel to the furthermost (known) edge of the universe, a void 1 billion light years away. “This emptiness is normal, the richness of our own neighbourhood is the exception”, Philip Morrison’s voice tells us and begins a countdown back to Earth, where our view now transects the body of a sleeping man: It penetrates the magni�ied craterous surface of his skin, passes through blood vessels, cells and DNA strands, and �inally arrives at the indivisible quarks inside a carbon nucleus. We cover distances measured in light years, Ǻngström and powers of ten, with astro- and nanophysics, mathematics, chemistry and molecular biology as our tour guides. *

… The electronic universe with its model worlds and computer simulations, its interfaces and virtual realities gives us reason to believe that the world can now be understood in terms of an interface. Endophysics and nanotechnology are two different ways to study the phenomenon of interface in greater detail than was possible up to now – on the one hand, on a much smaller scale (nano: very small) and, on the other, from within (endo). …

In 1957, Akutsu and Kolff became the �irst to implant a TAH in vivo [Latin: within the living]. Inserted into the chest of a dog, the pump adequately maintained the circulation for approximately 90 minutes. … The �irst implantation of a TAH into a human was done by Cooley … 1969 ... The intent was to support the patient until a donor heart could be found … The second implantation … in a human was also done by Cooley [in 1981] …

Weibel, Peter. “Über die Grenzen des Realen. Endo–Nano.” Die Welt von Innen. Band 1. Linz: Ars Electronica, 1992. With permission from the author.

Image: Charles and Ray Eames: Powers of Ten, 1977. Production art. © 2012 Eames O�ice, LLC

310

Source: Frazier, O. H., Nyma A. Shah, and Timothy J. Myers. “Chapter 63: Total Arti�icial Heart.”

Eds. L. H. Cohn, L. H. Edmund, Jr. Cardiac Surgery in the Adult. New York: McGraw-Hill, 2003. 1507�14.

... The Akutsu-III TAH consisted of two pneumatically powered, double-chambered pumps featuring reciprocating hemispherical diaphragms. The TAH provided excellent hemodynamics and supported the patient in stable condition for a total of 55 hours until a suitable donor heart was found. …

1977

Image: Cover image from Fragments for a History of the Human Body. Part Two, designed by Bruce Mau. New York: ZONE Books, 1989.

280

1981

Venus, Cupid Folly and Time

Image: Cover image from Fragments for a History of the Human Body. Part Two, designed by Bruce Mau. New York: ZONE Books, 1989.

Ruf, Simon. Über-Menschen. Elemente einer Genealogie des Cyborgs. Eds. A. Keck, and N. Pethes.

Mediale Anatomien. Menschenbilder als Medienprojektionen. Bielefeld: transcript Verlag, 2001. 268.

Image: Courtesy of J. H. Gibbon, Jr. Reprinted with permission from Gibbon, JH et al. Arch Surg 1937 34: 1109. © (1937) American Medical Association. All rights reserved.

1969

1989

Angnolo Branzino’s painting Venus, Cupid Folly and Time (1545) was used for the pop-up cover of Fragments for a History of the Human Body. Part Two (New York: ZONE Books, 1989). This three-volume anthology, edited by Michel Feher among others, outlines the history of the human body as an account of its cultural constructions and interpretations. *

300

Photograph Taken in Dr Gibbon’s Laboratory, Showing an Early Version of His Heart-Lung Machine … the development of two scienti�ic events [were] … crucial for the dissolution of the old human form and the new outline of its shape as a cyborg … the combination of molecular biology with cybernetics and information technology since the 1940s, which models the organism as a communications machine … [and] American aerospace engineering in the 1960s, which saw itself confronted with the problem of how to manipulate and prepare the human organism to cope with the extreme requirements of extended space travel. …

Frazier, O. H., Nyma A. Shah, and Timothy J. Myers. “Chapter 63: Total Arti�icial Heart.”

Eds. L. H. Cohn, L. H. Edmund, Jr. Cardiac Surgery in the Adult. New York: McGraw-Hill, 2003. 1507�14. © 2012 The McGraw-Hill Companies. All rights reserved.

Image: Akutsu-III Total Arti�icial Heart. © Texas Heart Institute.

260

1937

2007

Fig. 1 The human body has gradually become a construction space, where various technical and organic elements can be installed. It has grown into a building site. *

290 270

First Total Arti�icial Heart Implant (64 Hours) … The TAH, designed by Liotta, was a pneumatically powered, double-chambered pump with Dacron-lined right and left in�low cuffs and out�low grafts. Wada-Cutter hingeless valves controlled the direction of blood �low through the pump.

The TAH itself was connected to a large external power unit, which unfortunately severely restricted patient mobility. The TAH performed adequately for 64 hours until transplantation. …

Frazier, O. H., Nyma A. Shah, and Timothy J. Myers. “Chapter 63: Total Arti�icial Heart.”

Eds. L. H. Cohn, L. H. Edmund, Jr. Cardiac Surgery in the Adult. New York: McGraw-Hill, 2003. 1507�14. © 2012 The McGraw-Hill Companies. All rights reserved.

Image: Liotta Total Arti�icial Heart. © Texas Heart Institute.

The Akutsu-III Total Arti�icial Heart (55 Hours)

10º m - Powers of Ten Powers of Ten was partly conceived by the American nuclear- and astrophysicist Philip Morrison; also on the list of credits: NASA, Geographic Films, Chicago Arial Survey, and Modern Filmeffects. Like their role model Kees Boeke had done in his book Cosmic View: The Universe in Forty Jumps (1957), Charles and Ray Eames constructed their �ilm around the narrative of a journey. With dizzying speed, we depart from a picnic by Lake Michigan and travel to the furthermost (known) edge of the universe, a void 1 billion light years away. “This emptiness is normal, the richness of our own neighbourhood is the exception”, Philip Morrison’s voice tells us and begins a countdown back to Earth, where our view now transects the body of a sleeping man: It penetrates the magni�ied craterous surface of his skin, passes through blood vessels, cells and DNA strands, and �inally arrives at the indivisible quarks inside a carbon nucleus. We cover distances measured in light years, Ǻngström and powers of ten, with astro- and nanophysics, mathematics, chemistry and molecular biology as our tour guides. *

… The electronic universe with its model worlds and computer simulations, its interfaces and virtual realities gives us reason to believe that the world can now be understood in terms of an interface. Endophysics and nanotechnology are two different ways to study the phenomenon of interface in greater detail than was possible up to now – on the one hand, on a much smaller scale (nano: very small) and, on the other, from within (endo). …

In 1957, Akutsu and Kolff became the �irst to implant a TAH in vivo [Latin: within the living]. Inserted into the chest of a dog, the pump adequately maintained the circulation for approximately 90 minutes. … The �irst implantation of a TAH into a human was done by Cooley … 1969 ... The intent was to support the patient until a donor heart could be found … The second implantation … in a human was also done by Cooley [in 1981] …

Weibel, Peter. “Über die Grenzen des Realen. Endo–Nano.” Die Welt von Innen. Band 1. Linz: Ars Electronica, 1992. With permission from the author.

Image: Charles and Ray Eames: Powers of Ten, 1977. Production art. © 2012 Eames O�ice, LLC

310

Source: Frazier, O. H., Nyma A. Shah, and Timothy J. Myers. “Chapter 63: Total Arti�icial Heart.”

Eds. L. H. Cohn, L. H. Edmund, Jr. Cardiac Surgery in the Adult. New York: McGraw-Hill, 2003. 1507�14.

... The Akutsu-III TAH consisted of two pneumatically powered, double-chambered pumps featuring reciprocating hemispherical diaphragms. The TAH provided excellent hemodynamics and supported the patient in stable condition for a total of 55 hours until a suitable donor heart was found. …

1977

Image: Cover image from Fragments for a History of the Human Body. Part Two, designed by Bruce Mau. New York: ZONE Books, 1989.

280

1981

Venus, Cupid Folly and Time

Image: Cover image from Fragments for a History of the Human Body. Part Two, designed by Bruce Mau. New York: ZONE Books, 1989.

Ruf, Simon. Über-Menschen. Elemente einer Genealogie des Cyborgs. Eds. A. Keck, and N. Pethes.

Mediale Anatomien. Menschenbilder als Medienprojektionen. Bielefeld: transcript Verlag, 2001. 268.

Image: Courtesy of J. H. Gibbon, Jr. Reprinted with permission from Gibbon, JH et al. Arch Surg 1937 34: 1109. © (1937) American Medical Association. All rights reserved.

1969

1989

Angnolo Branzino’s painting Venus, Cupid Folly and Time (1545) was used for the pop-up cover of Fragments for a History of the Human Body. Part Two (New York: ZONE Books, 1989). This three-volume anthology, edited by Michel Feher among others, outlines the history of the human body as an account of its cultural constructions and interpretations. *

300

Photograph Taken in Dr Gibbon’s Laboratory, Showing an Early Version of His Heart-Lung Machine … the development of two scienti�ic events [were] … crucial for the dissolution of the old human form and the new outline of its shape as a cyborg … the combination of molecular biology with cybernetics and information technology since the 1940s, which models the organism as a communications machine … [and] American aerospace engineering in the 1960s, which saw itself confronted with the problem of how to manipulate and prepare the human organism to cope with the extreme requirements of extended space travel. …

Frazier, O. H., Nyma A. Shah, and Timothy J. Myers. “Chapter 63: Total Arti�icial Heart.”

Eds. L. H. Cohn, L. H. Edmund, Jr. Cardiac Surgery in the Adult. New York: McGraw-Hill, 2003. 1507�14. © 2012 The McGraw-Hill Companies. All rights reserved.

Image: Akutsu-III Total Arti�icial Heart. © Texas Heart Institute.

260

1937

2007

Fig. 1 The human body has gradually become a construction space, where various technical and organic elements can be installed. It has grown into a building site. *

of which can cause contamination issues before, during, and after surgery. Window (25) may include a focusing lens, aperture, beam splitter, or other suitable optical components to aid communicating data, information, or energy to or from �ibre (16). …

22 connector 23 receiving hole 24 �lange 26 extension 27 opening

… Many types of … devices, ... can be implanted into the body, such as [brain-computer interfaces] muscle stimulators, magnetic therapy devices, or drug delivery systems. A number of such devices may also be implanted where the different implants may then communicate with one another. In such cases, using electronic wiring to connect the interfaces to one another has a number of drawbacks. [A good alternative are] optical �ibres [which] can be contained within the body and used to connect two or more implants. In addition, or alternatively, one or more optical �ibres can enter a body transcutaneously to connect one or more implants to a module or device outside the body. A system with multiple implants, as opposed to one implant having all the desired functionality, permits smaller implants that maybe placed in tight places or locations within the body, such as the brain, and locations less accessible to light penetration. … System (10) includes a central implant (12) placed within the abdomen and connected to various implants (14) arranged throughout the body, and particularly in the arms, legs, and brain of the body. Implants (14) in the limbs may receive, for example, control signals for controlling motion of the limbs, and implant (14) in the brain may include sensing electrodes placed directly with the brain to detect neuron activity. As described above, signal processing, preferably associated with one or more implants (14) or (12), may derive the control signals used by implants (14) in the limbs. … In addition, system (10) includes a transcutaneous �ibre (18) that can couple implant (12) to an external device. … [whereas �ibre (16) couples all the internal devices to the central implant (12)]. …

330

US Patent No. US7.280.870 B2: Nurmikko et al., Brown University Research Foundation, Oct. 9, 2007.

Image: US Patent No. US7.280.870 B2: Optically-connected Implants and Related Systems and Methods of Use. Reprinted with permission from Arto Nurmikko.

340

Image: Montage of the Table of Contents from: Morgan, Morris H. (trans.): Vitruvius. The Ten Books on Architecture. Cambridge, MA: Harvard University Press, 1914.

Text excerpts from: Frank Granger (trans., ed.): Vitruvius on Architecture. (Two Volumes) (Edited from the Harleian Manuscript 2767). Cambridge, MA: Harvard University Press, 1931, pp. 158�161.

1968

Dealing with the Powers of Ten. Scene. Take.

The still shot is taken from the �irst version of Powers of Ten with the working title A Rough Sketch for a Proposed Film Dealing with the Powers of Ten and the Relative Size of Things in the Universe. The scene was recorded on a golf course in Florida; the protagonist is a single reclining man. Nine years later, in the �inal version, we see the same man and a woman. *

320

US Patent No. US7.280.870 B2: Optically-connected Implants and Related Systems and Methods of Use … Implant housing (20) also contains a transparent optic window (25) facing the end of �ibre (16) to receive power, data, or other energy or information carried by �ibre (16), or transmit energy or information to �ibre (16). Window (25) may transmit the speci�ic light used without requiring a pass through (i.e., a sealed opening between the implant’s outside surface and its internal components that allows an electrical contact to be made to the internal components) or sealed exposed electrical contacts both

De Architectura Libri Decem In his Ten Books on Architecture, Vitruvius describes a model, ideally constructed human. From this description he deducts the perfect architectural proportions for the construction of temples. Vitruvius measures distances between points on the human body and �inalises them later in a system of proportions. The idea of constructing an ideal body has re-emerged time and again, for example, when Le Corbusier introduced his Modulor. *

US Patent No. US7.280.870 B2: Nurmikko et al., Brown University Research Foundation, Oct. 9, 2007.

Image: US Patent No. US7.280.870 B2: Optically-connected Implants and Related Systems and Methods of Use. Reprinted with permission from Arto Nurmikko.

2007

22 B.C

[Charles and Ray Eames: A Rough Sketch for a Proposed Film Dealing with the Powers of Ten and the Relative Size of Things in the Universe. 16 mm, 7 minutes and 53 seconds, color, female voice-over, 1968] … The camera zooms from the man’s wrist to a hypothetical point in space and zooms back again, going through the man’s wrist to the frontier of the inner atom. Going out, the speed of the trip was 10t/10 meters per second 1 – that is, in each 10 seconds of travel the imaginary voyager covered 10 times the distance he had travelled in the previous 10 seconds.

In this schema a trip from the nucleus of a carbon atom to the farthest known reaches of the universe takes 350 seconds. …

1 Time divided by 10 is the “power” – in other words, after 40 seconds, you are 10-to-the-fourth meters away, or one followed

of which can cause contamination issues before, during, and after surgery. Window (25) may include a focusing lens, aperture, beam splitter, or other suitable optical components to aid communicating data, information, or energy to or from �ibre (16). …

22 connector 23 receiving hole 24 �lange 26 extension 27 opening

… Many types of … devices, ... can be implanted into the body, such as [brain-computer interfaces] muscle stimulators, magnetic therapy devices, or drug delivery systems. A number of such devices may also be implanted where the different implants may then communicate with one another. In such cases, using electronic wiring to connect the interfaces to one another has a number of drawbacks. [A good alternative are] optical �ibres [which] can be contained within the body and used to connect two or more implants. In addition, or alternatively, one or more optical �ibres can enter a body transcutaneously to connect one or more implants to a module or device outside the body. A system with multiple implants, as opposed to one implant having all the desired functionality, permits smaller implants that maybe placed in tight places or locations within the body, such as the brain, and locations less accessible to light penetration. … System (10) includes a central implant (12) placed within the abdomen and connected to various implants (14) arranged throughout the body, and particularly in the arms, legs, and brain of the body. Implants (14) in the limbs may receive, for example, control signals for controlling motion of the limbs, and implant (14) in the brain may include sensing electrodes placed directly with the brain to detect neuron activity. As described above, signal processing, preferably associated with one or more implants (14) or (12), may derive the control signals used by implants (14) in the limbs. … In addition, system (10) includes a transcutaneous �ibre (18) that can couple implant (12) to an external device. … [whereas �ibre (16) couples all the internal devices to the central implant (12)]. …

330

US Patent No. US7.280.870 B2: Nurmikko et al., Brown University Research Foundation, Oct. 9, 2007.

Image: US Patent No. US7.280.870 B2: Optically-connected Implants and Related Systems and Methods of Use. Reprinted with permission from Arto Nurmikko.

340

Image: Montage of the Table of Contents from: Morgan, Morris H. (trans.): Vitruvius. The Ten Books on Architecture. Cambridge, MA: Harvard University Press, 1914.

Text excerpts from: Frank Granger (trans., ed.): Vitruvius on Architecture. (Two Volumes) (Edited from the Harleian Manuscript 2767). Cambridge, MA: Harvard University Press, 1931, pp. 158�161.

1968

Dealing with the Powers of Ten. Scene. Take.

The still shot is taken from the �irst version of Powers of Ten with the working title A Rough Sketch for a Proposed Film Dealing with the Powers of Ten and the Relative Size of Things in the Universe. The scene was recorded on a golf course in Florida; the protagonist is a single reclining man. Nine years later, in the �inal version, we see the same man and a woman. *

320

US Patent No. US7.280.870 B2: Optically-connected Implants and Related Systems and Methods of Use … Implant housing (20) also contains a transparent optic window (25) facing the end of �ibre (16) to receive power, data, or other energy or information carried by �ibre (16), or transmit energy or information to �ibre (16). Window (25) may transmit the speci�ic light used without requiring a pass through (i.e., a sealed opening between the implant’s outside surface and its internal components that allows an electrical contact to be made to the internal components) or sealed exposed electrical contacts both

De Architectura Libri Decem In his Ten Books on Architecture, Vitruvius describes a model, ideally constructed human. From this description he deducts the perfect architectural proportions for the construction of temples. Vitruvius measures distances between points on the human body and �inalises them later in a system of proportions. The idea of constructing an ideal body has re-emerged time and again, for example, when Le Corbusier introduced his Modulor. *

US Patent No. US7.280.870 B2: Nurmikko et al., Brown University Research Foundation, Oct. 9, 2007.

Image: US Patent No. US7.280.870 B2: Optically-connected Implants and Related Systems and Methods of Use. Reprinted with permission from Arto Nurmikko.

2007

22 B.C

[Charles and Ray Eames: A Rough Sketch for a Proposed Film Dealing with the Powers of Ten and the Relative Size of Things in the Universe. 16 mm, 7 minutes and 53 seconds, color, female voice-over, 1968] … The camera zooms from the man’s wrist to a hypothetical point in space and zooms back again, going through the man’s wrist to the frontier of the inner atom. Going out, the speed of the trip was 10t/10 meters per second 1 – that is, in each 10 seconds of travel the imaginary voyager covered 10 times the distance he had travelled in the previous 10 seconds.

In this schema a trip from the nucleus of a carbon atom to the farthest known reaches of the universe takes 350 seconds. …

1 Time divided by 10 is the “power” – in other words, after 40 seconds, you are 10-to-the-fourth meters away, or one followed

390

by four zeros (10000). …

Schrader, Paul. “Poetry of Ideas: The Films of Charles Eames.” Film Quarterly 1 (1970): 10.

Image: Charles and Ray Eames: Powers of Ten, 1968. Photograph taken from 16 mm �ilm footage. © 2012 Eames O�ice, LLC.

400

Testing the Vitruvian Proportion System on a Contemporary Body

Rearranging a Contemporary Body according to Vitruvius’ System of Proportions

360

Image: Photomontage by Wolfgang Tschapeller ZT GmbH.

2012

Image: Photomontage by Wolfgang Tschapeller ZT GmbH.

410

Modulor … A photograph showing L.C. on the site of the Capitol of Chandigarh, facing the Himalayas, in 1951 (cf. Jane Drew’s Architect’s Yearbook 5, page 65). In one hand Le Corbusier holds the town plan of the new city which had just been printed. In the other, a wooden statuette of the Modulor carved by one of the architects of the Planning O�ice (at that time, they were living in tents; now they are occupying the newly built houses of the city).

This photographic document bears witness to the fact that Chandigarh, the new capital of the Punjab, with a population of 500,000 (150,000 in the �irst instance), was built by means of the Modulor: a major event on the plane of practical achievement. …

How Much Can We Cram Into Our Body, and What Will Be the Outcome? The Big Feast as Test Arrangement. *

[Marco Ferreri: La Grande Bouffe. 35 mm, 125 minutes, Color, 25 fps. Italy/ France, 1973] … When Marco Ferreri’s �ilm The Big Feast was screened at the Cannes Film Festival in May 1973, some audience members fainted in the theatre. …

Borcholte, A. Booklet to The Big Feast. Arthaus Collection, 2009. 2.

Image: Montage from Marco Ferreri: La Grande Bouffe, 1973. Film still. © Roissy Films, Paris and Wolfgang Tschapeller ZT GmbH.

380

The Big Feast

The World’s First Commercially Available Bionic Hand … Created by Touch Bionics, it’s multi-articulating, meaning each �inger has its own motor. Arti�icial hands are often hooklike, limited to simple open and close gestures, but the iLimb has more subtle capabilities, like a credit-card grip for grasping narrow objects. It also has a power hold for larger things like coffee mugs. …

1957

Kees Boeke, Cosmic View: The Universe in Forty Jumps In his introduction to Cosmic View, Kees Boeke presents the drawing of a sodium atom. If one were to depict an entire person in the scale of this sodium atom, he says, the representation would be approximately the size of our solar system. *

Le Corbusier. Modulor 2, 1955 (Let the User Speak Next) Continuation of “The Modulor” 1948. London: Faber and Faber Ltd., 1958. 31�2. © 2012 Harvard University Press, London.

Image: Reprinted from Le Corbusier: Modulor 2, 1955 (Let the User Speak Next) Continuation of “The Modulor” 1948. London: Faber and Faber Ltd., 1958, p. 32. © VBK, Vienna 2012.

1973

2008

“Best Inventions of 2008. 14. The Bionic Hand.” TIME 29 Oct. 2008. (http://www.time.com/time/specials/packages/article/0,28804,1852747_1854195_1854132,00.html, 18/05/2012) Image: Bionic Hand. © Touch Bionics.

370

1951

Clemente Susini, Organ of Touch, Wax Image: Photo by Alessandro Riva. © University of Cagliari.

350

2012

1803

[Kees Boeke’s Cosmic View: The Universe in Forty Jumps is the predecessor of Eames’s Powers of Ten]. … It consists of a series of 40 illustrations with text and captions. The �irst picture of a girl sitting in a chair, seen from above, seems ordinary enough; the magic comes when, in successive pictures, the author shows us her and her surroundings mini�ied and magni�ied. The second picture shows the same girl in the same pose but from ten times farther up, the third from ten times as far as the second, etc. Each picture thus shows a greater area, and soon you are seeing the globe of the earth itself. You continue moving in imagination, out through the solar system, the Milky Way, and beyond to other galaxies, until at last even a galaxy is but a pinpoint on the printed page, and you can go no farther because man does not yet know what lies beyond. But now, returning to the girl, you see her from closer and closer instead of farther and farther.

You are shown a close-up of her hand, then microscopic views of it each ten times more magni�ied than the last. As you view one after the other, you see the structure of the skin tissues, mites and bacteria and bacilli, viruses, molecules, x-rays, cosmic rays and �inally – under a magni�ication of ten million million – the nucleus

390

by four zeros (10000). …

Schrader, Paul. “Poetry of Ideas: The Films of Charles Eames.” Film Quarterly 1 (1970): 10.

Image: Charles and Ray Eames: Powers of Ten, 1968. Photograph taken from 16 mm �ilm footage. © 2012 Eames O�ice, LLC.

400

Testing the Vitruvian Proportion System on a Contemporary Body

Rearranging a Contemporary Body according to Vitruvius’ System of Proportions

360

Image: Photomontage by Wolfgang Tschapeller ZT GmbH.

2012

Image: Photomontage by Wolfgang Tschapeller ZT GmbH.

410

Modulor … A photograph showing L.C. on the site of the Capitol of Chandigarh, facing the Himalayas, in 1951 (cf. Jane Drew’s Architect’s Yearbook 5, page 65). In one hand Le Corbusier holds the town plan of the new city which had just been printed. In the other, a wooden statuette of the Modulor carved by one of the architects of the Planning O�ice (at that time, they were living in tents; now they are occupying the newly built houses of the city).

This photographic document bears witness to the fact that Chandigarh, the new capital of the Punjab, with a population of 500,000 (150,000 in the �irst instance), was built by means of the Modulor: a major event on the plane of practical achievement. …

How Much Can We Cram Into Our Body, and What Will Be the Outcome? The Big Feast as Test Arrangement. *

[Marco Ferreri: La Grande Bouffe. 35 mm, 125 minutes, Color, 25 fps. Italy/ France, 1973] … When Marco Ferreri’s �ilm The Big Feast was screened at the Cannes Film Festival in May 1973, some audience members fainted in the theatre. …

Borcholte, A. Booklet to The Big Feast. Arthaus Collection, 2009. 2.

Image: Montage from Marco Ferreri: La Grande Bouffe, 1973. Film still. © Roissy Films, Paris and Wolfgang Tschapeller ZT GmbH.

380

The Big Feast

The World’s First Commercially Available Bionic Hand … Created by Touch Bionics, it’s multi-articulating, meaning each �inger has its own motor. Arti�icial hands are often hooklike, limited to simple open and close gestures, but the iLimb has more subtle capabilities, like a credit-card grip for grasping narrow objects. It also has a power hold for larger things like coffee mugs. …

1957

Kees Boeke, Cosmic View: The Universe in Forty Jumps In his introduction to Cosmic View, Kees Boeke presents the drawing of a sodium atom. If one were to depict an entire person in the scale of this sodium atom, he says, the representation would be approximately the size of our solar system. *

Le Corbusier. Modulor 2, 1955 (Let the User Speak Next) Continuation of “The Modulor” 1948. London: Faber and Faber Ltd., 1958. 31�2. © 2012 Harvard University Press, London.

Image: Reprinted from Le Corbusier: Modulor 2, 1955 (Let the User Speak Next) Continuation of “The Modulor” 1948. London: Faber and Faber Ltd., 1958, p. 32. © VBK, Vienna 2012.

1973

2008

“Best Inventions of 2008. 14. The Bionic Hand.” TIME 29 Oct. 2008. (http://www.time.com/time/specials/packages/article/0,28804,1852747_1854195_1854132,00.html, 18/05/2012) Image: Bionic Hand. © Touch Bionics.

370

1951

Clemente Susini, Organ of Touch, Wax Image: Photo by Alessandro Riva. © University of Cagliari.

350

2012

1803

[Kees Boeke’s Cosmic View: The Universe in Forty Jumps is the predecessor of Eames’s Powers of Ten]. … It consists of a series of 40 illustrations with text and captions. The �irst picture of a girl sitting in a chair, seen from above, seems ordinary enough; the magic comes when, in successive pictures, the author shows us her and her surroundings mini�ied and magni�ied. The second picture shows the same girl in the same pose but from ten times farther up, the third from ten times as far as the second, etc. Each picture thus shows a greater area, and soon you are seeing the globe of the earth itself. You continue moving in imagination, out through the solar system, the Milky Way, and beyond to other galaxies, until at last even a galaxy is but a pinpoint on the printed page, and you can go no farther because man does not yet know what lies beyond. But now, returning to the girl, you see her from closer and closer instead of farther and farther.

You are shown a close-up of her hand, then microscopic views of it each ten times more magni�ied than the last. As you view one after the other, you see the structure of the skin tissues, mites and bacteria and bacilli, viruses, molecules, x-rays, cosmic rays and �inally – under a magni�ication of ten million million – the nucleus

440

of a sodium atom. On the scale of this drawing, a man’s height would be about the diameter of the solar system. Again you must stop, because one cannot imagine, much less picture, what a greater magni�ication would present. …

420

Image: Charles and Ray Eames: Powers of Ten, 1977. Production image. © 2012 Eames O�ice, LLC.

450

Billy Wilder … Multiple exposure of �ilm director Billy Wilder sitting in a chair designed by Charles Eames made of plastic; one can easily jump around while watching television. …

Figure in Time In 1993, the American theorist Sanford Kwinter brings together and compares two �igures in his essay “The Complex and the Singular.” The �irst �igure is a drawing of the Vitruvian Man, which Kwinter calls “a timeless trophy of geometry: the �inalised body of the Vitruvian Man.” The second �igure is presented in a photograph, aslant and forced into the picture diagonally from below: it’s an unsecured free climber on a rock. Opposite the Vitruvian Man, the free climber becomes an architectural model �igure. Architecture no longer takes its measurements from man to construct a shape around him, but man takes measurements from his surroundings to adjust and specialize.

He specializes each movement to remain on an ever-changing surface, testing its stability, stretching to his maximal capacity, speci�ically trained and speci�ically shaped. He strives to stabilize and re-stabilize his body in constant venture. What ends up falling is not Kwinter’s “Figure in Time,” the unsecured free climber, but the proportionality of body and space. It is replaced by permanently changing conditions, not horizontal, but vertical and sometimes overhanging. The Modulor’s hand no longer determines the distances of the walls around him; the Modulor’s hand must now stretch well over 226 centimetres (89 in) to reach – not the limit of space, but – cracks in vertical and overhanging surfaces. *

… the climber’s task is less to “master” … than to forge a morphogenetic �igure in time, to insert himself into a seamless, streaming space and to subsist in it by tapping or tracking the �lows – indeed to stream and to become soft and �luid himself, which means momentarily to recover real time, and to engage the universe’s wild and free unfolding through the morphogenetic capacities of the singularity. …

Kwinter, Sanford. Architectures of Time: Toward a Theory of the Event in Modernist Culture. Cambridge, MA: The MIT Press, 2001. 31. With permission from the author.

Image: Photographer unknown. Reprinted from ARCH+ 119/120, Dec. 1993, p. 88.

430

LIFE Photo Archive hosted by Google (http://images.google.com/hosted/life/1bd3f0a363e86b75.html, 29/05/2012).

Image: Billy Wilder, August 1950. Photo: Peter Stackpole. © Getty Images Collection: Time & Life Pictures.

1993

Powers of Ten A sleeping couple on a picnic blanket in a green �ield, between them �illed wineglasses and plates of food. Like in Daniel Spoerri’s snare pictures, time seems to have stopped abruptly, frozen into a picturesque still life. Yet, time features in various details: we see the face of a big clock (exact time 1:37 p.m.), and the sleeping young man also wears a wristwatch. Next to the couple lies a book titled The Voices of Time and the magazines Scienti�ic American and Science (on the title page a picture of the surface of Mars, recorded by Viking Lander 1 in 1976). The camera captures the sleeping couple directly from above, an anticipated Google Earth view shows them on a plot of residential land without walls – table, bed and study in one. *

Jacket �lap text to Boeke, Kees. Cosmic View: The Universe in Forty Jumps. Fifth Grade through All Upper Grades. New York: John Day Company, 1957. With permission from Jos Heuer.

Image: Kees Boeke: Cosmic View, 1957. Photograph of drawing from Els de Bouter. Reprinted with permission from Jos Heuer. © Kees Boeke.

1950

1977

1978

Café Müller. A Piece by Pina Bausch A man and a woman are standing opposite each other. A second man comes, picks the woman up and places her, in a reclining position, in the arms of the other man at about shoulder height. The latter holds her, but only for a moment; then, unperceivable, his arms must have yielded, the woman reclining on his arms starts to move, and she begins … to fall, to slide, to glide downwards along the man until she hits the ground and yet doesn’t hit it.

Pina Bausch’s work addresses the fall, the drop that Sanford Kwinter’s free climber rules out, that must never happen to him and never will. The fall turns into the �ield of action, and the dance becomes a case study about the fall. *

A scene of unsteadiness. Literally. Wavering bodies and gestures, an unstable, bottomless, groundless, unfathomable, relentless repetition of movements, which causes the �igures to fall time and again. Toppling people and chairs. Figures and stories in free fall. Bodies as doubles, corpses, sketches, lines, hyphens.

Unpoised. Bodies and images without poise, barely grasped, and promptly dropped. Intangible bodies, perpetually slipping along each other, on the verge of falling apart. A scene of melancholy, the anchorless melancholy of each gesture, the blind recurrence of each movement sequence, and the blind spot of any representation.

The woman and the man will have faced each other, only to turn away immediately. They will have charged, then released each other and recoiled. Approached each other to break up, to come apart, to disband, to disperse. Will have carried each other, then slipped away and separated. They will have climbed up the walls only to sink to the �loor, exhausted. Accident, coincident.

Anchorless and restrained at the same time in inconsistent desire.

Points of contact bordering on violence - intense, yet casual, oblivious. Amnesia of gestures, contingency of events. Coincident, accident. Eyes closed: missing, failing, missing each other, failing

440

of a sodium atom. On the scale of this drawing, a man’s height would be about the diameter of the solar system. Again you must stop, because one cannot imagine, much less picture, what a greater magni�ication would present. …

420

Image: Charles and Ray Eames: Powers of Ten, 1977. Production image. © 2012 Eames O�ice, LLC.

450

Billy Wilder … Multiple exposure of �ilm director Billy Wilder sitting in a chair designed by Charles Eames made of plastic; one can easily jump around while watching television. …

Figure in Time In 1993, the American theorist Sanford Kwinter brings together and compares two �igures in his essay “The Complex and the Singular.” The �irst �igure is a drawing of the Vitruvian Man, which Kwinter calls “a timeless trophy of geometry: the �inalised body of the Vitruvian Man.” The second �igure is presented in a photograph, aslant and forced into the picture diagonally from below: it’s an unsecured free climber on a rock. Opposite the Vitruvian Man, the free climber becomes an architectural model �igure. Architecture no longer takes its measurements from man to construct a shape around him, but man takes measurements from his surroundings to adjust and specialize.

He specializes each movement to remain on an ever-changing surface, testing its stability, stretching to his maximal capacity, speci�ically trained and speci�ically shaped. He strives to stabilize and re-stabilize his body in constant venture. What ends up falling is not Kwinter’s “Figure in Time,” the unsecured free climber, but the proportionality of body and space. It is replaced by permanently changing conditions, not horizontal, but vertical and sometimes overhanging. The Modulor’s hand no longer determines the distances of the walls around him; the Modulor’s hand must now stretch well over 226 centimetres (89 in) to reach – not the limit of space, but – cracks in vertical and overhanging surfaces. *

… the climber’s task is less to “master” … than to forge a morphogenetic �igure in time, to insert himself into a seamless, streaming space and to subsist in it by tapping or tracking the �lows – indeed to stream and to become soft and �luid himself, which means momentarily to recover real time, and to engage the universe’s wild and free unfolding through the morphogenetic capacities of the singularity. …

Kwinter, Sanford. Architectures of Time: Toward a Theory of the Event in Modernist Culture. Cambridge, MA: The MIT Press, 2001. 31. With permission from the author.

Image: Photographer unknown. Reprinted from ARCH+ 119/120, Dec. 1993, p. 88.

430

LIFE Photo Archive hosted by Google (http://images.google.com/hosted/life/1bd3f0a363e86b75.html, 29/05/2012).

Image: Billy Wilder, August 1950. Photo: Peter Stackpole. © Getty Images Collection: Time & Life Pictures.

1993

Powers of Ten A sleeping couple on a picnic blanket in a green �ield, between them �illed wineglasses and plates of food. Like in Daniel Spoerri’s snare pictures, time seems to have stopped abruptly, frozen into a picturesque still life. Yet, time features in various details: we see the face of a big clock (exact time 1:37 p.m.), and the sleeping young man also wears a wristwatch. Next to the couple lies a book titled The Voices of Time and the magazines Scienti�ic American and Science (on the title page a picture of the surface of Mars, recorded by Viking Lander 1 in 1976). The camera captures the sleeping couple directly from above, an anticipated Google Earth view shows them on a plot of residential land without walls – table, bed and study in one. *

Jacket �lap text to Boeke, Kees. Cosmic View: The Universe in Forty Jumps. Fifth Grade through All Upper Grades. New York: John Day Company, 1957. With permission from Jos Heuer.

Image: Kees Boeke: Cosmic View, 1957. Photograph of drawing from Els de Bouter. Reprinted with permission from Jos Heuer. © Kees Boeke.

1950

1977

1978

Café Müller. A Piece by Pina Bausch A man and a woman are standing opposite each other. A second man comes, picks the woman up and places her, in a reclining position, in the arms of the other man at about shoulder height. The latter holds her, but only for a moment; then, unperceivable, his arms must have yielded, the woman reclining on his arms starts to move, and she begins … to fall, to slide, to glide downwards along the man until she hits the ground and yet doesn’t hit it.

Pina Bausch’s work addresses the fall, the drop that Sanford Kwinter’s free climber rules out, that must never happen to him and never will. The fall turns into the �ield of action, and the dance becomes a case study about the fall. *

A scene of unsteadiness. Literally. Wavering bodies and gestures, an unstable, bottomless, groundless, unfathomable, relentless repetition of movements, which causes the �igures to fall time and again. Toppling people and chairs. Figures and stories in free fall. Bodies as doubles, corpses, sketches, lines, hyphens.

Unpoised. Bodies and images without poise, barely grasped, and promptly dropped. Intangible bodies, perpetually slipping along each other, on the verge of falling apart. A scene of melancholy, the anchorless melancholy of each gesture, the blind recurrence of each movement sequence, and the blind spot of any representation.

The woman and the man will have faced each other, only to turn away immediately. They will have charged, then released each other and recoiled. Approached each other to break up, to come apart, to disband, to disperse. Will have carried each other, then slipped away and separated. They will have climbed up the walls only to sink to the �loor, exhausted. Accident, coincident.

Anchorless and restrained at the same time in inconsistent desire.

Points of contact bordering on violence - intense, yet casual, oblivious. Amnesia of gestures, contingency of events. Coincident, accident. Eyes closed: missing, failing, missing each other, failing

head: 5] ... she unwraps the chocolate bar, breaks off a small piece, and eats it while the camera zooms, jiggles, and circles sickeningly. At the end of the roll, she covers her mouth, as if suppressing a giggle. …

each other. Failing, falling, falling in love, falling out of love. Somnambulistic. Light as a feather, yet not weightless. Self-absorbed, fainted and yet in movement, a sinking movement. The choreography an epitaph, an elegy like Henry Purcell’s music at this moment; the choreography a spatiotemporal touching of the untouchable, intangible and elusive. Scenography and choreography will always break ground for each other, literally: The woman will have somnambulated into the space, and a man, a second man, will have swiftly whipped the chairs and tables out of her way.

The man and the woman will have tried repeatedly to embrace each other, to �ind halt; but a third man, with his back to us at that moment, will have disconnected their embrace time and again, only to place the woman back in the man’s arms time and again, letting her slip out of his weak hands anew, straighten up again, and slip down again. Dance as an embrace without the embraced, critical optioning instead of clinical representing. It is increasingly heavy, literally, for this dance to motivate its movements; it is more and more fascinated by the emotive fall of the body, which de�ies the idea of weightless motion and dancing lightness. Instead, it knows about the referential indecisiveness of each gesture, about the gestural interruption of any readability. It perseveres in this knowledge, still. Still dance. Dance in stills.

480

Angell, Callie. Andy Warhol Screen Tests: The Films of Andy Warhol Catalogue Raisonné. Volume 1.

New York: Whitney Museum of American Art, 2006. 146.

Image: Andy Warhol: Screen Tests ST 246 Nico (Hershey), 1966. 16 mm �ilm. © 2012 The Andy Warhol Museum, Pittsburgh, PA, a museum of the Carnegie Institute. All rights reserved.

… The snare picture as a detail that is exhibited, elevated and rotated by 90 degrees; the detail of a movement on a territory, �ixed and captured forever – be it only a stage of one square metre and a miniature scene about breakfast or dinner – that was my contribution to Nouveau Réalisme 30 years ago. Of course, the recording of banal events, three-dimensional object photographs, so to speak, such as a meal around a table, is also about our constant confrontation with death: the �inal standstill. Those were memento mori tableaus, vanitas images of our persistent will to survive even in our industrialized, aseptic, sterile, and rationalised world of consumerism. For a long time, I have wanted to make an entire environment out of those relics of lived survival and confront them with actual, animated life. Now this wish will become reality in the Sevillian “eaten by…” restaurant, whereby “eaten by …” means nothing other than “eaten by you and me”. You and I are spectators and actors in this recurring play of survival. … We all sit around the same table. …

460

Powers of Ten The architects Charles and Ray Eames give an account of dimensions, measurement systems and human beings. But some things have changed. We don’t read any instructions, we don’t study any plans or drawings; now the medium is �ilm, and the theme is time, space and acceleration. Man has been removed from the centre. He is no longer one, but now there are two. They are no longer erect, but lying down. And they are no longer framed or “�inalised” in geometries, stretched to their maximal extension; they lie relaxed on a blanket in a park next to a number of picnic items, placed on a threshold between microcosm and macrocosm. *

Menu at the Swiss Pavilion’s “eaten by …” restaurant at the Expo 1992 in Sevilla.

From: Spoerri, D. “eaten by …” The Sevilla Series. Exhibition catalogue. Basel: Galerie Littmann and Paris: Galerie Beaubourg, 1992. 9.

Image: Daniel Spoerri, Assemblage (Sevilla Series No. 27), 1992. Daniel Spoerri Archive, Graphic Collection, Swiss National Library, Berne. © VBK, Vienna 2012.

Nico eats Hershey’s. *

[Andy Warhol: Screen Tests 246 Nico (Hershey), 1966.

16 mm, B/W, silent, 4.3 minutes, 16 fps. Written on clear �ilm at

490

Eat, Nico (Hershey) in Screen Tests

460

Image: Charles and Ray Eames: Powers of Ten, 1977. Production image. © 2012 Eames O�ice, LLC.

1966

Snare Picture: We All Sit at the Same Table Daniel Spoerri’s snare pictures (tableaux pièges) are unpremeditated works.

A moment is frozen in time and �ixed in a three-dimensional account of a situation. By tilting the objects from the horizontal position of the table to the vertical of the wall, Daniel Spoerri heightens a detail from everyday life and makes it into an artwork. Spoerri ties in with the tradition of still-life and draws on the everyday setting at the dinner table, turning it into a mural relief of an abandoned scene. Spoerri designed the restaurant for the Swiss Pavilion at the Expo 1992 in Sevilla and contributed the snare picture Assemblage. *

Krassimira Kruschkova, Head of the Theory and Media Department, Tanzquartier Vienna, Faculty member at the Academy of Fine Arts Vienna.

Image: Pina Bausch: Café Müller, 1978. Film still. With permission from Pina Bausch Stiftung. © Rudolf Rach L’ARCHE Editeur, Paris. All rights reserved.

1977

1992

1976

Viking Lander 1, Sol 3, Camera 1 On 27 August 1976, the journal Science (Volume 193, No. 4255) featured a drawing of the surface of Mars, based on the Viking Lander 1 recordings of 1976. In 1977, an issue of that magazine lies on the banks of Lake Michigan

head: 5] ... she unwraps the chocolate bar, breaks off a small piece, and eats it while the camera zooms, jiggles, and circles sickeningly. At the end of the roll, she covers her mouth, as if suppressing a giggle. …

each other. Failing, falling, falling in love, falling out of love. Somnambulistic. Light as a feather, yet not weightless. Self-absorbed, fainted and yet in movement, a sinking movement. The choreography an epitaph, an elegy like Henry Purcell’s music at this moment; the choreography a spatiotemporal touching of the untouchable, intangible and elusive. Scenography and choreography will always break ground for each other, literally: The woman will have somnambulated into the space, and a man, a second man, will have swiftly whipped the chairs and tables out of her way.

The man and the woman will have tried repeatedly to embrace each other, to �ind halt; but a third man, with his back to us at that moment, will have disconnected their embrace time and again, only to place the woman back in the man’s arms time and again, letting her slip out of his weak hands anew, straighten up again, and slip down again. Dance as an embrace without the embraced, critical optioning instead of clinical representing. It is increasingly heavy, literally, for this dance to motivate its movements; it is more and more fascinated by the emotive fall of the body, which de�ies the idea of weightless motion and dancing lightness. Instead, it knows about the referential indecisiveness of each gesture, about the gestural interruption of any readability. It perseveres in this knowledge, still. Still dance. Dance in stills.

480

Angell, Callie. Andy Warhol Screen Tests: The Films of Andy Warhol Catalogue Raisonné. Volume 1.

New York: Whitney Museum of American Art, 2006. 146.

Image: Andy Warhol: Screen Tests ST 246 Nico (Hershey), 1966. 16 mm �ilm. © 2012 The Andy Warhol Museum, Pittsburgh, PA, a museum of the Carnegie Institute. All rights reserved.

… The snare picture as a detail that is exhibited, elevated and rotated by 90 degrees; the detail of a movement on a territory, �ixed and captured forever – be it only a stage of one square metre and a miniature scene about breakfast or dinner – that was my contribution to Nouveau Réalisme 30 years ago. Of course, the recording of banal events, three-dimensional object photographs, so to speak, such as a meal around a table, is also about our constant confrontation with death: the �inal standstill. Those were memento mori tableaus, vanitas images of our persistent will to survive even in our industrialized, aseptic, sterile, and rationalised world of consumerism. For a long time, I have wanted to make an entire environment out of those relics of lived survival and confront them with actual, animated life. Now this wish will become reality in the Sevillian “eaten by…” restaurant, whereby “eaten by …” means nothing other than “eaten by you and me”. You and I are spectators and actors in this recurring play of survival. … We all sit around the same table. …

460

Powers of Ten The architects Charles and Ray Eames give an account of dimensions, measurement systems and human beings. But some things have changed. We don’t read any instructions, we don’t study any plans or drawings; now the medium is �ilm, and the theme is time, space and acceleration. Man has been removed from the centre. He is no longer one, but now there are two. They are no longer erect, but lying down. And they are no longer framed or “�inalised” in geometries, stretched to their maximal extension; they lie relaxed on a blanket in a park next to a number of picnic items, placed on a threshold between microcosm and macrocosm. *

Menu at the Swiss Pavilion’s “eaten by …” restaurant at the Expo 1992 in Sevilla.

From: Spoerri, D. “eaten by …” The Sevilla Series. Exhibition catalogue. Basel: Galerie Littmann and Paris: Galerie Beaubourg, 1992. 9.

Image: Daniel Spoerri, Assemblage (Sevilla Series No. 27), 1992. Daniel Spoerri Archive, Graphic Collection, Swiss National Library, Berne. © VBK, Vienna 2012.

Nico eats Hershey’s. *

[Andy Warhol: Screen Tests 246 Nico (Hershey), 1966.

16 mm, B/W, silent, 4.3 minutes, 16 fps. Written on clear �ilm at

490

Eat, Nico (Hershey) in Screen Tests

460

Image: Charles and Ray Eames: Powers of Ten, 1977. Production image. © 2012 Eames O�ice, LLC.

1966

Snare Picture: We All Sit at the Same Table Daniel Spoerri’s snare pictures (tableaux pièges) are unpremeditated works.

A moment is frozen in time and �ixed in a three-dimensional account of a situation. By tilting the objects from the horizontal position of the table to the vertical of the wall, Daniel Spoerri heightens a detail from everyday life and makes it into an artwork. Spoerri ties in with the tradition of still-life and draws on the everyday setting at the dinner table, turning it into a mural relief of an abandoned scene. Spoerri designed the restaurant for the Swiss Pavilion at the Expo 1992 in Sevilla and contributed the snare picture Assemblage. *

Krassimira Kruschkova, Head of the Theory and Media Department, Tanzquartier Vienna, Faculty member at the Academy of Fine Arts Vienna.

Image: Pina Bausch: Café Müller, 1978. Film still. With permission from Pina Bausch Stiftung. © Rudolf Rach L’ARCHE Editeur, Paris. All rights reserved.

1977

1992

1976

Viking Lander 1, Sol 3, Camera 1 On 27 August 1976, the journal Science (Volume 193, No. 4255) featured a drawing of the surface of Mars, based on the Viking Lander 1 recordings of 1976. In 1977, an issue of that magazine lies on the banks of Lake Michigan

on a picnic blanket before the eyes of a woman and behind the head of a man.

The magazine lies on top of another magazine, an issue of Scienti�ic American from September 1976. It’s a detail from a scene on the �ilm set of Powers of Ten.*

500

1968

Charles Eames (in Lift), Ray Eames and Staff in Front of Their O�ice Filming the Picnic Scene for the 1968 Version of Powers of Ten The NASA publication Earth Photographs from Gemini III, IV, and V is lying on the picnic blanket for reading. The introduction describes the camera used to take the Earth photographs. *

… The camera was a Hasselblad Model 500C modi�ied by NASA, using a Zeiss Planar lens of 80-mm. focal length, F/2.8. The �ilm was Ektachrome MS (S.O.217). During the Gemini V �light, one roll of Anscochrome D�50 was taken. The �ilm format is 55 mm. by 55 mm. on 70-mm. �ilm rolls of over 60 exposures. A haze �ilter helped reduce the intensity of the ultraviolet scattering from the atmosphere. Most of the photographs obtained on these Gemini missions were considered to be of excellent quality with respect to exposure, resolution, and orientation. Although fuel and power restrictions prevented the �light crew from always orienting the spacecraft vertically, as preferred for photography, a continuous series of 39 near-vertical views were obtained by Gemini IV covering the �light path on the 32d revolution from the Paci�ic coast of Mexico to central Texas. The photographs are reproduced here. The objective of the Synoptic Weather Photography Experiment (S�6) in Gemini IV and V was to provide a set of highresolution pictures that would cover a broad range of meteorological phenomena, with emphasis on photographs of a number of cloud systems that could be used to verify and amplify information obtained from the unmanned weather satellites. Cloud cover over the same area was photographed on successive revolutions during the Gemini V mission to study the dynamic changes at 90-minute intervals. …

National Aeronautics and Space Administration. Earth Photographs from Gemini III, IV, and V. Washington, DC: National Aeronautics and Space Administration, Scienti�ic and Technical Information Division, O�ice of Technology Utilization, 1967. 1.

Image: Charles and Ray Eames: Rough Sketch, 1968. Charles Eames shooting picnic for Rough Sketch. © 2012 Eames O�ice, LLC.

510/ 520

… The second panorama was taken on sol 3 with camera 1. … The large boulder northeast of the lander is about 8 m away and about 3 m high. Behind the surface sampler arm is a small dune �ield. …Viking Lander 1, sol 3, camera 1 survey panorama terrain sketch map, compiled from enlargements of returned Viking 1 Lander images. The sketch map covers an azimuth range of about 300°. Several terrain units were mapped. The scene is dominated by light and dark blocky surface material (bsl and bsd) with block sizes ranging from centimetres in the near �ield to tens of meters near the horizon. The blocks are frequently angular and show no obvious preferential orientation. Block surface density is relatively uniform on the scale of tens of meters, although the distribution is patchy at smaller scales. In the bsl and bsd units, there are interblock areas of �ine-grained loosely consolidated material with variable albedo: Light (ssl) and dark (ssd) surface materials are mapped. An ssa unit is used to denote an accumulation of smooth material, probably emplaced by Aeolian processes. The (d) material is assumed to be a dune �ield. Three small lineaments have also been mapped, including two lineaments in one of the light outcrop (ol) units and what appears to be a fracture or ledge in the largest block in the scene. Possible crater rims on the horizon are delineated by vertical arrows where considered fairly de�inite. Blocks are outlined where prominent due to size or where intersecting a terrain contact. The near horizon is denoted by n and the far horizon is denoted by f. The nominal horizon is calculated to be about 3 km distant. Compass headings are indicated across the top of the scene. … ssd smooth surfaces, dark ssl smooth surfaces, light ssa smooth surfaces, accumulation du dunes (provisionally) bsd blocky surfaces, dark bsl blocky surfaces, light b individual blocks ol outcrop, light f far horizon n near horizon crater rim --lineation …

Mutch, Thomas A. et al. “The Surface of Mars: The View from the Viking I Lander.” Science 193, 4255 (1976): 796�7.

Image: From Thomas A. Mutch et al.: “The Surface of Mars: The View from the Viking I Lander.” Science 193, 4255 (1976), pp. 796�797. Reprinted with permission from the AAAS.

1968

Charles Eames and Eames Demetrios Why does an architect photograph a person who is sleeping with their eyes open? Why does an architect scan a person with his camera? What’s

on a picnic blanket before the eyes of a woman and behind the head of a man.

The magazine lies on top of another magazine, an issue of Scienti�ic American from September 1976. It’s a detail from a scene on the �ilm set of Powers of Ten.*

500

1968

Charles Eames (in Lift), Ray Eames and Staff in Front of Their O�ice Filming the Picnic Scene for the 1968 Version of Powers of Ten The NASA publication Earth Photographs from Gemini III, IV, and V is lying on the picnic blanket for reading. The introduction describes the camera used to take the Earth photographs. *

… The camera was a Hasselblad Model 500C modi�ied by NASA, using a Zeiss Planar lens of 80-mm. focal length, F/2.8. The �ilm was Ektachrome MS (S.O.217). During the Gemini V �light, one roll of Anscochrome D�50 was taken. The �ilm format is 55 mm. by 55 mm. on 70-mm. �ilm rolls of over 60 exposures. A haze �ilter helped reduce the intensity of the ultraviolet scattering from the atmosphere. Most of the photographs obtained on these Gemini missions were considered to be of excellent quality with respect to exposure, resolution, and orientation. Although fuel and power restrictions prevented the �light crew from always orienting the spacecraft vertically, as preferred for photography, a continuous series of 39 near-vertical views were obtained by Gemini IV covering the �light path on the 32d revolution from the Paci�ic coast of Mexico to central Texas. The photographs are reproduced here. The objective of the Synoptic Weather Photography Experiment (S�6) in Gemini IV and V was to provide a set of highresolution pictures that would cover a broad range of meteorological phenomena, with emphasis on photographs of a number of cloud systems that could be used to verify and amplify information obtained from the unmanned weather satellites. Cloud cover over the same area was photographed on successive revolutions during the Gemini V mission to study the dynamic changes at 90-minute intervals. …

National Aeronautics and Space Administration. Earth Photographs from Gemini III, IV, and V. Washington, DC: National Aeronautics and Space Administration, Scienti�ic and Technical Information Division, O�ice of Technology Utilization, 1967. 1.

Image: Charles and Ray Eames: Rough Sketch, 1968. Charles Eames shooting picnic for Rough Sketch. © 2012 Eames O�ice, LLC.

510/ 520

… The second panorama was taken on sol 3 with camera 1. … The large boulder northeast of the lander is about 8 m away and about 3 m high. Behind the surface sampler arm is a small dune �ield. …Viking Lander 1, sol 3, camera 1 survey panorama terrain sketch map, compiled from enlargements of returned Viking 1 Lander images. The sketch map covers an azimuth range of about 300°. Several terrain units were mapped. The scene is dominated by light and dark blocky surface material (bsl and bsd) with block sizes ranging from centimetres in the near �ield to tens of meters near the horizon. The blocks are frequently angular and show no obvious preferential orientation. Block surface density is relatively uniform on the scale of tens of meters, although the distribution is patchy at smaller scales. In the bsl and bsd units, there are interblock areas of �ine-grained loosely consolidated material with variable albedo: Light (ssl) and dark (ssd) surface materials are mapped. An ssa unit is used to denote an accumulation of smooth material, probably emplaced by Aeolian processes. The (d) material is assumed to be a dune �ield. Three small lineaments have also been mapped, including two lineaments in one of the light outcrop (ol) units and what appears to be a fracture or ledge in the largest block in the scene. Possible crater rims on the horizon are delineated by vertical arrows where considered fairly de�inite. Blocks are outlined where prominent due to size or where intersecting a terrain contact. The near horizon is denoted by n and the far horizon is denoted by f. The nominal horizon is calculated to be about 3 km distant. Compass headings are indicated across the top of the scene. … ssd smooth surfaces, dark ssl smooth surfaces, light ssa smooth surfaces, accumulation du dunes (provisionally) bsd blocky surfaces, dark bsl blocky surfaces, light b individual blocks ol outcrop, light f far horizon n near horizon crater rim --lineation …

Mutch, Thomas A. et al. “The Surface of Mars: The View from the Viking I Lander.” Science 193, 4255 (1976): 796�7.

Image: From Thomas A. Mutch et al.: “The Surface of Mars: The View from the Viking I Lander.” Science 193, 4255 (1976), pp. 796�797. Reprinted with permission from the AAAS.

1968

Charles Eames and Eames Demetrios Why does an architect photograph a person who is sleeping with their eyes open? Why does an architect scan a person with his camera? What’s

the photographer’s fascination with this reclined person? Is this about an architectural model? Is it about an architectural theory? *

1990�01�01 2004�12�15 2005�05�24 Spring 2010

2008

International Patent No. WO2009/102484 A2: Inkjet Printing of Tissues and Cells … Inkjet printing technology is based on the rapid creation and release of liquid droplets, followed by their precise deposition on a substrate. Recently, this technology has generated increased interest in biomedical micro-fabrication, as it offers a practical and e�icient method to dispense biological and/or material elements, including living cells (Boland et al., 2007, “Drop-on-demand printing of cells and materials for designer tissue constructs,” Materials Science & Engineering C�Biomimetic and Supramolecular Systems, 27 (3), pp. 372�376; Xu et al., 2006, “Viability and electrophysiology of neural cell structures generated by the inkjet printing method,” Biomaterials, 27 (19), pp. 35803588; Xu et al., 2005, “Inkjet printing of viable mammalian cells,” Biomaterials, 26 (1), pp. 93�99; Xu et al., 2004, “Constructions of high-density bacterial colony arrays and patterns by the ink-jet method,” Biotechnol Bioeng, 85 (1), pp. 29�33). …

530

Image: Charles and Ray Eames: Rough Sketch, 1968. Charles Eames shooting hand for Rough Sketch. © 2012 Eames O�ice, LLC.

At �irst, Mission Voyager 1 was meant to explore the planets Jupiter and Saturn, whence the space shuttle transmitted scienti�ic data to Earth via a Deep Space Network. The Voyager Interstellar Mission is a continuous NASA project, which aims to explore the universe all the way to the furthest frontiers of the heliosphere. Voyager 1 is presently inside the heliosheath, the outermost layer of the heliosphere. Voyager 1 is the human-made object furthest removed from Earth. It will never return to Earth, the mission will end when contact is lost with the space ship, which is expected to happen around 2025.

Source: http://voyager.jpl.nasa.gov/, 2012/04/05.

5 April 2012. 11:34 (GMT+1): Distance from Earth: 17,929,592,927 KM / 119.85192599 AU Distance from the Sun: 17,991,028,882 KM / 120.26259999 AU Round-trip light time¹ from the Sun: 33:13:33 (hh:mm:ss) 11 April 2012. 17:41 (GMT+1): Distance from Earth: 17,927,613,933 KM / 119.83869723 AU Distance from the Sun: 18,000,201,623 KM / 120.32391597 AU Round-trip light time¹ from the Sun: 33:13:20 (hh:mm:ss)

Science. American Association for the Advancement of Science. 27 August 1976, Volume 193, No. 4255.

540

International Patent No. WO2009/102484 A2: Yoo, J. James et al., Wake Forest University Health Sciences, Aug. 20, 2009.

Image: International Patent No. WO2009/102484 A2: Inkjet Printing of Tissues and Cells. Reprinted with permission from J. James Yoo.

1976

Science magazine found on a striped blanket on the shore of Lake Michigan.

On top of a volume of Scienti�ic American, on the left side of a sitting woman, behind a sleeping man. The picnic scene on the set of Powers of Ten. *

… Cover: Pictures, obtained by camera 1 (left) and camera 2 (right), 0.822 meter apart, provide stereo coverage of about 45 degrees in front of Viking 1 Lander. …

1977�09�05 1979�03�05 1980�11�12

Lift-off in Cape Canaveral Passing Jupiter Passing Saturn

550

Voyager 1: The Interstellar Mission

16 April 2012. 19:13 (GMT+1) Distance from Earth: 17,926,614,493 KM / 119.83201639 AU Distance from the Sun: 18,007,627,699 KM / 120.37355622 AU Round-trip light time¹ from the Sun: 33:13:13 (hh:mm:ss) 26 April 2012. 15:18 (GMT+1) Distance from Earth: 17,926,465,501 KM / 119.83102044 AU Distance from the Sun: 18,022,053,072 KM / 120.46998388 AU Round-trip light time¹ from the Sun: 33:13:12 (hh:mm:ss)

Science. American Association for the Advancement of Science. 27 August 1976, Volume 193, No. 4255.

Image: From Science. American Association for the Advancement of Science. 27 August 1976, Volume 193, No. 4255. Cover Image. Reprinted with permission from the AAAS.

1977

Around 2015 Around 2025

The interstellar mission begins Entering the termination shock Entering the heliosheath Approaching the boundary of our solar system, strong deceleration of solar winds (this means a decrease of the Sun’s in�luence) Entering the heliopause and interstellar space End of scienti�ic activities

29 April 2012. 08:56 (GMT+1) Distance from Earth: 17,926,891,564 KM / 119.83386849 AU Distance from the Sun: 18,026,064,785 KM / 120.49680053 AU Round-trip light time¹ from the Sun: 33:13:15 (hh:mm:ss)

the photographer’s fascination with this reclined person? Is this about an architectural model? Is it about an architectural theory? *

1990�01�01 2004�12�15 2005�05�24 Spring 2010

2008

International Patent No. WO2009/102484 A2: Inkjet Printing of Tissues and Cells … Inkjet printing technology is based on the rapid creation and release of liquid droplets, followed by their precise deposition on a substrate. Recently, this technology has generated increased interest in biomedical micro-fabrication, as it offers a practical and e�icient method to dispense biological and/or material elements, including living cells (Boland et al., 2007, “Drop-on-demand printing of cells and materials for designer tissue constructs,” Materials Science & Engineering C�Biomimetic and Supramolecular Systems, 27 (3), pp. 372�376; Xu et al., 2006, “Viability and electrophysiology of neural cell structures generated by the inkjet printing method,” Biomaterials, 27 (19), pp. 35803588; Xu et al., 2005, “Inkjet printing of viable mammalian cells,” Biomaterials, 26 (1), pp. 93�99; Xu et al., 2004, “Constructions of high-density bacterial colony arrays and patterns by the ink-jet method,” Biotechnol Bioeng, 85 (1), pp. 29�33). …

530

Image: Charles and Ray Eames: Rough Sketch, 1968. Charles Eames shooting hand for Rough Sketch. © 2012 Eames O�ice, LLC.

At �irst, Mission Voyager 1 was meant to explore the planets Jupiter and Saturn, whence the space shuttle transmitted scienti�ic data to Earth via a Deep Space Network. The Voyager Interstellar Mission is a continuous NASA project, which aims to explore the universe all the way to the furthest frontiers of the heliosphere. Voyager 1 is presently inside the heliosheath, the outermost layer of the heliosphere. Voyager 1 is the human-made object furthest removed from Earth. It will never return to Earth, the mission will end when contact is lost with the space ship, which is expected to happen around 2025.

Source: http://voyager.jpl.nasa.gov/, 2012/04/05.

5 April 2012. 11:34 (GMT+1): Distance from Earth: 17,929,592,927 KM / 119.85192599 AU Distance from the Sun: 17,991,028,882 KM / 120.26259999 AU Round-trip light time¹ from the Sun: 33:13:33 (hh:mm:ss) 11 April 2012. 17:41 (GMT+1): Distance from Earth: 17,927,613,933 KM / 119.83869723 AU Distance from the Sun: 18,000,201,623 KM / 120.32391597 AU Round-trip light time¹ from the Sun: 33:13:20 (hh:mm:ss)

Science. American Association for the Advancement of Science. 27 August 1976, Volume 193, No. 4255.

540

International Patent No. WO2009/102484 A2: Yoo, J. James et al., Wake Forest University Health Sciences, Aug. 20, 2009.

Image: International Patent No. WO2009/102484 A2: Inkjet Printing of Tissues and Cells. Reprinted with permission from J. James Yoo.

1976

Science magazine found on a striped blanket on the shore of Lake Michigan.

On top of a volume of Scienti�ic American, on the left side of a sitting woman, behind a sleeping man. The picnic scene on the set of Powers of Ten. *

… Cover: Pictures, obtained by camera 1 (left) and camera 2 (right), 0.822 meter apart, provide stereo coverage of about 45 degrees in front of Viking 1 Lander. …

1977�09�05 1979�03�05 1980�11�12

Lift-off in Cape Canaveral Passing Jupiter Passing Saturn

550

Voyager 1: The Interstellar Mission

16 April 2012. 19:13 (GMT+1) Distance from Earth: 17,926,614,493 KM / 119.83201639 AU Distance from the Sun: 18,007,627,699 KM / 120.37355622 AU Round-trip light time¹ from the Sun: 33:13:13 (hh:mm:ss) 26 April 2012. 15:18 (GMT+1) Distance from Earth: 17,926,465,501 KM / 119.83102044 AU Distance from the Sun: 18,022,053,072 KM / 120.46998388 AU Round-trip light time¹ from the Sun: 33:13:12 (hh:mm:ss)

Science. American Association for the Advancement of Science. 27 August 1976, Volume 193, No. 4255.

Image: From Science. American Association for the Advancement of Science. 27 August 1976, Volume 193, No. 4255. Cover Image. Reprinted with permission from the AAAS.

1977

Around 2015 Around 2025

The interstellar mission begins Entering the termination shock Entering the heliosheath Approaching the boundary of our solar system, strong deceleration of solar winds (this means a decrease of the Sun’s in�luence) Entering the heliopause and interstellar space End of scienti�ic activities

29 April 2012. 08:56 (GMT+1) Distance from Earth: 17,926,891,564 KM / 119.83386849 AU Distance from the Sun: 18,026,064,785 KM / 120.49680053 AU Round-trip light time¹ from the Sun: 33:13:15 (hh:mm:ss)

570

4 May 2012. 12:55 (GMT+1) Distance from Earth: 17,928,287,750 KM / 119.84320142 AU Distance from the Sun: 18,033,638,832 KM / 120.54742990 AU Round-trip light time¹ from the Sun: 33:13:24 (hh:mm:ss)

… Low-power photomicrographs of 100 m thick vibratome sections stained with thionin from … Brodmann’s area 21 of the human. …

Source: http://www.thefreedictionary.com/round-trip+light+time, 19/04/2012. 12:07.

… The Voyager Mission was designed to take advantage of a rare geometric arrangement of outer planets in the late 1970s and the 1980s. This layout of Jupiter, Saturn, Uranus and Neptune, which occurs about every 175 years, allows a spacecraft on a particular �light path to swing from one planet to the next without the need for large onboard propulsion systems. The �lyby of each planet bends the spacecraft’s �light path and increases its velocity enough to deliver it to the next destination. Using this “gravity assist” technique, the �light time to Neptune can be reduced from 30 years to 12. …

580

DeFelipe, Javier. “The evolution of the brain, the human nature of cortical circuits, and intellectual creativity.” Frontiers in Neuroanatomy, 16 May 2011: 11; Fig. 11.

Image: Fig. 11 from Javier DeFelipe: “The evolution of the brain, the human nature of cortical circuits, and intellectual creativity.” Frontiers in Neuroanatomy, 16 May 2011. © Javier DeFelipe.

Image: Charles and Ray Eames: Rough Sketch, 1968. Positive powers image sequence. © 2012 Eames O�ice, LLC.

Powers of Ten

590

Image: Charles and Ray Eames: Powers of Ten, 1977. Production art. © 2012 Eames O�ice, LLC.

1944

“The ultimate triumph of contemporary clothing is the symmetrical shoe; our deepest regret is our inability to develop a symmetrical foot.”

Rudofsky takes up the debate around a changed, “designed” human body in his 1944 exhibition Are Clothes Modern? and continues it with The Unfashionable Human Body in 1971. In 1989, Michael Feher et al. publish Fragments for a History of the Human Body in three volumes. *

560

NASA (National Aeronautics and Space Administration). Voyager: The Interstellar Mission. Pasadena, CA: NASA Jet Propulsion Laboratory, California Institute of Technology, 2007. 1.

Image: Sketch adapted by Wolfgang Tschapeller ZT GmbH.

Here we only see a diagram of the camera movement into space. We don’t see the journey into the microcosm and the inside of the body. *

1977

Is this a model for a possible architecture? Why on the ground? Why horizontal and not vertical? Why lying and not standing? Why the hand on the chest and not stretched out to a de�ine space? Is the hand on the chest pointing to a space in the interiority of the body? Why two persons and not one? Why time and not size? Why surface and not space? Why food and not building material? Why dressed and not naked? Why a man and a woman, and not an abstracted male �igure? Why time, speed and acceleration, and not streets and alleys? *

Scienti�ic Instrument(s) [on board] Imaging system Infrared interferometer spectrometer Ultraviolet spectrometer Triaxial �luxgate magnetometer Plasma spectrometer Low-energy charged particles detectors Cosmic Ray System (CRS) Photopolarimeter System (PPS) Plasma Wave System (PWS) …

Chart Plotting Sequences of Powers of Ten

Variations in Neuron Density, Cytoarchitectonic Organization, and in the Size and Distribution of Vertical Neuron Aggregates Around 1909, Korbinian Brodmann drew on histological studies to establish a cartography of the cerebral cortex. Like a landscape, he sectioned it into 43 areas, which he correlated to different body functions. Brodmann’s area 21 is part of the temporal lobe and responsible for auditory processing and language. Even today, the scienti�ic division of the cerebral cortex is still based on Brodmann’s brain map. Three-dimensional models of the brain can currently display with great precision the brain’s division into about 300 areas. *

¹ round-trip light time – the elapsed time it takes for a signal to travel from Earth to a spacecraft (or other body) and back to the starting point

1968

2011

… Unknown photographer (Barbara Sutro?). The stigma of our civilization is the deformed foot (from Bernard Rudofsky’s Are Clothes Modern?), ca. 1944. Simply by juxtaposing a man’s shoe, a cobbler’s wooden last, and two plaster models – one representing the hypothetical foot that might wear the shoe and the other one a real foot deformed by adapting to it –, Rudofsky offers an exemplary demonstration that what we wear is not conceived for the shape of the human body. …

Guarneri, Andrea Bocco. Bernard Rudofsky: A Humane Designer. New York: Springer, 2003. 74

570

4 May 2012. 12:55 (GMT+1) Distance from Earth: 17,928,287,750 KM / 119.84320142 AU Distance from the Sun: 18,033,638,832 KM / 120.54742990 AU Round-trip light time¹ from the Sun: 33:13:24 (hh:mm:ss)

… Low-power photomicrographs of 100 m thick vibratome sections stained with thionin from … Brodmann’s area 21 of the human. …

Source: http://www.thefreedictionary.com/round-trip+light+time, 19/04/2012. 12:07.

… The Voyager Mission was designed to take advantage of a rare geometric arrangement of outer planets in the late 1970s and the 1980s. This layout of Jupiter, Saturn, Uranus and Neptune, which occurs about every 175 years, allows a spacecraft on a particular �light path to swing from one planet to the next without the need for large onboard propulsion systems. The �lyby of each planet bends the spacecraft’s �light path and increases its velocity enough to deliver it to the next destination. Using this “gravity assist” technique, the �light time to Neptune can be reduced from 30 years to 12. …

580

DeFelipe, Javier. “The evolution of the brain, the human nature of cortical circuits, and intellectual creativity.” Frontiers in Neuroanatomy, 16 May 2011: 11; Fig. 11.

Image: Fig. 11 from Javier DeFelipe: “The evolution of the brain, the human nature of cortical circuits, and intellectual creativity.” Frontiers in Neuroanatomy, 16 May 2011. © Javier DeFelipe.

Image: Charles and Ray Eames: Rough Sketch, 1968. Positive powers image sequence. © 2012 Eames O�ice, LLC.

Powers of Ten

590

Image: Charles and Ray Eames: Powers of Ten, 1977. Production art. © 2012 Eames O�ice, LLC.

1944

“The ultimate triumph of contemporary clothing is the symmetrical shoe; our deepest regret is our inability to develop a symmetrical foot.”

Rudofsky takes up the debate around a changed, “designed” human body in his 1944 exhibition Are Clothes Modern? and continues it with The Unfashionable Human Body in 1971. In 1989, Michael Feher et al. publish Fragments for a History of the Human Body in three volumes. *

560

NASA (National Aeronautics and Space Administration). Voyager: The Interstellar Mission. Pasadena, CA: NASA Jet Propulsion Laboratory, California Institute of Technology, 2007. 1.

Image: Sketch adapted by Wolfgang Tschapeller ZT GmbH.

Here we only see a diagram of the camera movement into space. We don’t see the journey into the microcosm and the inside of the body. *

1977

Is this a model for a possible architecture? Why on the ground? Why horizontal and not vertical? Why lying and not standing? Why the hand on the chest and not stretched out to a de�ine space? Is the hand on the chest pointing to a space in the interiority of the body? Why two persons and not one? Why time and not size? Why surface and not space? Why food and not building material? Why dressed and not naked? Why a man and a woman, and not an abstracted male �igure? Why time, speed and acceleration, and not streets and alleys? *

Scienti�ic Instrument(s) [on board] Imaging system Infrared interferometer spectrometer Ultraviolet spectrometer Triaxial �luxgate magnetometer Plasma spectrometer Low-energy charged particles detectors Cosmic Ray System (CRS) Photopolarimeter System (PPS) Plasma Wave System (PWS) …

Chart Plotting Sequences of Powers of Ten

Variations in Neuron Density, Cytoarchitectonic Organization, and in the Size and Distribution of Vertical Neuron Aggregates Around 1909, Korbinian Brodmann drew on histological studies to establish a cartography of the cerebral cortex. Like a landscape, he sectioned it into 43 areas, which he correlated to different body functions. Brodmann’s area 21 is part of the temporal lobe and responsible for auditory processing and language. Even today, the scienti�ic division of the cerebral cortex is still based on Brodmann’s brain map. Three-dimensional models of the brain can currently display with great precision the brain’s division into about 300 areas. *

¹ round-trip light time – the elapsed time it takes for a signal to travel from Earth to a spacecraft (or other body) and back to the starting point

1968

2011

… Unknown photographer (Barbara Sutro?). The stigma of our civilization is the deformed foot (from Bernard Rudofsky’s Are Clothes Modern?), ca. 1944. Simply by juxtaposing a man’s shoe, a cobbler’s wooden last, and two plaster models – one representing the hypothetical foot that might wear the shoe and the other one a real foot deformed by adapting to it –, Rudofsky offers an exemplary demonstration that what we wear is not conceived for the shape of the human body. …

Guarneri, Andrea Bocco. Bernard Rudofsky: A Humane Designer. New York: Springer, 2003. 74

2004 Arti�icial Heart-Lung Apparatus

Image: Bernard Rudofsky, photographer unknown. Reproduced from Guarneri, Andrea Bocco. Bernard Rudofsky: A Humane Designer. New York: Springer, 2003, p. 74. © VBK, Vienna 2012. A original print of the photo is held by The Bernard Rudofsky Estate Vienna.

Powers of Ten There is a multitude of patents (rights to the temporarily exclusive usage of one’s own technical inventions) around the construction, reconstruction, constructability and extendibility of the human body. *

1953 1955 1959 1962

Wave-Form Analyzing Apparatus Patent No. 2.648.822 Pub. Date: Aug. 11, 1953

Oxygenating Unit for Extracorporeal Circulation Devices Patent No. 2.702.035 Pub. Date: Feb. 15, 1955

Mechanical Heart

Patent No. 2.917.751 Pub. Date: Dec. 22, 1959

2004 Methods and Systems for Processing of Brain Signals Patent No. 2004/0249302A1 Pub. Date: Dec. 9, 2004

2005 Neural Interface System with Embedded ID Patent No. 2005/0267597 A1 Pub. Date: Dec.1, 2005

2007

Electrode Arrays and Related Methods

2007

Monitoring and Representing Complex Signals

2007

Optically-connected Implants and Related Systems and Methods of Use

Arti�icial Heart

1967

Method of Muscular Stimulation in Human Beings to Aid in Walking

2007

Patent No. 3.097.366 Pub. Date: July 16, 1963

Patent No. 3.344.792 Pub. Date: Oct. 3, 1967

1972

Soft Shell Mushroom Shaped Heart

1977

Implantable Electronic Hearing Aid

1987

Arti�icial Arm and Hand Assembly Patent No. 4.685.928 Pub. Date: Aug. 11, 1987

1990

Plastic Surgery Implant

1993

Three-dimensional Electrode Device

Patent No. 4.969.901 Pub. Date: Nov. 13, 1990

Patent No. 5.291.888 Pub. Date: Mar. 8, 1994

2003 Method for Investigating Neurological Function Patent No. 2003/0153841 A1 Pub. Date: Aug. 14, 2003

System + Method for Treating Parkinson’s Disease and Other Movement Disorders

2008 Inkjet Printing of Tissues and Cells Patent. No. 2009/102484 A2 Pub. Date: Aug. 20, 2008

2010

Neural Stimulation and Optical Monitoring Systems and Methods Patent No. 7.729.773 B2 Pub. Date: Jun. 1, 2010

2011

Flexible and Scalable Sensor Arrays for Recording and Modulating Physiologic Activity Patent No. 2011/0054583 A1 Pub. Date: Mar. 3, 2011

2011

[Printing of Life Tissue onto Living Organisms], Delivery System Patent No. 2011/085225 A1 Pub. Date: July 14, 2011

2011

Patent No. 5.215.088 Pub. Date: June 1, 1993

Head Sensor Positioning Network

Patent No. 7.254.500 B2 Pub. Date: Aug. 7, 2007

Patent No. 7.299.096 Pub. Date: Nov. 20, 2007

Patent No. 3.641.591 Pub. Date: Feb. 15, 1972

Patent No. 4.063.048 Pub. Date: Dec. 13, 1977

Patent No. 2007/0106143 A1 Pub. Date: May 10, 2007

Patent No. 7.280.870 B2 Pub. Date: Oct. 9, 2007

Medical Cardiac Pacemaker

Patent No. 3.057.356 Pub. Date: Oct. 9, 1962

1963

1994

600

1977

Patent No. 2004/0097861A1 Pub. Date: May 20, 2004

Lipoprotein-associated Markers for Cardiovascular Disease Patent No. 2011/0212477 A1 Pub. Date: Sep. 1, 2011

2011

TRP/HIS Exchange and Kynurenin-induced TRP Transport Patent No. 2011/0223657 A1 Pub. Date: Sep. 15, 2011

2004 Arti�icial Heart-Lung Apparatus

Image: Bernard Rudofsky, photographer unknown. Reproduced from Guarneri, Andrea Bocco. Bernard Rudofsky: A Humane Designer. New York: Springer, 2003, p. 74. © VBK, Vienna 2012. A original print of the photo is held by The Bernard Rudofsky Estate Vienna.

Powers of Ten There is a multitude of patents (rights to the temporarily exclusive usage of one’s own technical inventions) around the construction, reconstruction, constructability and extendibility of the human body. *

1953 1955 1959 1962

Wave-Form Analyzing Apparatus Patent No. 2.648.822 Pub. Date: Aug. 11, 1953

Oxygenating Unit for Extracorporeal Circulation Devices Patent No. 2.702.035 Pub. Date: Feb. 15, 1955

Mechanical Heart

Patent No. 2.917.751 Pub. Date: Dec. 22, 1959

2004 Methods and Systems for Processing of Brain Signals Patent No. 2004/0249302A1 Pub. Date: Dec. 9, 2004

2005 Neural Interface System with Embedded ID Patent No. 2005/0267597 A1 Pub. Date: Dec.1, 2005

2007

Electrode Arrays and Related Methods

2007

Monitoring and Representing Complex Signals

2007

Optically-connected Implants and Related Systems and Methods of Use

Arti�icial Heart

1967

Method of Muscular Stimulation in Human Beings to Aid in Walking

2007

Patent No. 3.097.366 Pub. Date: July 16, 1963

Patent No. 3.344.792 Pub. Date: Oct. 3, 1967

1972

Soft Shell Mushroom Shaped Heart

1977

Implantable Electronic Hearing Aid

1987

Arti�icial Arm and Hand Assembly Patent No. 4.685.928 Pub. Date: Aug. 11, 1987

1990

Plastic Surgery Implant

1993

Three-dimensional Electrode Device

Patent No. 4.969.901 Pub. Date: Nov. 13, 1990

Patent No. 5.291.888 Pub. Date: Mar. 8, 1994

2003 Method for Investigating Neurological Function Patent No. 2003/0153841 A1 Pub. Date: Aug. 14, 2003

System + Method for Treating Parkinson’s Disease and Other Movement Disorders

2008 Inkjet Printing of Tissues and Cells Patent. No. 2009/102484 A2 Pub. Date: Aug. 20, 2008

2010

Neural Stimulation and Optical Monitoring Systems and Methods Patent No. 7.729.773 B2 Pub. Date: Jun. 1, 2010

2011

Flexible and Scalable Sensor Arrays for Recording and Modulating Physiologic Activity Patent No. 2011/0054583 A1 Pub. Date: Mar. 3, 2011

2011

[Printing of Life Tissue onto Living Organisms], Delivery System Patent No. 2011/085225 A1 Pub. Date: July 14, 2011

2011

Patent No. 5.215.088 Pub. Date: June 1, 1993

Head Sensor Positioning Network

Patent No. 7.254.500 B2 Pub. Date: Aug. 7, 2007

Patent No. 7.299.096 Pub. Date: Nov. 20, 2007

Patent No. 3.641.591 Pub. Date: Feb. 15, 1972

Patent No. 4.063.048 Pub. Date: Dec. 13, 1977

Patent No. 2007/0106143 A1 Pub. Date: May 10, 2007

Patent No. 7.280.870 B2 Pub. Date: Oct. 9, 2007

Medical Cardiac Pacemaker

Patent No. 3.057.356 Pub. Date: Oct. 9, 1962

1963

1994

600

1977

Patent No. 2004/0097861A1 Pub. Date: May 20, 2004

Lipoprotein-associated Markers for Cardiovascular Disease Patent No. 2011/0212477 A1 Pub. Date: Sep. 1, 2011

2011

TRP/HIS Exchange and Kynurenin-induced TRP Transport Patent No. 2011/0223657 A1 Pub. Date: Sep. 15, 2011

Lead Integrity Testing during Suspected Tachyarrhythmias

2011

Integrated Tank Filter for a Medical Therapeutic Device

Patent No. 2011/0224566 A1 Pub. Date: Sep. 15, 2011

610

2011

Repositionable Endoluminal Support Structure and Its Applications Patent No. 2011/0245918 A1 Pub. Date: Oct. 6, 2011

Novel Gene Disruptions, Compositions and Methods Relating Thereto Patent No. 2011/0252485 A1 Pub. Date: Oct. 13, 2011

2011

Powered Ankle-Foot Prosthesis

2011

Method for Permanent Occlusion of Fallopian Tube

620

Devices, Systems, and Methods for Reshaping a Heart Valve Annulus Patent No. 2011/0251684 A1 Pub. Date: Oct. 13, 2011

2011

Source: Chard, Nat. Drawing Indeterminate Architecture, Indeterminate Drawings of Architecture [Consequence Book Series on Fresh Architecture]. New York: Springer, 2005.

Image: Nat Chard: Perception Drawing of Foot, 1994. Airbrush on Polaroid transfer. © Nat Chard.

Patent No. 2011/0259343 A1 Pub. Date: Oct. 27, 2011

APO A�I Mimetic Peptides and Methods of Treatment

2011

Method and Apparatus for Detection of Nervous System Disorders

Patent No. 2011/0263497 A1 Pub. Date: Oct. 27, 2011

Multiple Electrode Lead and a System for Deep Electrical Neurostimulation including Such a Lead Patent No. 2011/0264166 A1 Pub. Date: Oct. 27, 2011

Method of Neurostimulation of Distinct Neural Structures Using Single Paddle Lead to Treat Multiple Pain Locations and Multi-column, Multi-row Paddle Lead for Such Stimulation Patent No. 2011/0270350 A1 Pub. Date: Nov. 3, 2011

2011

Transventricular Implant Tools and Devices Patent No. 2011/0271967 A1 Pub. Date: Nov. 10, 2011

Image: Montage from Charles and Ray Eames: Powers of Ten, 1977. Production image. © 2012 Eames O�ice, LLC with notes from Wolfgang Tschapeller ZT GmbH.

Flesh¹: Architectural Probes

Teyssot, Georges. “A Mutant Body of Architecture.” Elizabeth Diller and Ricardo Sco�idio. Flesh¹: Architectural Probes. New York: Princeton Architectural Press, 1994. 12.

Image: Cover image from Elizabeth Diller and Ricardo Sco�idio: Flesh¹: Architectural Probes. New York: Princeton Architectural Press, 1994.

640

2011

1994

… In “The Mutant Body of Architecture,” Georges Teyssot quotes an excerpt of Michael Sorkin’s “Minimums,” The Village Voice, 13 October 1987, p. 100: “And yet it should be possible to discuss the minimum in architectural terms, in terms that don’t presume either some form of physical deprivation or cruddy philosophic primitivism. … Two sites … seem available. The �irst is at the locus of construction, the idea of a purely technical minimum, the phonemics of building. … The second possibility originates with the body. …”

Patent No. 2011/0263999 A1 Pub. Date: Oct. 27, 2011

2011

Perception Drawing for Desire Sensitive Space

Parallel to their works, which consist of innumerable ready-made parts of history – the history of philosophy, art history and architectural history – Georges Teyssot constructs “The Mutant Body of Architecture” in Diller & Sco�idio’s Flesh (1994). *

Patent No. 2011/0257764 A1 Pub. Date: Oct. 20, 2011

2011

1993

Image: Nat Chard: Perception Drawing for Desire Sensitive Space, 1993. Airbrush on Polaroid transfer. © Nat Chard.

630

2011

Perception Drawing of Foot The architect Nat Chard uses the human body as a construction and building site. Around 1993 he produces the perception drawings of the foot and the perception drawing for desire sensitive space. The desire sensitive space is a volume of which parts are mounted in the cavities of the chest and the belly. Linear elements seem to connect it to the surrounding body. In his “Body Projects,” also around 1993, the cavities of the chest and belly become the site for arti�icial �ilters, secondary pumps, a digestive power converter, storage spaces, organ slippage management systems, a heat shield and a central control unit, which work in a feedback loop with the natural organs.

Patent No. 2011/0245644 A1 Pub. Date: Oct. 6, 2011

2011

1994

2007

Brain US Patent No. US2007/0106143 A1: Electrode Arrays and Related Methods Electrode arrays (microelectrode systems) are used as brain-machine interfaces, brain-computer interfaces and mind-machine interfaces, all of them devices which allow for direct communication between brain and machine. *

… Microelectrode systems may be classi�ied into two

Lead Integrity Testing during Suspected Tachyarrhythmias

2011

Integrated Tank Filter for a Medical Therapeutic Device

Patent No. 2011/0224566 A1 Pub. Date: Sep. 15, 2011

610

2011

Repositionable Endoluminal Support Structure and Its Applications Patent No. 2011/0245918 A1 Pub. Date: Oct. 6, 2011

Novel Gene Disruptions, Compositions and Methods Relating Thereto Patent No. 2011/0252485 A1 Pub. Date: Oct. 13, 2011

2011

Powered Ankle-Foot Prosthesis

2011

Method for Permanent Occlusion of Fallopian Tube

620

Devices, Systems, and Methods for Reshaping a Heart Valve Annulus Patent No. 2011/0251684 A1 Pub. Date: Oct. 13, 2011

2011

Source: Chard, Nat. Drawing Indeterminate Architecture, Indeterminate Drawings of Architecture [Consequence Book Series on Fresh Architecture]. New York: Springer, 2005.

Image: Nat Chard: Perception Drawing of Foot, 1994. Airbrush on Polaroid transfer. © Nat Chard.

Patent No. 2011/0259343 A1 Pub. Date: Oct. 27, 2011

APO A�I Mimetic Peptides and Methods of Treatment

2011

Method and Apparatus for Detection of Nervous System Disorders

Patent No. 2011/0263497 A1 Pub. Date: Oct. 27, 2011

Multiple Electrode Lead and a System for Deep Electrical Neurostimulation including Such a Lead Patent No. 2011/0264166 A1 Pub. Date: Oct. 27, 2011

Method of Neurostimulation of Distinct Neural Structures Using Single Paddle Lead to Treat Multiple Pain Locations and Multi-column, Multi-row Paddle Lead for Such Stimulation Patent No. 2011/0270350 A1 Pub. Date: Nov. 3, 2011

2011

Transventricular Implant Tools and Devices Patent No. 2011/0271967 A1 Pub. Date: Nov. 10, 2011

Image: Montage from Charles and Ray Eames: Powers of Ten, 1977. Production image. © 2012 Eames O�ice, LLC with notes from Wolfgang Tschapeller ZT GmbH.

Flesh¹: Architectural Probes

Teyssot, Georges. “A Mutant Body of Architecture.” Elizabeth Diller and Ricardo Sco�idio. Flesh¹: Architectural Probes. New York: Princeton Architectural Press, 1994. 12.

Image: Cover image from Elizabeth Diller and Ricardo Sco�idio: Flesh¹: Architectural Probes. New York: Princeton Architectural Press, 1994.

640

2011

1994

… In “The Mutant Body of Architecture,” Georges Teyssot quotes an excerpt of Michael Sorkin’s “Minimums,” The Village Voice, 13 October 1987, p. 100: “And yet it should be possible to discuss the minimum in architectural terms, in terms that don’t presume either some form of physical deprivation or cruddy philosophic primitivism. … Two sites … seem available. The �irst is at the locus of construction, the idea of a purely technical minimum, the phonemics of building. … The second possibility originates with the body. …”

Patent No. 2011/0263999 A1 Pub. Date: Oct. 27, 2011

2011

Perception Drawing for Desire Sensitive Space

Parallel to their works, which consist of innumerable ready-made parts of history – the history of philosophy, art history and architectural history – Georges Teyssot constructs “The Mutant Body of Architecture” in Diller & Sco�idio’s Flesh (1994). *

Patent No. 2011/0257764 A1 Pub. Date: Oct. 20, 2011

2011

1993

Image: Nat Chard: Perception Drawing for Desire Sensitive Space, 1993. Airbrush on Polaroid transfer. © Nat Chard.

630

2011

Perception Drawing of Foot The architect Nat Chard uses the human body as a construction and building site. Around 1993 he produces the perception drawings of the foot and the perception drawing for desire sensitive space. The desire sensitive space is a volume of which parts are mounted in the cavities of the chest and the belly. Linear elements seem to connect it to the surrounding body. In his “Body Projects,” also around 1993, the cavities of the chest and belly become the site for arti�icial �ilters, secondary pumps, a digestive power converter, storage spaces, organ slippage management systems, a heat shield and a central control unit, which work in a feedback loop with the natural organs.

Patent No. 2011/0245644 A1 Pub. Date: Oct. 6, 2011

2011

1994

2007

Brain US Patent No. US2007/0106143 A1: Electrode Arrays and Related Methods Electrode arrays (microelectrode systems) are used as brain-machine interfaces, brain-computer interfaces and mind-machine interfaces, all of them devices which allow for direct communication between brain and machine. *

… Microelectrode systems may be classi�ied into two

in which I dwell, the realest and clearest reality, I only needed to become aware of it in order to be able to project its imprints as �ixed focal points onto the picture plane. You can become aware of your body through pressure, through tension or by straining one part of it in a particular physical position; in other words, awareness is expressed in sensations of pressure or tension, in sensations of fullness or emptiness, etc. … 2

broad groups: those having microdrive mechanisms and those having �ixed electrode arrays. Systems with microdrive mechanisms may allow a single electrode to be vertically positioned with respect to the brain tissue and allow the electrode to be individually driven by the microdrive mechanism. Thus, a user may actively search for neurons of interest and accurately position the electrode tip near the soma of the neuron to improve the signalto-noise ratio. Such systems, however, may not be fully implanted in a human because individual microdrive mechanisms are relatively bulky. … the system includes one or more electrode array systems (300, 380) inserted into a patient’s brain (50) (e.g. the cerebral cortex) through an opening … in the skull (60) (e.g. through an opening created by the removal of a bone �lap during a procedure known as a craniotomy). As shown in FIG. 22, the electrode array system (300, 380) may be identical or different, and may be placed in any location of the patient’s brain (50) to detect electrical brain signals or impulses. … the opening … may be as little as 1�2 cm in diameter, and may be closed with an arti�icial plug or bone material after the implant procedure. …

30 processing unit 62 bone screws 63 straps 65 recess 67 slit 70 scalp 320 wire bundles

660

1 Nancy, Jean-Luc. 58 Indizien über den Körper. Die Ausdehnung der Seele. Zurich: Diaphanes, 2012. 11. © 2012 Verlag Diaphanes Berlin.

2 Body-awareness-painting. Lassnig, Maria. The Pen Is the Sister of the Brush: Diaries 1943�1997. Ed. Hans Ulrich Obrist. Zurich: Steidl Hauser & Wirth, 2009. 28.

Image: Maria Lassnig: Gesichtsschichtenlinien, 1996. Watercolor and chalk on paper. (50 x 70 cm) Albertina Vienna. With permission from the artist.

[Andy Warhol: Couch. 16 mm, 58 minutes, B/W, silent, 16 fps, July 1964] … Couch was shot over several months with random visitors to The Factory. The time particles’ binding element is the large, old couch at the centre of The Factory, East 47th Street.

Performers: Gerard Malanga, Naomi Levine, Gregory Corso, Allen Ginsberg, Jane Holzer, Amy Taubin, Ondine, Peter Orlovsky, Jack Kerouac, Billy Name (Linich), Taylor Mead. …

670

Harry Tomicek, in the program booklet accompanying the Andy Warhol – Filmmaker retrospective at the Austrian Film Museum Vienna, October 2005, p. 15.

Image: Andy Warhol: Couch, 1964. 16 mm �ilm. From the collection of the Austrian Film Museum. © 2012 The Andy Warhol Museum, Pittsburgh, PA, a museum of the Carnegie Institute. All rights reserved.

650

Maria Lassnig, Gesichtsschichtenlinien … The head separates from the body without having to be chopped off. The head is detached, severed from itself.

The body is a unity; it structures and composes and organises itself. The head consists of nothing but holes, where the empty centre clearly represents the mind, the point, the in�inite concentration on itself. Pupils, nostrils, mouth, and ears – those are holes, emergency exits burrowed out of the body. … 1 … when, in my painting, I became tired of analytically depicting nature, I searched for a reality that was more fully in my possession than the exterior world, and I found it waiting for me in the body house

Couch Couch (1964), Eat (1964), Sleep (1963), Kitchen (1965), Prison (1965), Restaurant (1965), Camp (1965), some of the movies by Andy Warhol. *

US Patent No. US2007/0106143 A1: J. Christopher Flaherty, Tops�ield, MA, May 10, 2007.

Image: US Patent No. US2007/0106143 A1: Electrode Arrays and Related Methods. With permission from J. Christopher Flaherty.

1996

1964

2002

Geodesic Sensor Net with 128 Electrodes Compared to brain-machine interfaces, which can transmit signals from the brain to a machine as well as from a machine to the brain, geodesic sensors only work in one direction. They are able to register brain signals, but they cannot transmit signals from a machine to the brain. *

… The Geodesic Sensor Net (GSN) from Electrical Geodesics, Inc. (EGI) is the �irst practical, safe method for quickly placing 32 to 256 electrodes on the human head to acquire densearray electroencephalography (EEG) data. Its rapid application and comfortable �it, as well as the rich data it provides, make the GSN ideal for a wide range of subjects/patients and applications.

The GSN features EGI’s patented dense-array EEG sensors held in a tension structure that stretches over the head. Each line between sensor pairs is a geodesic, the shortest distance between two points on the surface of a sphere. The accurate geodesic tessel-

in which I dwell, the realest and clearest reality, I only needed to become aware of it in order to be able to project its imprints as �ixed focal points onto the picture plane. You can become aware of your body through pressure, through tension or by straining one part of it in a particular physical position; in other words, awareness is expressed in sensations of pressure or tension, in sensations of fullness or emptiness, etc. … 2

broad groups: those having microdrive mechanisms and those having �ixed electrode arrays. Systems with microdrive mechanisms may allow a single electrode to be vertically positioned with respect to the brain tissue and allow the electrode to be individually driven by the microdrive mechanism. Thus, a user may actively search for neurons of interest and accurately position the electrode tip near the soma of the neuron to improve the signalto-noise ratio. Such systems, however, may not be fully implanted in a human because individual microdrive mechanisms are relatively bulky. … the system includes one or more electrode array systems (300, 380) inserted into a patient’s brain (50) (e.g. the cerebral cortex) through an opening … in the skull (60) (e.g. through an opening created by the removal of a bone �lap during a procedure known as a craniotomy). As shown in FIG. 22, the electrode array system (300, 380) may be identical or different, and may be placed in any location of the patient’s brain (50) to detect electrical brain signals or impulses. … the opening … may be as little as 1�2 cm in diameter, and may be closed with an arti�icial plug or bone material after the implant procedure. …

30 processing unit 62 bone screws 63 straps 65 recess 67 slit 70 scalp 320 wire bundles

660

1 Nancy, Jean-Luc. 58 Indizien über den Körper. Die Ausdehnung der Seele. Zurich: Diaphanes, 2012. 11. © 2012 Verlag Diaphanes Berlin.

2 Body-awareness-painting. Lassnig, Maria. The Pen Is the Sister of the Brush: Diaries 1943�1997. Ed. Hans Ulrich Obrist. Zurich: Steidl Hauser & Wirth, 2009. 28.

Image: Maria Lassnig: Gesichtsschichtenlinien, 1996. Watercolor and chalk on paper. (50 x 70 cm) Albertina Vienna. With permission from the artist.

[Andy Warhol: Couch. 16 mm, 58 minutes, B/W, silent, 16 fps, July 1964] … Couch was shot over several months with random visitors to The Factory. The time particles’ binding element is the large, old couch at the centre of The Factory, East 47th Street.

Performers: Gerard Malanga, Naomi Levine, Gregory Corso, Allen Ginsberg, Jane Holzer, Amy Taubin, Ondine, Peter Orlovsky, Jack Kerouac, Billy Name (Linich), Taylor Mead. …

670

Harry Tomicek, in the program booklet accompanying the Andy Warhol – Filmmaker retrospective at the Austrian Film Museum Vienna, October 2005, p. 15.

Image: Andy Warhol: Couch, 1964. 16 mm �ilm. From the collection of the Austrian Film Museum. © 2012 The Andy Warhol Museum, Pittsburgh, PA, a museum of the Carnegie Institute. All rights reserved.

650

Maria Lassnig, Gesichtsschichtenlinien … The head separates from the body without having to be chopped off. The head is detached, severed from itself.

The body is a unity; it structures and composes and organises itself. The head consists of nothing but holes, where the empty centre clearly represents the mind, the point, the in�inite concentration on itself. Pupils, nostrils, mouth, and ears – those are holes, emergency exits burrowed out of the body. … 1 … when, in my painting, I became tired of analytically depicting nature, I searched for a reality that was more fully in my possession than the exterior world, and I found it waiting for me in the body house

Couch Couch (1964), Eat (1964), Sleep (1963), Kitchen (1965), Prison (1965), Restaurant (1965), Camp (1965), some of the movies by Andy Warhol. *

US Patent No. US2007/0106143 A1: J. Christopher Flaherty, Tops�ield, MA, May 10, 2007.

Image: US Patent No. US2007/0106143 A1: Electrode Arrays and Related Methods. With permission from J. Christopher Flaherty.

1996

1964

2002

Geodesic Sensor Net with 128 Electrodes Compared to brain-machine interfaces, which can transmit signals from the brain to a machine as well as from a machine to the brain, geodesic sensors only work in one direction. They are able to register brain signals, but they cannot transmit signals from a machine to the brain. *

… The Geodesic Sensor Net (GSN) from Electrical Geodesics, Inc. (EGI) is the �irst practical, safe method for quickly placing 32 to 256 electrodes on the human head to acquire densearray electroencephalography (EEG) data. Its rapid application and comfortable �it, as well as the rich data it provides, make the GSN ideal for a wide range of subjects/patients and applications.

The GSN features EGI’s patented dense-array EEG sensors held in a tension structure that stretches over the head. Each line between sensor pairs is a geodesic, the shortest distance between two points on the surface of a sphere. The accurate geodesic tessel-

A physician should be in attendance. …

lation of the head surface optimizes the sampling of the electrical �ield. The geodesic tension network enables the placement of a large number of electrodes on the scalp in a minimal amount of time. The average application time for a 128-channel GSN is 10 minutes, compared with the more than two hours required by conventional EEG techniques. The GSN’s high-impedance electrodes do not call for scalp abrasion, thus increasing patient comfort and decreasing infection risk. …

700

Joseph, Branden W. Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (A “Minor” History). New York: ZONE Books, 2008. 288. © ZONE Books 2012.

Image: Tony Conrad: Exposure Timing Sheet for The Flicker, 1966. Photo: Robert Adler. Courtesy of the artist and Greene Naftali, New York.

Sleep (1963), Eat (1964), Couch (1964), Kitchen (1965), Prison (1965), Restaurant (1965), Camp (1965), some of the movies by Andy Warhol. *

… Conrad explained to Mekas: Effects that act on your eyes so as to produce the actual imagery directly within the observer rather than in a normal way of having the eye interpret the light patterns on the screen. … Most of the details, most of the impact, most of what people �ind in it, what they take away with them from having watched the �ilm, wasn’t there, was conjured up only when they watched this �ilm: It didn’t exist before, it doesn’t exist on �ilm, it wasn’t on the screen. The seeing with your eyes closed is a very different type of sensory experience from the visual impressions that you get with your eyes open, when your eyes are focused on an object. The only way to have such impressions is to use a device that produces them – doesn’t project them, but actually produces them in the eye. … The brain itself is directly involved in all of this; it is not coincidental that one of the principal brainwave frequencies, the so-called alpha-rhythm, lies in the 8 to 16 cycles per second range. Hence the central nervous system itself must here be considered as a kind of sensory mechanism, though its role is not explicitly understood, to my knowledge. …

680

Sleep … I looked over and there was Andy in bed next to me, his head propped up on his arm, wide-eyed awake, looking at me.

“What are you doing?” I said with a rubber tongue. “Watching you,” said Andy. I awoke again and Andy was still looking at me with Bette Davis eyes. “What are you doing?” “Watching you sleep!”

I went back to sleep, and awoke every once in a while to see if he was still doing it. I woke up again to take a piss and Andy was sitting in a chair alongside the front of the bed in the morning light. The next time I woke up, he was lying with his cheek on the pillow drowsily looking at me. It was 11.30 in the morning, boiling hot; my body was steaming with sweat, and did I have a hangover.

“Why are you looking at me?” …

John Giorno. (Reprinted with permission from Andy Warhol: A Retrospective. New York: The Museum of Modern Art, 1989) in Ed. Klaus Biesenbach. Andy Warhol: Motion Pictures. Berlin: KW Institute for Contemporary Art, 2004. 238.

Image: Andy Warhol: Sleep, 1963. 16 mm �ilm still. © 2012 The Andy Warhol Museum, Pittsburgh, PA, a museum of the Carnegie Institute. All rights reserved.

“The Exposure Timing Sheet” is a three-dimensional plastic object built to unfold the underlying patterns of the �ilm The Flicker. *

[16 mm, 30 minutes, S/W, music by Tony Conrad, USA 1965�1966] … WARNING. The producer, distributor, & exhibitors waive all liability for physical or mental injury possibly caused by the motion picture The Flicker. Since this �ilm may induce epileptic seizures or produce mild symptoms of shock treatment in certain persons, you are cautioned to remain in the theatre only at your own risk.

710

Tony Conrad, The Exposure Timing Sheet of The Flicker

Mekas, Jonas. “An Interview with Tony Conrad: On the Flickering Cinema of Pure Light (March 24, 1966).”

Movie Journal: The Rise of a New American Cinema, 1959�1971. New York: Macmillan, 1972. 229; 232.

Reprinted in: Joseph, Branden W. Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (A “Minor” History). New York: ZONE Books, 2008. 302�303. © ZONE Books 2012.

Image: Tony Conrad: The Flicker, 1966. 16 mm �ilm still. Courtesy of the artist and Greene Naftali, New York.

690

1965

Tony Conrad, The Flicker: Film The �ilm is a composition of black and white frames, a complex rhythmical structure generated from a study of neuronal processes. Conrad uses a �licker of black and white to stimulate physiological reactions directly inside the brain, bypassing the perception through the eye. The Flicker is a paragon of structural �ilm, which can do entirely without narrative images. *

Electrical Geodesics, Inc. Geodesic Sensor Net: Technical Manual, 2007. XV. Image: © 2012 Electrical Geodesics, Inc.

1963

1965

1963

Sleep “Hands have no tears to �low” is the last verse of a poem by Dylan Thomas (1914�1953), “The Hand That Signed the Paper”, from 1936. Marshall McLuhan refers to and uses parts of Thomas’ poem in his 1954 edited book Counterblast. *

… Movies and TV complete the cycle of mechanization of the human sensorium. With the omnipresent ear and the moving eye, we have abolished writing, the specialized acoustic-visual

A physician should be in attendance. …

lation of the head surface optimizes the sampling of the electrical �ield. The geodesic tension network enables the placement of a large number of electrodes on the scalp in a minimal amount of time. The average application time for a 128-channel GSN is 10 minutes, compared with the more than two hours required by conventional EEG techniques. The GSN’s high-impedance electrodes do not call for scalp abrasion, thus increasing patient comfort and decreasing infection risk. …

700

Joseph, Branden W. Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (A “Minor” History). New York: ZONE Books, 2008. 288. © ZONE Books 2012.

Image: Tony Conrad: Exposure Timing Sheet for The Flicker, 1966. Photo: Robert Adler. Courtesy of the artist and Greene Naftali, New York.

Sleep (1963), Eat (1964), Couch (1964), Kitchen (1965), Prison (1965), Restaurant (1965), Camp (1965), some of the movies by Andy Warhol. *

… Conrad explained to Mekas: Effects that act on your eyes so as to produce the actual imagery directly within the observer rather than in a normal way of having the eye interpret the light patterns on the screen. … Most of the details, most of the impact, most of what people �ind in it, what they take away with them from having watched the �ilm, wasn’t there, was conjured up only when they watched this �ilm: It didn’t exist before, it doesn’t exist on �ilm, it wasn’t on the screen. The seeing with your eyes closed is a very different type of sensory experience from the visual impressions that you get with your eyes open, when your eyes are focused on an object. The only way to have such impressions is to use a device that produces them – doesn’t project them, but actually produces them in the eye. … The brain itself is directly involved in all of this; it is not coincidental that one of the principal brainwave frequencies, the so-called alpha-rhythm, lies in the 8 to 16 cycles per second range. Hence the central nervous system itself must here be considered as a kind of sensory mechanism, though its role is not explicitly understood, to my knowledge. …

680

Sleep … I looked over and there was Andy in bed next to me, his head propped up on his arm, wide-eyed awake, looking at me.

“What are you doing?” I said with a rubber tongue. “Watching you,” said Andy. I awoke again and Andy was still looking at me with Bette Davis eyes. “What are you doing?” “Watching you sleep!”

I went back to sleep, and awoke every once in a while to see if he was still doing it. I woke up again to take a piss and Andy was sitting in a chair alongside the front of the bed in the morning light. The next time I woke up, he was lying with his cheek on the pillow drowsily looking at me. It was 11.30 in the morning, boiling hot; my body was steaming with sweat, and did I have a hangover.

“Why are you looking at me?” …

John Giorno. (Reprinted with permission from Andy Warhol: A Retrospective. New York: The Museum of Modern Art, 1989) in Ed. Klaus Biesenbach. Andy Warhol: Motion Pictures. Berlin: KW Institute for Contemporary Art, 2004. 238.

Image: Andy Warhol: Sleep, 1963. 16 mm �ilm still. © 2012 The Andy Warhol Museum, Pittsburgh, PA, a museum of the Carnegie Institute. All rights reserved.

“The Exposure Timing Sheet” is a three-dimensional plastic object built to unfold the underlying patterns of the �ilm The Flicker. *

[16 mm, 30 minutes, S/W, music by Tony Conrad, USA 1965�1966] … WARNING. The producer, distributor, & exhibitors waive all liability for physical or mental injury possibly caused by the motion picture The Flicker. Since this �ilm may induce epileptic seizures or produce mild symptoms of shock treatment in certain persons, you are cautioned to remain in the theatre only at your own risk.

710

Tony Conrad, The Exposure Timing Sheet of The Flicker

Mekas, Jonas. “An Interview with Tony Conrad: On the Flickering Cinema of Pure Light (March 24, 1966).”

Movie Journal: The Rise of a New American Cinema, 1959�1971. New York: Macmillan, 1972. 229; 232.

Reprinted in: Joseph, Branden W. Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (A “Minor” History). New York: ZONE Books, 2008. 302�303. © ZONE Books 2012.

Image: Tony Conrad: The Flicker, 1966. 16 mm �ilm still. Courtesy of the artist and Greene Naftali, New York.

690

1965

Tony Conrad, The Flicker: Film The �ilm is a composition of black and white frames, a complex rhythmical structure generated from a study of neuronal processes. Conrad uses a �licker of black and white to stimulate physiological reactions directly inside the brain, bypassing the perception through the eye. The Flicker is a paragon of structural �ilm, which can do entirely without narrative images. *

Electrical Geodesics, Inc. Geodesic Sensor Net: Technical Manual, 2007. XV. Image: © 2012 Electrical Geodesics, Inc.

1963

1965

1963

Sleep “Hands have no tears to �low” is the last verse of a poem by Dylan Thomas (1914�1953), “The Hand That Signed the Paper”, from 1936. Marshall McLuhan refers to and uses parts of Thomas’ poem in his 1954 edited book Counterblast. *

… Movies and TV complete the cycle of mechanization of the human sensorium. With the omnipresent ear and the moving eye, we have abolished writing, the specialized acoustic-visual

metaphor which established the dynamics of Western civilization.

By surpassing writing, we have regained our WHOLENESS, not on a national or cultural but cosmic plane. We have evoked a super-civilized sub-primitive man.

NOBODY yet knows the language inherent in the new technological culture; we are all deaf-blind mutes in terms of the new situation. Our most impressive words and thoughts betray us by referring to the previously existent, not to the present.

We are back in acoustic space. We begin again to structure the primordial feelings and emotions from which 3000 years of literacy divorced us.

Hands have no tears to �low …

the brain. … The illustrated electrode array is adapted to be used as a vision prosthesis for a blind person. A visual image is reduced … to an electrical signal that is then provided to the electrode array. … The blind person perceives the image in his mind, thus providing a usable sense of sight. …The electrodes are intended to penetrate the cortical tissue and to position the electrode tips (34) near the neurons responsible for phosphene perception. … The electrode array … includes a base (30) to which are connected a plurality of electrodes. … Each electrode (32) is spire-shaped. … Electrodes (32) are electrically isolated from each other at base (30).

Electrodes (32) should be at least about 1000 microns in length and preferably are about 1500 microns in length, in order to penetrate outer cortical structures to stimulate the underlying normal inputs to neural structures, which generally lie about 1500 microns below the surface of the cortex. …

36 base 38 isolation regions 74 back surface 84 front surface 90 orthogonal cuts US Patent No. US5.215.088: Normann et al., The University of Utah, Jun. 1, 1993.

Image: Montage from components: US Patent No. US5.215.088: Three-dimensional Electrode Device.

With permission from Richard Normann.

740

Light Microscope Set to Pseudo-Phase Contrast: Cerebral Cortex of a Mouse … The nerve cells inside the brain form a dense, interlinked net. … Neurobiologists can measure the activity of single nerve cells in their natural environment, the cerebral cortex. To record this, they choose a tissue culture from the cerebral cortex, in which the spatial arrangement of the nerve cells is conserved; they then dye the tissue culture, using potassium dichromate and silver nitrate. The pseudo-phase contrast setting of the microscope produces a three-dimensional image of nerve cells – as they are arranged inside the cerebral cortex. …

720

McLuhan, Marshall. Counterblast. Hamburg: Gingko Press, 1954. Permission to quote Marshall McLuhan’s Counterblast (1954) is by kind permission of Gingko Press, Hamburg and Berkeley, and The Estate of Marshall and Corinne McLuhan.

Image: Andy Warhol: Sleep, 1963. Silkscreen print on plexiglass. The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York © VBK, Vienna 2012.

It is well known that messages are transmitted throughout the nervous system by means of electrical signals. Electrical signals are generated by various parts of the body, such as the sensory organs, and are transmitted to the brain. The brain in turn generates electrical signals to control muscular and other activity. Certain devices have been developed to electrically interface with neural tissue to either receive messages from or deliver messages to the neurons.

Source: US Patent No. US5.215.088: Normann et al., The University of Utah, Jun. 1, 1993.

… The … invention provides a three-dimensional electrode device … as a neuron interface … to be implanted in the cortex of

730

US Patent No. US5.215.088: Three-dimensional Electrode Device

Fig. 17, Fig. 18 Fig. 17, Fig. 18 show different stages of the production process of a threedimensional electrode device. *

Max Planck Society: Images from Science – A Travelling Exhibition. Munich, 2012 (http://www.bilder.mpg. de/bildergalerie/pic2003_06/index.html?style=, 28/05/2012).

Image: © Max Planck Institute for Neurobiology - Tobias Bonhoeffer.

1993

1993

… One starts with a block (70) … [and] the computercontrolled dicing saw is used to produce a series of orthogonal cuts in the silicon block (70). Eleven cuts are made along one axis. The block is then rotated by 90° and 11 more cuts are made orthogonal to the �irst set of cuts. … This cutting process leaves 100 silicon stubs (92), each 0.25 mm high. … Each cut is 1.5 mm deep and has a kerf of 270 microns. … If the glass melt procedure has been used, the cuts are made as shown in FIG. 8 such that the glass regions (94) isolate electrodes from each other. The dicing process to produce columns (32) is disclosed in terms of orthogonal cuts to produce pillars having square cross-sections. …

FIG. 17… [shows] a scanning electron micrograph of the array after columns (98) have been formed by the dicing process. After the

metaphor which established the dynamics of Western civilization.

By surpassing writing, we have regained our WHOLENESS, not on a national or cultural but cosmic plane. We have evoked a super-civilized sub-primitive man.

NOBODY yet knows the language inherent in the new technological culture; we are all deaf-blind mutes in terms of the new situation. Our most impressive words and thoughts betray us by referring to the previously existent, not to the present.

We are back in acoustic space. We begin again to structure the primordial feelings and emotions from which 3000 years of literacy divorced us.

Hands have no tears to �low …

the brain. … The illustrated electrode array is adapted to be used as a vision prosthesis for a blind person. A visual image is reduced … to an electrical signal that is then provided to the electrode array. … The blind person perceives the image in his mind, thus providing a usable sense of sight. …The electrodes are intended to penetrate the cortical tissue and to position the electrode tips (34) near the neurons responsible for phosphene perception. … The electrode array … includes a base (30) to which are connected a plurality of electrodes. … Each electrode (32) is spire-shaped. … Electrodes (32) are electrically isolated from each other at base (30).

Electrodes (32) should be at least about 1000 microns in length and preferably are about 1500 microns in length, in order to penetrate outer cortical structures to stimulate the underlying normal inputs to neural structures, which generally lie about 1500 microns below the surface of the cortex. …

36 base 38 isolation regions 74 back surface 84 front surface 90 orthogonal cuts US Patent No. US5.215.088: Normann et al., The University of Utah, Jun. 1, 1993.

Image: Montage from components: US Patent No. US5.215.088: Three-dimensional Electrode Device.

With permission from Richard Normann.

740

Light Microscope Set to Pseudo-Phase Contrast: Cerebral Cortex of a Mouse … The nerve cells inside the brain form a dense, interlinked net. … Neurobiologists can measure the activity of single nerve cells in their natural environment, the cerebral cortex. To record this, they choose a tissue culture from the cerebral cortex, in which the spatial arrangement of the nerve cells is conserved; they then dye the tissue culture, using potassium dichromate and silver nitrate. The pseudo-phase contrast setting of the microscope produces a three-dimensional image of nerve cells – as they are arranged inside the cerebral cortex. …

720

McLuhan, Marshall. Counterblast. Hamburg: Gingko Press, 1954. Permission to quote Marshall McLuhan’s Counterblast (1954) is by kind permission of Gingko Press, Hamburg and Berkeley, and The Estate of Marshall and Corinne McLuhan.

Image: Andy Warhol: Sleep, 1963. Silkscreen print on plexiglass. The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York © VBK, Vienna 2012.

It is well known that messages are transmitted throughout the nervous system by means of electrical signals. Electrical signals are generated by various parts of the body, such as the sensory organs, and are transmitted to the brain. The brain in turn generates electrical signals to control muscular and other activity. Certain devices have been developed to electrically interface with neural tissue to either receive messages from or deliver messages to the neurons.

Source: US Patent No. US5.215.088: Normann et al., The University of Utah, Jun. 1, 1993.

… The … invention provides a three-dimensional electrode device … as a neuron interface … to be implanted in the cortex of

730

US Patent No. US5.215.088: Three-dimensional Electrode Device

Fig. 17, Fig. 18 Fig. 17, Fig. 18 show different stages of the production process of a threedimensional electrode device. *

Max Planck Society: Images from Science – A Travelling Exhibition. Munich, 2012 (http://www.bilder.mpg. de/bildergalerie/pic2003_06/index.html?style=, 28/05/2012).

Image: © Max Planck Institute for Neurobiology - Tobias Bonhoeffer.

1993

1993

… One starts with a block (70) … [and] the computercontrolled dicing saw is used to produce a series of orthogonal cuts in the silicon block (70). Eleven cuts are made along one axis. The block is then rotated by 90° and 11 more cuts are made orthogonal to the �irst set of cuts. … This cutting process leaves 100 silicon stubs (92), each 0.25 mm high. … Each cut is 1.5 mm deep and has a kerf of 270 microns. … If the glass melt procedure has been used, the cuts are made as shown in FIG. 8 such that the glass regions (94) isolate electrodes from each other. The dicing process to produce columns (32) is disclosed in terms of orthogonal cuts to produce pillars having square cross-sections. …

FIG. 17… [shows] a scanning electron micrograph of the array after columns (98) have been formed by the dicing process. After the

columns (98) which form the basis for electrodes (32) have been formed, these columns (98) must be etched to produce pyramid or spire-shaped electrodes (32) as shown in FIG. 1. …

from the actual world and one’s own body. Very similar are the sensations generated in the brain during an epileptic �it without any actual external stimulus. In this case, the stimuli originate in an abnormal part of the pallium and spread into areas responsible for sensations. The patient then experiences visual or acoustic sensations, so-called auras, before the actual epileptic �it. The latter starts as soon as brain regions for motor function also become affected. The aura at the beginning of an epileptic �it appears mysterious, yet it is easy to explain. Normally, sensations are perceived through sensory organs (e.g. the eye or the ear) and transmitted to the respective areas of the brain (responsible for seeing or hearing) in the form of electric impulses through specialised nerve �ibres.

During an epileptic �it or a dream, such sensations arise, without external stimuli, directly in the respective brain areas, and thus constitute a purely virtual reality. Modern brain science tries to exploit these �indings for man’s bene�it; it uses assistive technology in cases of disrupted sensory systems or unconsciousness to allow communication between the patient and his physical environment.

2012

Realities Built by the Human Brain

750

US Patent No. US5.215.088: Normann et al., The University of Utah, Jun. 1, 1993.

Image: US Patent No. US5.215.088: Three-dimensional Electrode Device. With permission from Richard Normann.

Sketch: The Matrix - no environmental impact, no external stimuli. Brain: hot, intracranial pressure, aches, itches. Sketch: illusion of pain. *

760

Jürgen Sandkühler, MD, PhD, Dept. of Neurophysiology, Brain Research Centre Vienna. Conversation from 26/04/2012. 17:00.

Image: Hand sketch by Wolfgang Tschapeller ZT GmbH.

2012

Sleeping Figure with Thermal Effect Construction shells, skeletons and barriers having been dissolved, one begins to produce atmospheric states of different densities. Air space is inhabited directly. Sleeping persons with different body temperatures sink towards the centre of gravity at different speeds. The night lets bodies of strangers collide gently, accelerate one another, throw each other off course, sink, and in the morning touch the surface of the Earth. Opened membranes, free �low of particles – sleeping positions. * Image: Sketch by Wolfgang Tschapeller ZT GmbH.

770

Jürgen Sandkühler in an interview on 26 April 2012: The perceptions of our environment and of our self are processes that happen inside our brain. The rest of the body acts as an auxiliary organ to perceive our environment and interact with it, but is basically unnecessary for our self-perception. All information received in the form of stimuli through our sensory organs and relayed via nerve tracts reaches our brain and spreads out into different areas, where it ultimately generates a sensation. The brain is where our perception, our world, manifests itself. Thus, our perceived reality and the actual physical world around us are by no means identical; they have, at most, a common intersection. But they could also be entirely divergent; it is possible to fool the brain and make it perceive a seemingly real world by interfering with the process of perception and arti�icially triggering a sensory transmission to the brain. In this way one could create a world that has nothing whatsoever to do with reality, but is entirely made up of arti�icial stimuli. The real environment, including one’s own body, would be entirely replaced by a virtual reality. Every form of reality would be produced entirely inside the brain. There would be no interaction with other people – unless also initiated externally. The science-�iction classic The Matrix visualised such a scenario in the later 90s, long before any kind of technical implementation was feasible, which, by the way, still isn’t today. The capacity to layer various levels of information and produce a coherent perception is a highly complex affair; no computer will be able to imitate or initiate it in the foreseeable future. Thus, even today, an individual living in a virtual world experimentally controlled by a higher entity is a purely theoretical concept, albeit by no means nonsensical.

What a world generated entirely by the brain might feel like can be understood from altered states, such as dreaming or reading. Here, too, the brain generates a reality that is disconnected

1910

Jakob Mohr, Beweiße Jakob Mohr was a patient at the Grand Ducal Sanatorium Wiesloch. In a drawing with written comments from around 1910, he illustrated his experiences of manipulation and persecution. A man with headphones (presumably a psychiatrist) is holding a machine that �ires electric waves at Jakob Mohr; simultaneously, his body is also deprived of waves, which is indicated by arrows in different directions. Many details of Mohr’s depiction correspond with Viktor Tausk’s essay “On the Origin of the �In�luencing Machine�in Schizophrenia,” published in 1919. In this work, the psychoanalyst examined the genesis and function of various devices and machines, which schizophrenics frequently describe as part of their world of experience. *

… The schizophrenic in�luencing machine is a machine

columns (98) which form the basis for electrodes (32) have been formed, these columns (98) must be etched to produce pyramid or spire-shaped electrodes (32) as shown in FIG. 1. …

from the actual world and one’s own body. Very similar are the sensations generated in the brain during an epileptic �it without any actual external stimulus. In this case, the stimuli originate in an abnormal part of the pallium and spread into areas responsible for sensations. The patient then experiences visual or acoustic sensations, so-called auras, before the actual epileptic �it. The latter starts as soon as brain regions for motor function also become affected. The aura at the beginning of an epileptic �it appears mysterious, yet it is easy to explain. Normally, sensations are perceived through sensory organs (e.g. the eye or the ear) and transmitted to the respective areas of the brain (responsible for seeing or hearing) in the form of electric impulses through specialised nerve �ibres.

During an epileptic �it or a dream, such sensations arise, without external stimuli, directly in the respective brain areas, and thus constitute a purely virtual reality. Modern brain science tries to exploit these �indings for man’s bene�it; it uses assistive technology in cases of disrupted sensory systems or unconsciousness to allow communication between the patient and his physical environment.

2012

Realities Built by the Human Brain

750

US Patent No. US5.215.088: Normann et al., The University of Utah, Jun. 1, 1993.

Image: US Patent No. US5.215.088: Three-dimensional Electrode Device. With permission from Richard Normann.

Sketch: The Matrix - no environmental impact, no external stimuli. Brain: hot, intracranial pressure, aches, itches. Sketch: illusion of pain. *

760

Jürgen Sandkühler, MD, PhD, Dept. of Neurophysiology, Brain Research Centre Vienna. Conversation from 26/04/2012. 17:00.

Image: Hand sketch by Wolfgang Tschapeller ZT GmbH.

2012

Sleeping Figure with Thermal Effect Construction shells, skeletons and barriers having been dissolved, one begins to produce atmospheric states of different densities. Air space is inhabited directly. Sleeping persons with different body temperatures sink towards the centre of gravity at different speeds. The night lets bodies of strangers collide gently, accelerate one another, throw each other off course, sink, and in the morning touch the surface of the Earth. Opened membranes, free �low of particles – sleeping positions. * Image: Sketch by Wolfgang Tschapeller ZT GmbH.

770

Jürgen Sandkühler in an interview on 26 April 2012: The perceptions of our environment and of our self are processes that happen inside our brain. The rest of the body acts as an auxiliary organ to perceive our environment and interact with it, but is basically unnecessary for our self-perception. All information received in the form of stimuli through our sensory organs and relayed via nerve tracts reaches our brain and spreads out into different areas, where it ultimately generates a sensation. The brain is where our perception, our world, manifests itself. Thus, our perceived reality and the actual physical world around us are by no means identical; they have, at most, a common intersection. But they could also be entirely divergent; it is possible to fool the brain and make it perceive a seemingly real world by interfering with the process of perception and arti�icially triggering a sensory transmission to the brain. In this way one could create a world that has nothing whatsoever to do with reality, but is entirely made up of arti�icial stimuli. The real environment, including one’s own body, would be entirely replaced by a virtual reality. Every form of reality would be produced entirely inside the brain. There would be no interaction with other people – unless also initiated externally. The science-�iction classic The Matrix visualised such a scenario in the later 90s, long before any kind of technical implementation was feasible, which, by the way, still isn’t today. The capacity to layer various levels of information and produce a coherent perception is a highly complex affair; no computer will be able to imitate or initiate it in the foreseeable future. Thus, even today, an individual living in a virtual world experimentally controlled by a higher entity is a purely theoretical concept, albeit by no means nonsensical.

What a world generated entirely by the brain might feel like can be understood from altered states, such as dreaming or reading. Here, too, the brain generates a reality that is disconnected

1910

Jakob Mohr, Beweiße Jakob Mohr was a patient at the Grand Ducal Sanatorium Wiesloch. In a drawing with written comments from around 1910, he illustrated his experiences of manipulation and persecution. A man with headphones (presumably a psychiatrist) is holding a machine that �ires electric waves at Jakob Mohr; simultaneously, his body is also deprived of waves, which is indicated by arrows in different directions. Many details of Mohr’s depiction correspond with Viktor Tausk’s essay “On the Origin of the �In�luencing Machine�in Schizophrenia,” published in 1919. In this work, the psychoanalyst examined the genesis and function of various devices and machines, which schizophrenics frequently describe as part of their world of experience. *

… The schizophrenic in�luencing machine is a machine

… The operation of the device is also shrouded in darkness.

The patient rarely has a clear concept of how the device is used.

Buttons are pressed, levers are moved, and cranks are turned. The connection with the patient is frequently made through invisible wires connected to the patient’s bed, and then the device can only in�luence the patient when he is lying in bed. … The device is always a machine, as far as I can remember, and a sophisticated one at that. … Its inside consists of electric batteries, probably in the shape of human inner organs. …

Tausk, V. Über die Entstehung des „Beein�lussungsapparates“ in der Schizophrenie. Internationale Zeitschrift für ärztliche Psychoanalyse 5.1 (1919).

Image: Jakob Mohr: Beweiße, c. 1910. Pencil and quill in ink on brief paper. (33.0 x 21.0 cm) Prinzhorn Collection, Heidelberg University Hospital.

780

of a mysterious nature. Patients can describe its construction only in outlines. It consists of a box, cranks, levers, wheels, buttons, wires, batteries, and the like. Educated patients endeavour to use their technical knowledge to gauge the device’s composition. It becomes apparent that with the increasing popularity of technical science, more and more natural powers serving technology are being drawn on to explain the function of this device. Yet all human inventions fall short of explaining the strange capacities of this machine, which perceivably persecutes the patients. The main effects produced by the in�luencing machine are: 1. It fools the patients with fake images. In this case, it generally looks like a laterna magica or a cinematograph. The images appear on a surface, on the walls or windowpanes. They are not three-dimensional, like typical visual hallucinations.

2. It produces and removes thoughts and feelings. This happens either through waves or radiation or secret powers, which the patient cannot explain with his knowledge of physics. In such cases, the device is often also called “suggestion apparatus”.

Its construction cannot be explained, but its function is for the persecutor(s) to transfer or drain off patients’ thoughts and feelings.

3. It produces physical body functions, erections, and seminal discharges. The latter usually serve to deprive the patient of his potency, to weaken him. This, too, happens either through suggestion or currents of air, electricity, magnetism, or X-rays.

4. It produces sensations, some of which the patients cannot describe because they are completely alien to them. They are sometimes perceived as electrical, magnetic or air currents.

2005

US Patent No. US2005/0267597 A1: Neural Interface System with Embedded ID The history of methods to identify individuals ranges from drawings, visual descriptions, analytic photography, lists of physical characteristics, prints left behind by the papillary lines of �ingertips, to implanted RFID (Radio Frequency Identi�ication) chips, which can secretly read, follow and identify an individual. *

… When sophisticated neural interface systems are commercially available for prescription by an appropriate clinician, it will become very important for these devices to include numerous safety features required in the hospital and home health care settings. … There is therefore a need for an improved neural interface system … which may con�irm safe and effective performance of the system. … [Consequently a] ... unique electronic identi�ier, such as a unique alphanumeric code or serial number … is included … between any discrete component and a separate device outside the system. … This safety feature may be important, especially, as it relates to critical patient care devices. …

For example, if a … patient were accidentally attached to a discrete component of a different or otherwise incompatible system, undesired and potentially hazardous effects could occur. … [Such a safety feature could be embedded in and between all discrete components of the following setting:] … a neural interface system (100) is shown comprising of implanted components and components external to the body of a patient (500).

A sensor for detecting multi-cellular signals [see e.g.: Electrode Arrays and Related Methods in Patent Application Pub. No.: 2007/0106143 A1, Pub. Date: May 10, 2007. (300, 380)] … may be implanted in the brain of patient (500) in an area such as the motor cortex. … Processing unit �irst portion (130a) is electrically attached to processing unit second portion (130b) via intraprocessing unit cable (140). [Alternatively] … intra-processing unit cable (140) is replaced with a wireless connection. … A quali�ied individual, operator (110), performs a calibration of system (100) … preferably soon after implantation of the sensor. … operator (110) utilizes con�iguration apparatus (115) which includes two monitors, �irst con�iguration monitor (120a) and second con�iguration monitor (120b), along with con�iguration keyboard (116) to perform the calibration routine … (to properly control controlled device (300)) … and other con�iguration tasks such as

… The operation of the device is also shrouded in darkness.

The patient rarely has a clear concept of how the device is used.

Buttons are pressed, levers are moved, and cranks are turned. The connection with the patient is frequently made through invisible wires connected to the patient’s bed, and then the device can only in�luence the patient when he is lying in bed. … The device is always a machine, as far as I can remember, and a sophisticated one at that. … Its inside consists of electric batteries, probably in the shape of human inner organs. …

Tausk, V. Über die Entstehung des „Beein�lussungsapparates“ in der Schizophrenie. Internationale Zeitschrift für ärztliche Psychoanalyse 5.1 (1919).

Image: Jakob Mohr: Beweiße, c. 1910. Pencil and quill in ink on brief paper. (33.0 x 21.0 cm) Prinzhorn Collection, Heidelberg University Hospital.

780

of a mysterious nature. Patients can describe its construction only in outlines. It consists of a box, cranks, levers, wheels, buttons, wires, batteries, and the like. Educated patients endeavour to use their technical knowledge to gauge the device’s composition. It becomes apparent that with the increasing popularity of technical science, more and more natural powers serving technology are being drawn on to explain the function of this device. Yet all human inventions fall short of explaining the strange capacities of this machine, which perceivably persecutes the patients. The main effects produced by the in�luencing machine are: 1. It fools the patients with fake images. In this case, it generally looks like a laterna magica or a cinematograph. The images appear on a surface, on the walls or windowpanes. They are not three-dimensional, like typical visual hallucinations.

2. It produces and removes thoughts and feelings. This happens either through waves or radiation or secret powers, which the patient cannot explain with his knowledge of physics. In such cases, the device is often also called “suggestion apparatus”.

Its construction cannot be explained, but its function is for the persecutor(s) to transfer or drain off patients’ thoughts and feelings.

3. It produces physical body functions, erections, and seminal discharges. The latter usually serve to deprive the patient of his potency, to weaken him. This, too, happens either through suggestion or currents of air, electricity, magnetism, or X-rays.

4. It produces sensations, some of which the patients cannot describe because they are completely alien to them. They are sometimes perceived as electrical, magnetic or air currents.

2005

US Patent No. US2005/0267597 A1: Neural Interface System with Embedded ID The history of methods to identify individuals ranges from drawings, visual descriptions, analytic photography, lists of physical characteristics, prints left behind by the papillary lines of �ingertips, to implanted RFID (Radio Frequency Identi�ication) chips, which can secretly read, follow and identify an individual. *

… When sophisticated neural interface systems are commercially available for prescription by an appropriate clinician, it will become very important for these devices to include numerous safety features required in the hospital and home health care settings. … There is therefore a need for an improved neural interface system … which may con�irm safe and effective performance of the system. … [Consequently a] ... unique electronic identi�ier, such as a unique alphanumeric code or serial number … is included … between any discrete component and a separate device outside the system. … This safety feature may be important, especially, as it relates to critical patient care devices. …

For example, if a … patient were accidentally attached to a discrete component of a different or otherwise incompatible system, undesired and potentially hazardous effects could occur. … [Such a safety feature could be embedded in and between all discrete components of the following setting:] … a neural interface system (100) is shown comprising of implanted components and components external to the body of a patient (500).

A sensor for detecting multi-cellular signals [see e.g.: Electrode Arrays and Related Methods in Patent Application Pub. No.: 2007/0106143 A1, Pub. Date: May 10, 2007. (300, 380)] … may be implanted in the brain of patient (500) in an area such as the motor cortex. … Processing unit �irst portion (130a) is electrically attached to processing unit second portion (130b) via intraprocessing unit cable (140). [Alternatively] … intra-processing unit cable (140) is replaced with a wireless connection. … A quali�ied individual, operator (110), performs a calibration of system (100) … preferably soon after implantation of the sensor. … operator (110) utilizes con�iguration apparatus (115) which includes two monitors, �irst con�iguration monitor (120a) and second con�iguration monitor (120b), along with con�iguration keyboard (116) to perform the calibration routine … (to properly control controlled device (300)) … and other con�iguration tasks such as

patient training, algorithm and algorithm parameter selection, and output device setup. …

colors for which Carpaccio was justly famous. That fall one of the habitués of Harry’s Bar, the ravishing contessa Amalia Nani Mocenigo – one of my father’s favourites – came in for lunch. She beckoned him to her table and informed him with tears in her eyes that her doctor had just warned her that she must go on a strict diet. For the next several weeks she could not eat any cooked meat. … Fifteen minutes later … he reappeared … carrying a beautiful fanlike display of paper-thin sheets of raw �ilet mignon. ... “And what is that?” she asked. “A beef carpaccio,” my father answered.

1963

Eat – Robert Indiana and Cat

790

US Patent No.US2005/0267597 A1: J. Christopher Flaherty et al., Tops�ield, MA, Dec. 1, 2005.

Image: US Patent No.US2005/0267597 A1: Neural Interface System with Embedded ID. With permission from J. Christopher Flaherty.

Arrigo Cipriani: Harry’s Bar: The Life and Times of the Legendary Venice Landmark. New York: Arcade Publishing, 2011. Chapter 7. © Skyhorse Publishing Inc. New York, 2012.

Image: Marco Ferreri: La Grande Bouffe, 1973. 35 mm �ilm still. © Roissy Films, Paris.

We see the cut of a scene from Eat, in which Robert Indiana is sitting in a rocking chair, holding a cat and chewing on a mushroom. *

820

[Andy Warhol: Eat. 16 mm, 45 minutes, B/W, silent, 16 fps, November 1963] … Eat shows artist Robert Indiana slowly eating one mushroom. Time �igures strongly in this work; simple action is repeated and slowed down by loop printing, frozen frames, and a retarded projection speed. Sequences are assembled out of order, so that Indiana never �inishes his snack. …

800

Ray Eames Preparing the Picnic Set for the Filming of the First Version of Powers of Ten

[Arrigo Cipriani, the son of the owner of Harry’s Bar, reports:] … In 1950 Venice was bedecked with red and white banners: a major retrospective of the work of Vittore Carpaccio, the Renaissance painter, was being offered at the Doge’s Palace. The banners were in homage to the luminous red and white

Hardware of the Human Brain Project

Source: http://www.humanbrainproject.eu/introduction.html (01/05/2012).

810

Ballard, J.G. The Voices of Time. London: Indigo, 1963. 39. © Indigo, London.

Image: Charles and Ray Eames: Rough Sketch, 1968. Ray Eames preparing picnic. © 2012 Eames O�ice, LLC.

Eat, Andréa Ferréol in The Big Feast

2003 The Human Brain Project … led by Henry Markram of the Ecole Polytechnique Fédérale de Lausanne … has developed a prototype facility with the tools, know-how and supercomputing technology necessary to build brain models … As a proof of concept, the project has successfully built … [the] detailed model of the neocortical column, one of the brain’s basic building blocks.

[She knew that] … Above him he [Powers] could hear the stars, a million cosmic voices that crowded the sky from one horizon to the next, a true canopy of time. … He saw the dim red disc of Sirius, heard its ancient voice, untold millions of years old, dwarfed by the huge spiral nebulae in Andromeda, a gigantic carousel of vanished universes, their voices almost as old as the cosmos itself. To Powers the sky seemed an endless Babel, the timesong of a thousand galaxies overlaying each other in his mind. …

1973

Spiegel Online: Gehirn in 3D: Brodmann-Areale waren gestern. Published online on Feb. 15, 2010 at http://www.spiegel.de/fotostrecke/fotostrecke-51347�8.htm. SPIEGEL ONLINE is not responsible for the translation.

Image: © Research Centre Jülich.

830

One of the books on the blanket is The Voices of Time (1966) by J. T. Fraser.

Topics are elaborated, such as “Ideas of Time in the History of Philosophy,” “Time as Succession and the Problem of Duration,” “Time in Christian, Indian, Japanese and Chinese Thought,” “Time in Language and Literature, Rhythm and Music,” “A Note on Rhythm and Time,” “A Note on PsychoPhysical Isomorphism,” “A Note on Synchronicity,” “Comments on Time and the Uncanny. “ *

Razor-Thin Slices … Razor-thin slices: Before scientists can examine the brain – with its two hemispheres – under the microscope, they soak it in formaldehyde. … and cut it into razor-thin slices. Thousands of slices are then examined with a special light microscope, which automatically scans them one after the other. A computer programme helps to virtually organise the single steps in sequence and thus create a complete map of the cerebral cortex. …

Biesenbach, Klaus, ed. Andy Warhol: Motion Pictures. Berlin: KW Institute for Contemporary Art, 2004. 246.

Image: Andy Warhol: Eat, 1963. 16 mm �ilm. From the collection of the Austrian Film Museum. © 2012 The Andy Warhol Museum, Pittsburgh, PA, a museum of the Carnegie Institute. All rights reserved.

1968

2010

… The fundamental characteristic of brains is their design as self-active, highly dynamic systems. In their organisation, which in itself is genetically determined, is stored an unbelievable amount of knowledge about the world. The programme that controls brain function is contained in the network of interconnected nerve cells. These networks have developed in a process over billions of years; they have been optimized, respectively, re-designed through trial and error. The result is a system which differs fundamentally from a computer system; not only in its structure, but also in the way it processes data. For example, neuronal systems don’t store contents in addressable registers like computers. They use so-called distributed associative memories, which make contents retrievable along criteria of similarity, even

patient training, algorithm and algorithm parameter selection, and output device setup. …

colors for which Carpaccio was justly famous. That fall one of the habitués of Harry’s Bar, the ravishing contessa Amalia Nani Mocenigo – one of my father’s favourites – came in for lunch. She beckoned him to her table and informed him with tears in her eyes that her doctor had just warned her that she must go on a strict diet. For the next several weeks she could not eat any cooked meat. … Fifteen minutes later … he reappeared … carrying a beautiful fanlike display of paper-thin sheets of raw �ilet mignon. ... “And what is that?” she asked. “A beef carpaccio,” my father answered.

1963

Eat – Robert Indiana and Cat

790

US Patent No.US2005/0267597 A1: J. Christopher Flaherty et al., Tops�ield, MA, Dec. 1, 2005.

Image: US Patent No.US2005/0267597 A1: Neural Interface System with Embedded ID. With permission from J. Christopher Flaherty.

Arrigo Cipriani: Harry’s Bar: The Life and Times of the Legendary Venice Landmark. New York: Arcade Publishing, 2011. Chapter 7. © Skyhorse Publishing Inc. New York, 2012.

Image: Marco Ferreri: La Grande Bouffe, 1973. 35 mm �ilm still. © Roissy Films, Paris.

We see the cut of a scene from Eat, in which Robert Indiana is sitting in a rocking chair, holding a cat and chewing on a mushroom. *

820

[Andy Warhol: Eat. 16 mm, 45 minutes, B/W, silent, 16 fps, November 1963] … Eat shows artist Robert Indiana slowly eating one mushroom. Time �igures strongly in this work; simple action is repeated and slowed down by loop printing, frozen frames, and a retarded projection speed. Sequences are assembled out of order, so that Indiana never �inishes his snack. …

800

Ray Eames Preparing the Picnic Set for the Filming of the First Version of Powers of Ten

[Arrigo Cipriani, the son of the owner of Harry’s Bar, reports:] … In 1950 Venice was bedecked with red and white banners: a major retrospective of the work of Vittore Carpaccio, the Renaissance painter, was being offered at the Doge’s Palace. The banners were in homage to the luminous red and white

Hardware of the Human Brain Project

Source: http://www.humanbrainproject.eu/introduction.html (01/05/2012).

810

Ballard, J.G. The Voices of Time. London: Indigo, 1963. 39. © Indigo, London.

Image: Charles and Ray Eames: Rough Sketch, 1968. Ray Eames preparing picnic. © 2012 Eames O�ice, LLC.

Eat, Andréa Ferréol in The Big Feast

2003 The Human Brain Project … led by Henry Markram of the Ecole Polytechnique Fédérale de Lausanne … has developed a prototype facility with the tools, know-how and supercomputing technology necessary to build brain models … As a proof of concept, the project has successfully built … [the] detailed model of the neocortical column, one of the brain’s basic building blocks.

[She knew that] … Above him he [Powers] could hear the stars, a million cosmic voices that crowded the sky from one horizon to the next, a true canopy of time. … He saw the dim red disc of Sirius, heard its ancient voice, untold millions of years old, dwarfed by the huge spiral nebulae in Andromeda, a gigantic carousel of vanished universes, their voices almost as old as the cosmos itself. To Powers the sky seemed an endless Babel, the timesong of a thousand galaxies overlaying each other in his mind. …

1973

Spiegel Online: Gehirn in 3D: Brodmann-Areale waren gestern. Published online on Feb. 15, 2010 at http://www.spiegel.de/fotostrecke/fotostrecke-51347�8.htm. SPIEGEL ONLINE is not responsible for the translation.

Image: © Research Centre Jülich.

830

One of the books on the blanket is The Voices of Time (1966) by J. T. Fraser.

Topics are elaborated, such as “Ideas of Time in the History of Philosophy,” “Time as Succession and the Problem of Duration,” “Time in Christian, Indian, Japanese and Chinese Thought,” “Time in Language and Literature, Rhythm and Music,” “A Note on Rhythm and Time,” “A Note on PsychoPhysical Isomorphism,” “A Note on Synchronicity,” “Comments on Time and the Uncanny. “ *

Razor-Thin Slices … Razor-thin slices: Before scientists can examine the brain – with its two hemispheres – under the microscope, they soak it in formaldehyde. … and cut it into razor-thin slices. Thousands of slices are then examined with a special light microscope, which automatically scans them one after the other. A computer programme helps to virtually organise the single steps in sequence and thus create a complete map of the cerebral cortex. …

Biesenbach, Klaus, ed. Andy Warhol: Motion Pictures. Berlin: KW Institute for Contemporary Art, 2004. 246.

Image: Andy Warhol: Eat, 1963. 16 mm �ilm. From the collection of the Austrian Film Museum. © 2012 The Andy Warhol Museum, Pittsburgh, PA, a museum of the Carnegie Institute. All rights reserved.

1968

2010

… The fundamental characteristic of brains is their design as self-active, highly dynamic systems. In their organisation, which in itself is genetically determined, is stored an unbelievable amount of knowledge about the world. The programme that controls brain function is contained in the network of interconnected nerve cells. These networks have developed in a process over billions of years; they have been optimized, respectively, re-designed through trial and error. The result is a system which differs fundamentally from a computer system; not only in its structure, but also in the way it processes data. For example, neuronal systems don’t store contents in addressable registers like computers. They use so-called distributed associative memories, which make contents retrievable along criteria of similarity, even

cerebral cortex) is divided into 6 layers] pyramidal cell [nerve cell in the cerebral cortex] injected with Lucifer Yellow [�luorescent yellow dye] and processed with DAB [diaminobenzidine] in human ... temporal cortex. …

if they have been supplied with rather incomplete information.

Even if one had access to a complete connection diagram of those networks, it would probably be impossible to reconstruct even simple brains because their activities would exhibit dynamics that are extremely non-linear and thus di�icult to stabilise. Such systems have the annoying tendency to either reach hypercritical levels, where they become epileptic, or to crash and go silent. To keep them within the right operating range is extremely di�icult, since their dynamic cannot be analytically controlled. At best, technology could go the same route as nature, i.e., let a system develop itself. …

860

DeFelipe, Javier. “The evolution of the brain, the human nature of cortical circuits, and intellectual creativity.” Frontiers in Neuroanatomy, 16 May 2011: 13.

Image: Fig. 14 from Javier DeFelipe: “The evolution of the brain, the human nature of cortical circuits, and intellectual creativity.” Frontiers in Neuroanatomy, 16 May 2011. © Javier DeFelipe.

Wir brauchen den neuronalen Code: Müssen die Ingenieure vor der Komplexität des Gehirns kapitulieren? / A Conversation with Wolf Singer. Frankfurter Allgemeine Zeitung 24 August 2000: 51.

With friendly permission from Wolf Singer.

Image: © Research Centre Jülich.

Herbert Achternbusch, Der Komantsche

870

Herbert Achternbusch: Der Komantsche. 35 mm, 84 minutes. February 1979: We see the anteroom of an intensive care unit with a large TV set in it. A herd of African elephants walks through the frame, trumpeting loudly. If I remember correctly, the staff nurse explains that this represents the dreams of the comatose Comanche in the depth of the intensive care unit. Thus the TV set visualises (turns into images of) the Comanche’s dreams. *

... we recorded BOLD signals in occipitotemporal visual cortex of human subjects who watched natural movies and �it the model separately to individual voxels. Visualization of the �it models reveals how early visual areas represent the information in movies. These results demonstrate that dynamic brain activity measured under naturalistic conditions can be decoded using current fMRI technology. … Neuroscientists generally assume that all mental processes have a concrete neurobiological basis. Under this assumption, as long as we have good measurements of brain activity and good computational models of the brain, it should be possible in principle to decode the visual content of mental processes like dreams, memory, and imagery. …

2002

Pyramidal Cell in the Human Temporal Cortex … Low power photomicrographs [photograph through a microscope] of layer III [classically, the neo-cortex (part of the

850

Nishimoto, Shinji, An T. Vu, Thomas Naselaris, Yuval Benjamini, Bin Yu & Jack L. Gallant. “Reconstructing Visual Experiences from Brain Activity Evoked by Natural Movies.” Current Biology 21.19 (2011): 1641�46.

Published online September 22, 2011.

Image: Herbert Achternbusch, Der Komantsche, 1979. Film still, �ilmed from a silver screen. Film Museum Munich. With permission from the artist.

Marie Lieb, Untitled In a photograph taken in a psychiatric clinic in Heidelberg in 1894, we see a wooden �loor with strips of material torn out of sheets laid out in patterns and symbols. “Marie Lieb, Period. Mania Cell Floor.” is the title of the document.

A patient has turned around the institution’s restrictive conditions of time and space and used improvised means to make them into a sounding board for the cartography of her inner world. * Image: Marie Lieb: Ohne Titel (Zelle der Marie Lieb) 1894. Photograph mounted on cardboard. Floor decorated with torn strips of linen. (11.0 x 16.0 cm) Prinzhorn Collection, Heidelberg University Hospital.

840

1979

1894

“The Mutant Body of Architecture” “It Is the Head After All” “We Don’t Need a New Architectural Style ... We Need a New Lifestyle.”

“The Building of Bodies“ *

Alex Schweder La in an interview on 20 April 2012: The history of architecture is �illed with examples of buildings whose architects designed them to make their occupants feel as though they have just walked into a perfect version of their own bodies.

Vitruvius, DaVinci, Le Corbusier all designed the imagery of their buildings around a body that was young, permanent, and male.

This history, where architecture becomes a kind of surrogate onto which we project our fantasies, allows me to work within a context where a connection between bodies and buildings is already made. This is work I don’t have to do. But what is missing from this conversation are explorations of the bodies that are lived, imperfect bodies, bodies that are �leshy, temporary, �lawed, that give us a way of making meaning of the world. We are sensual creatures. Through our bodies the whole world comes in. Through these sensations we make meaning and form ideas about the way we think the world is. Then we externalize these ideas through the environments we design. So there is a kind of �low between our bodies and the built environment. The world we live in is not so much separated from our �lesh and our subjectivity – the way we imagine the world, the way we imagine ourselves – but it is linked, a �luid relationship.

cerebral cortex) is divided into 6 layers] pyramidal cell [nerve cell in the cerebral cortex] injected with Lucifer Yellow [�luorescent yellow dye] and processed with DAB [diaminobenzidine] in human ... temporal cortex. …

if they have been supplied with rather incomplete information.

Even if one had access to a complete connection diagram of those networks, it would probably be impossible to reconstruct even simple brains because their activities would exhibit dynamics that are extremely non-linear and thus di�icult to stabilise. Such systems have the annoying tendency to either reach hypercritical levels, where they become epileptic, or to crash and go silent. To keep them within the right operating range is extremely di�icult, since their dynamic cannot be analytically controlled. At best, technology could go the same route as nature, i.e., let a system develop itself. …

860

DeFelipe, Javier. “The evolution of the brain, the human nature of cortical circuits, and intellectual creativity.” Frontiers in Neuroanatomy, 16 May 2011: 13.

Image: Fig. 14 from Javier DeFelipe: “The evolution of the brain, the human nature of cortical circuits, and intellectual creativity.” Frontiers in Neuroanatomy, 16 May 2011. © Javier DeFelipe.

Wir brauchen den neuronalen Code: Müssen die Ingenieure vor der Komplexität des Gehirns kapitulieren? / A Conversation with Wolf Singer. Frankfurter Allgemeine Zeitung 24 August 2000: 51.

With friendly permission from Wolf Singer.

Image: © Research Centre Jülich.

Herbert Achternbusch, Der Komantsche

870

Herbert Achternbusch: Der Komantsche. 35 mm, 84 minutes. February 1979: We see the anteroom of an intensive care unit with a large TV set in it. A herd of African elephants walks through the frame, trumpeting loudly. If I remember correctly, the staff nurse explains that this represents the dreams of the comatose Comanche in the depth of the intensive care unit. Thus the TV set visualises (turns into images of) the Comanche’s dreams. *

... we recorded BOLD signals in occipitotemporal visual cortex of human subjects who watched natural movies and �it the model separately to individual voxels. Visualization of the �it models reveals how early visual areas represent the information in movies. These results demonstrate that dynamic brain activity measured under naturalistic conditions can be decoded using current fMRI technology. … Neuroscientists generally assume that all mental processes have a concrete neurobiological basis. Under this assumption, as long as we have good measurements of brain activity and good computational models of the brain, it should be possible in principle to decode the visual content of mental processes like dreams, memory, and imagery. …

2002

Pyramidal Cell in the Human Temporal Cortex … Low power photomicrographs [photograph through a microscope] of layer III [classically, the neo-cortex (part of the

850

Nishimoto, Shinji, An T. Vu, Thomas Naselaris, Yuval Benjamini, Bin Yu & Jack L. Gallant. “Reconstructing Visual Experiences from Brain Activity Evoked by Natural Movies.” Current Biology 21.19 (2011): 1641�46.

Published online September 22, 2011.

Image: Herbert Achternbusch, Der Komantsche, 1979. Film still, �ilmed from a silver screen. Film Museum Munich. With permission from the artist.

Marie Lieb, Untitled In a photograph taken in a psychiatric clinic in Heidelberg in 1894, we see a wooden �loor with strips of material torn out of sheets laid out in patterns and symbols. “Marie Lieb, Period. Mania Cell Floor.” is the title of the document.

A patient has turned around the institution’s restrictive conditions of time and space and used improvised means to make them into a sounding board for the cartography of her inner world. * Image: Marie Lieb: Ohne Titel (Zelle der Marie Lieb) 1894. Photograph mounted on cardboard. Floor decorated with torn strips of linen. (11.0 x 16.0 cm) Prinzhorn Collection, Heidelberg University Hospital.

840

1979

1894

“The Mutant Body of Architecture” “It Is the Head After All” “We Don’t Need a New Architectural Style ... We Need a New Lifestyle.”

“The Building of Bodies“ *

Alex Schweder La in an interview on 20 April 2012: The history of architecture is �illed with examples of buildings whose architects designed them to make their occupants feel as though they have just walked into a perfect version of their own bodies.

Vitruvius, DaVinci, Le Corbusier all designed the imagery of their buildings around a body that was young, permanent, and male.

This history, where architecture becomes a kind of surrogate onto which we project our fantasies, allows me to work within a context where a connection between bodies and buildings is already made. This is work I don’t have to do. But what is missing from this conversation are explorations of the bodies that are lived, imperfect bodies, bodies that are �leshy, temporary, �lawed, that give us a way of making meaning of the world. We are sensual creatures. Through our bodies the whole world comes in. Through these sensations we make meaning and form ideas about the way we think the world is. Then we externalize these ideas through the environments we design. So there is a kind of �low between our bodies and the built environment. The world we live in is not so much separated from our �lesh and our subjectivity – the way we imagine the world, the way we imagine ourselves – but it is linked, a �luid relationship.

positions with small volumes, e.g., from 0.5 to 500 microLiters, or 5 to 100 microLiters, or from 10 to 75 microLiters per droplet. … any type of cell may be printed using the methods herein, including, but not limited to, mammalian cells (including mouse, rat, dog, cat, monkey and human cells), including somatic cells, stem cells, progenitor cells and differentiated cells, without limitation. … … An aspect of the present invention is a method of treating a wound (e.g., burns, abrasions, lacerations, incisions, pressure sores, puncture wounds, penetration wounds, gunshot wounds, crushing injuries, etc.) in a subject in need thereof, in which cells and/or compositions are applied thereto in an amount to treat the wound. … … The delivery system (5) may be positioned over a subject lying on a table (30) having a bed (35). … The printer support (10) … is operatively connected to members (23, 22, 21) con�igured to allow the printer support (10) to be moveable about the Z axis (member (23)), the X axis (member (22)), and the Y axis (member (21)). … In some embodiments the printer support (10) includes an optical sensor. … [The optical sensor produces a map of the �ield of operation.] … [This] map may be updated by scanning at any time, and/or in real time during delivery of cells and/or compositions. …

20 frame 24 wheels

“Building of Bodies” is a kind of poetic term, because it is quite open. It can mean a number of things: a building literally made from bodies, the way we construct our bodies physically – designing a physique – the buildings are of the body, belonging to the body, with no separation. I am not working against the history of imagining a perfect self; the work that I am doing rather challenges people to think about the bodies they have, rather than the bodies they would like to have. That’s an incredibly rich territory, people can become so speci�ic, and their desires can become so weird. What people want is often bodily, messy.

Taking the mess and working with it aesthetically, that is where I am interested in going with architecture. Right now, I am interested in behaviour, a kind of awareness that there is a connection between “behaviour and bricks”. That we arrange bricks in order to script the way we behave and we behave a certain way because of the way bricks are organized. What if we were to think of buildings in bodily terms and took cues for behaviour from a building �illed with �luid, fat, temporarily shifting desires. I am interested in blurring the boundary between a subject and an object. How a body in�luences the way we make meaning. The buildings we make are already extensions of our bodies. I am not so much thinking about function, but rather about behaviours, psychology, the subject. Constructed through our sensate bodies, experience of the world. And the experience is mediated through bodies that are imperfect, that are �lawed, that change, that have different meanings in different contexts – there is no core stability – it is a decentralized experience. Intimacy between a body and a building, it produces an emotional space, space that is based on desires. It depends on a sensate thing. How do we see our bodies in the environment we make is a question for me.

890

International Patent No. WO2011/085225 A1: Yoo, J. James et al., Wake Forest University Health Sciences, Jul. 14, 2011.

Image: Montage of components of International Patent No. WO2011/085225 A1: Delivery System.

With permission from J. James Yoo.

2011

International Patent No. WO2011/085225 A1: Printing of Life Tissue onto Living Organisms … The … invention includes the printing of tissues by the appropriate combination of cell and support material. … “Printing” as used herein refers to the delivery of droplets of cells and/or com-

880

Alex Schweder La. Academy of Fine Arts Vienna. Conversation from 20/04/2012. 16:00.

Image: Montage from Georges Teyssot: “The Mutant Body of Architecture.” Elizabeth Diller and Ricardo Sco�idio. Flesh¹: Architectural Probes. New York: Princeton Architectural Press, 1994, pp. 8�35.

Walter Pichler: Es ist doch der Kopf. Salzburg: Jung und Jung, 2007, p. 5.

Alex Schweder La: The Building of Bodies. Project at the Academy of Fine Arts Vienna, Spring 2012.

Bernard Rudofsky: Sparta/Sybaris. Keine neue Bauweise – eine neue Lebensweise tut not. Vienna: Austrian Museum of Applied Arts, 1987.

2004

Video Ergo Sum … Patient was sitting when he suddenly hears his wife saying quite loudly: “Are you alright?” He had di�iculty answering and felt slowly elevated with the chair into the air (to ~ 3m high; Fig. 3) (A) He then experienced being “doubled” and saw “a second own body” that came “out of the elevated body” sitting in the chair (B). This second body was seen from behind with all body parts in the sitting position (from his elevated physical visuospatial perspective). It continued to �loat and ascend without any body movements. This experience was associated with feelings of lightness and �loating. In rapid alteration, he heard and saw his wife from above (C) and from immediately in front of him (as if still sitting in his chair on the ground). The experience was described

positions with small volumes, e.g., from 0.5 to 500 microLiters, or 5 to 100 microLiters, or from 10 to 75 microLiters per droplet. … any type of cell may be printed using the methods herein, including, but not limited to, mammalian cells (including mouse, rat, dog, cat, monkey and human cells), including somatic cells, stem cells, progenitor cells and differentiated cells, without limitation. … … An aspect of the present invention is a method of treating a wound (e.g., burns, abrasions, lacerations, incisions, pressure sores, puncture wounds, penetration wounds, gunshot wounds, crushing injuries, etc.) in a subject in need thereof, in which cells and/or compositions are applied thereto in an amount to treat the wound. … … The delivery system (5) may be positioned over a subject lying on a table (30) having a bed (35). … The printer support (10) … is operatively connected to members (23, 22, 21) con�igured to allow the printer support (10) to be moveable about the Z axis (member (23)), the X axis (member (22)), and the Y axis (member (21)). … In some embodiments the printer support (10) includes an optical sensor. … [The optical sensor produces a map of the �ield of operation.] … [This] map may be updated by scanning at any time, and/or in real time during delivery of cells and/or compositions. …

20 frame 24 wheels

“Building of Bodies” is a kind of poetic term, because it is quite open. It can mean a number of things: a building literally made from bodies, the way we construct our bodies physically – designing a physique – the buildings are of the body, belonging to the body, with no separation. I am not working against the history of imagining a perfect self; the work that I am doing rather challenges people to think about the bodies they have, rather than the bodies they would like to have. That’s an incredibly rich territory, people can become so speci�ic, and their desires can become so weird. What people want is often bodily, messy.

Taking the mess and working with it aesthetically, that is where I am interested in going with architecture. Right now, I am interested in behaviour, a kind of awareness that there is a connection between “behaviour and bricks”. That we arrange bricks in order to script the way we behave and we behave a certain way because of the way bricks are organized. What if we were to think of buildings in bodily terms and took cues for behaviour from a building �illed with �luid, fat, temporarily shifting desires. I am interested in blurring the boundary between a subject and an object. How a body in�luences the way we make meaning. The buildings we make are already extensions of our bodies. I am not so much thinking about function, but rather about behaviours, psychology, the subject. Constructed through our sensate bodies, experience of the world. And the experience is mediated through bodies that are imperfect, that are �lawed, that change, that have different meanings in different contexts – there is no core stability – it is a decentralized experience. Intimacy between a body and a building, it produces an emotional space, space that is based on desires. It depends on a sensate thing. How do we see our bodies in the environment we make is a question for me.

890

International Patent No. WO2011/085225 A1: Yoo, J. James et al., Wake Forest University Health Sciences, Jul. 14, 2011.

Image: Montage of components of International Patent No. WO2011/085225 A1: Delivery System.

With permission from J. James Yoo.

2011

International Patent No. WO2011/085225 A1: Printing of Life Tissue onto Living Organisms … The … invention includes the printing of tissues by the appropriate combination of cell and support material. … “Printing” as used herein refers to the delivery of droplets of cells and/or com-

880

Alex Schweder La. Academy of Fine Arts Vienna. Conversation from 20/04/2012. 16:00.

Image: Montage from Georges Teyssot: “The Mutant Body of Architecture.” Elizabeth Diller and Ricardo Sco�idio. Flesh¹: Architectural Probes. New York: Princeton Architectural Press, 1994, pp. 8�35.

Walter Pichler: Es ist doch der Kopf. Salzburg: Jung und Jung, 2007, p. 5.

Alex Schweder La: The Building of Bodies. Project at the Academy of Fine Arts Vienna, Spring 2012.

Bernard Rudofsky: Sparta/Sybaris. Keine neue Bauweise – eine neue Lebensweise tut not. Vienna: Austrian Museum of Applied Arts, 1987.

2004

Video Ergo Sum … Patient was sitting when he suddenly hears his wife saying quite loudly: “Are you alright?” He had di�iculty answering and felt slowly elevated with the chair into the air (to ~ 3m high; Fig. 3) (A) He then experienced being “doubled” and saw “a second own body” that came “out of the elevated body” sitting in the chair (B). This second body was seen from behind with all body parts in the sitting position (from his elevated physical visuospatial perspective). It continued to �loat and ascend without any body movements. This experience was associated with feelings of lightness and �loating. In rapid alteration, he heard and saw his wife from above (C) and from immediately in front of him (as if still sitting in his chair on the ground). The experience was described

– expansion and implosion, curvature in space-time – morality – order and disorder – love and hate. …

as a moment of elation and great happiness. …

US Patent No. US2011/0054583 A1: Flexible and Scalable Sensor Arrays for Recording and Modulating Physiologic Activity … the implantable cortical surface electrode array [is a system] that can be cut to speci�ic sizes and shapes and adapted “on the �ly” to adjust to speci�ic temporal and spatial recording scales in the body. [It] comprises a �lexible (… so as to better contact and conform to small changes in the brain surface…) substrate, an array of electrodes arranged on the substrate, and active electronic elements incorporated into the �lexible substrate. … The active elements selectively connect respective electrodes so as to enable the effective size, con�iguration and number of electrodes to be dynamically changed. … For example, a plurality of electrodes may be connected … to form a macroelectrode. … Some or all of the electrodes … may be … replaced by photodiodes … these light sensors … could be used to measure local blood oxygen concentration, blood �low, … other solid-state sensors … could be integrated … to measure local chemical concentrations, pH, temperature, force, magnetic �ield and more. … the �lexible substrate may be rolled up for introduction and unrolled, unfurled or otherwise expanded once inside the body. … The array of sensors also may be formed into a hollow or solid cylindrical shape to be implanted into a deep brain structure, wrapped around a nerve bundle or auditory nerve, a blood vessel, a peripheral or cranial nerve, … or in or around the heart or eye. …

2012

Interiors: Carla 1 … We all meet, and simultaneously avoid everybody else, cross paths with them and avert our gaze. Our eyes hardly meet; they brie�ly rest upon this one or that one. Bodies are watchful, fragile territories, which keep changing, boundaries are unstable, mobile, plastic and porous, a mélange originating from osmosis and sealing. Complex of the laws of physics – attraction and repulsion – chemistry – assimilation, decomposition – cosmologies

910

US Patent No. US2011/0054583 A1: Litt et al., Mar. 3, 2011.

Image: US Patent No. US2011/0054583 A1: Flexible and Scalable Sensor Arrays for Recording and Modulating Physiologic Activity. With permission from Brian Litt.

Nancy, Jean-Luc. Die Stadt in der Ferne. Jenseits der Stadt. Berlin: Brinkmann & Bose, 2011: 35. © Verlag Brinkmann & Bose Berlin 2011.

Image: Digital image by Wolfgang Tschapeller ZT GmbH.

920

2011

900

Blanke, Olaf et al. “Out-of-body experience and autoscopy of neurological origin.” Brain 127 (2004): 248.

Image: Patient drawing. With permission from Olaf Blanke.

2012

Interiors: Benny 3 Christopher Lindinger in an interview on 9 May 2012: Cyborgs, unlike robots, are supposed to be mechanical “improvements” on the human body. The latest technology is applied to overcome human imperfection, and enhance the physical body’s e�iciency through mechanical implants. Of course, the driving force behind this is the notion of immortality – as is the case with avatars: They represent death-defying human individuals in the virtual or even physical space, where they create another self.

Interestingly, the Indian word “avatara” originally meant gods come down to Earth in a human-like form. However, in the 90s, when the �irst hefty debates arose around avatars in the virtual world, we almost inverted the meaning of the word: It now denoted a generally digitalised being representing one’s own person in the virtual world and controlled by the actual person in the real world. Such an avatar can have god-like features, which we lack in real life. The �lying 3D-avatars in Second Life may come to mind – the topic of many conversations in and around the year 2000; or the virtual witch-like creatures and warriors in World of Warcraft. Through such games, and above all through movies like The Matrix, Surrogates or Avatar, various concepts of avatars have become all but public knowledge in the industrialised world.

All these concepts have in common that a real person controls an arti�icial being, which acts as his or her representation in some kind of parallel world. In the classic avatar-idea, as we know it from literature or the cinema, the two �igures – i.e. my physical self and the creature representing me – can never be seen independent of each another. The avatar does not have a life of his own, but only awakes when the operator takes control of him. However, the operator is unable to get on with his everyday life in the physical world at the same time. He consciously leaves one world and enters into the other. An example: Robotic twin-androids like Hiroshi Ishiguro’s geminoids look like me; I can send them in my stead to any other place in the world and talk through them. But while I am sitting in front of my operation unit controlling them,

– expansion and implosion, curvature in space-time – morality – order and disorder – love and hate. …

as a moment of elation and great happiness. …

US Patent No. US2011/0054583 A1: Flexible and Scalable Sensor Arrays for Recording and Modulating Physiologic Activity … the implantable cortical surface electrode array [is a system] that can be cut to speci�ic sizes and shapes and adapted “on the �ly” to adjust to speci�ic temporal and spatial recording scales in the body. [It] comprises a �lexible (… so as to better contact and conform to small changes in the brain surface…) substrate, an array of electrodes arranged on the substrate, and active electronic elements incorporated into the �lexible substrate. … The active elements selectively connect respective electrodes so as to enable the effective size, con�iguration and number of electrodes to be dynamically changed. … For example, a plurality of electrodes may be connected … to form a macroelectrode. … Some or all of the electrodes … may be … replaced by photodiodes … these light sensors … could be used to measure local blood oxygen concentration, blood �low, … other solid-state sensors … could be integrated … to measure local chemical concentrations, pH, temperature, force, magnetic �ield and more. … the �lexible substrate may be rolled up for introduction and unrolled, unfurled or otherwise expanded once inside the body. … The array of sensors also may be formed into a hollow or solid cylindrical shape to be implanted into a deep brain structure, wrapped around a nerve bundle or auditory nerve, a blood vessel, a peripheral or cranial nerve, … or in or around the heart or eye. …

2012

Interiors: Carla 1 … We all meet, and simultaneously avoid everybody else, cross paths with them and avert our gaze. Our eyes hardly meet; they brie�ly rest upon this one or that one. Bodies are watchful, fragile territories, which keep changing, boundaries are unstable, mobile, plastic and porous, a mélange originating from osmosis and sealing. Complex of the laws of physics – attraction and repulsion – chemistry – assimilation, decomposition – cosmologies

910

US Patent No. US2011/0054583 A1: Litt et al., Mar. 3, 2011.

Image: US Patent No. US2011/0054583 A1: Flexible and Scalable Sensor Arrays for Recording and Modulating Physiologic Activity. With permission from Brian Litt.

Nancy, Jean-Luc. Die Stadt in der Ferne. Jenseits der Stadt. Berlin: Brinkmann & Bose, 2011: 35. © Verlag Brinkmann & Bose Berlin 2011.

Image: Digital image by Wolfgang Tschapeller ZT GmbH.

920

2011

900

Blanke, Olaf et al. “Out-of-body experience and autoscopy of neurological origin.” Brain 127 (2004): 248.

Image: Patient drawing. With permission from Olaf Blanke.

2012

Interiors: Benny 3 Christopher Lindinger in an interview on 9 May 2012: Cyborgs, unlike robots, are supposed to be mechanical “improvements” on the human body. The latest technology is applied to overcome human imperfection, and enhance the physical body’s e�iciency through mechanical implants. Of course, the driving force behind this is the notion of immortality – as is the case with avatars: They represent death-defying human individuals in the virtual or even physical space, where they create another self.

Interestingly, the Indian word “avatara” originally meant gods come down to Earth in a human-like form. However, in the 90s, when the �irst hefty debates arose around avatars in the virtual world, we almost inverted the meaning of the word: It now denoted a generally digitalised being representing one’s own person in the virtual world and controlled by the actual person in the real world. Such an avatar can have god-like features, which we lack in real life. The �lying 3D-avatars in Second Life may come to mind – the topic of many conversations in and around the year 2000; or the virtual witch-like creatures and warriors in World of Warcraft. Through such games, and above all through movies like The Matrix, Surrogates or Avatar, various concepts of avatars have become all but public knowledge in the industrialised world.

All these concepts have in common that a real person controls an arti�icial being, which acts as his or her representation in some kind of parallel world. In the classic avatar-idea, as we know it from literature or the cinema, the two �igures – i.e. my physical self and the creature representing me – can never be seen independent of each another. The avatar does not have a life of his own, but only awakes when the operator takes control of him. However, the operator is unable to get on with his everyday life in the physical world at the same time. He consciously leaves one world and enters into the other. An example: Robotic twin-androids like Hiroshi Ishiguro’s geminoids look like me; I can send them in my stead to any other place in the world and talk through them. But while I am sitting in front of my operation unit controlling them,

I can hardly do anything else. We have seen this, of course, much more drastically, in apocalypse-like science-�iction scenarios, where humans in the “real” world are lying inside some kind of supply unit – a tub or sun bed-like device – connected to tubes and wires while they operate their avatar around the clock and experience their social existence exclusively through him. This begs the question of the body-concept: What is left of my biological body, if I use it only to maintain its life functions? Does the avatar expand my self’s sphere of action unlimitedly? Can we de�ine humanity and being human independent of a body made of �lesh and blood? I think that – at least in our current debates – we have moved away from this classic concept of an avatar representative in a virtual parallel life of humanity.

I believe that in our present time, affected by the Social Web, a different form of digital representation prevails. If I ask a person sitting in front of their computer playing Second Life, “Who is this �igure you are controlling on the screen?”, they will answer without hesitation, “That’s my avatar”. Yet if I ask the same person, “Who is this �igure in your Facebook pro�ile?”, they will probably reply just as naturally, “That’s me”. The digital image of our self, laid down in social networks like Facebook, is no longer perceived as a second creature, but has merged with the physical person into something like a collective identity. I don’t have to make an effort and “enter” into these web-representations of myself to bring them to life; they exist parallel to me all the time. Now that one can access the Internet through mobile devices, it has really become ubiquitous. My digital self can sound an alarm to notify me at any given time or place when something new has happened in my virtual terrain. In the meantime, I remain undisturbed and can take up my existence in the physical realm.

* Commentary Texts: Christina Jauernik, Gisela Steinlechner, Wolfgang Tschapeller

Christopher Lindinger, Director of Research and Innovations, Ars Electronica Futurelab, Linz.

Image: Digital image by Wolfgang Tschapeller ZT GmbH.

Endo [Greek: inside] Photograph showing a simulation of a bursting blood vessel. * Image: Photo by Lennart Nilsson. Reprinted from GEO No. 9, September 1999, p. 70. © 2012 Scanpix.

930

C. 1980

I can hardly do anything else. We have seen this, of course, much more drastically, in apocalypse-like science-�iction scenarios, where humans in the “real” world are lying inside some kind of supply unit – a tub or sun bed-like device – connected to tubes and wires while they operate their avatar around the clock and experience their social existence exclusively through him. This begs the question of the body-concept: What is left of my biological body, if I use it only to maintain its life functions? Does the avatar expand my self’s sphere of action unlimitedly? Can we de�ine humanity and being human independent of a body made of �lesh and blood? I think that – at least in our current debates – we have moved away from this classic concept of an avatar representative in a virtual parallel life of humanity.

I believe that in our present time, affected by the Social Web, a different form of digital representation prevails. If I ask a person sitting in front of their computer playing Second Life, “Who is this �igure you are controlling on the screen?”, they will answer without hesitation, “That’s my avatar”. Yet if I ask the same person, “Who is this �igure in your Facebook pro�ile?”, they will probably reply just as naturally, “That’s me”. The digital image of our self, laid down in social networks like Facebook, is no longer perceived as a second creature, but has merged with the physical person into something like a collective identity. I don’t have to make an effort and “enter” into these web-representations of myself to bring them to life; they exist parallel to me all the time. Now that one can access the Internet through mobile devices, it has really become ubiquitous. My digital self can sound an alarm to notify me at any given time or place when something new has happened in my virtual terrain. In the meantime, I remain undisturbed and can take up my existence in the physical realm.

* Commentary Texts: Christina Jauernik, Gisela Steinlechner, Wolfgang Tschapeller

Christopher Lindinger, Director of Research and Innovations, Ars Electronica Futurelab, Linz.

Image: Digital image by Wolfgang Tschapeller ZT GmbH.

Endo [Greek: inside] Photograph showing a simulation of a bursting blood vessel. * Image: Photo by Lennart Nilsson. Reprinted from GEO No. 9, September 1999, p. 70. © 2012 Scanpix.

930

C. 1980

Editor Arno Ritter – Commissioner of the Austrian Pavilion, 13th International Architecture Exhibition, la Biennale di Venezia Authors Wolfgang Tschapeller, Christina Jauernik Editing Christina Jauernik Advising: Gisela Steinlechner Research Christina Jauernik with Mechthild Weber, Simon Oberhammer, Jesper Bork, Franz Kropatschek Commentary Texts Christina Jauernik, Gisela Steinlechner, Wolfgang Tschapeller Translation Martina Griller Proofreading Brian Dorsey Graphics gra�isches Büro Image Processing Markus Wörgötter Printing gugler GmbH, Melk, Austria Thermochromatic screen printing: Stainer Siebdruck, Salzburg, Austria

“Hands have no tears to �low” in Counterblast (1954) by Marshall McLuhan, adapted from the Dylan Thomas poem “The Hand That Signed the Paper.”

This work is subject to copyright.

All rights are reserved, whether the whole or part of the material is concerned, speci�ically those of translation, reprinting, re-use of illustrations, broadcasting, reproduction by photocopying machines or similar means, and storage in data banks.

Product Liability: The publisher can give no guarantee for all the information contained in this book. The use of registered names, trademarks, etc. in this publication does not imply, even in the absence of a speci�ic statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.

We have taken every care to identify and include any existing copyrights. In case of omissions or mistakes please notify the editor. © 2012 SpringerVerlag/Wien Printed in Austria SpringerWienNewYork is part of Springer Science + Business Media springer.at Printed on Recystar, 100% recycled Paper Typeface: Graphik regular, medium With 92 (partly coloured) Figures SPIN 86123206 Library of Congress Control Number 2012942967 ISBN 978�3�7091�119�6 SpringerWienNewYork

On behalf of the Federal Ministry for Education, Arts and Culture

With �inancial support from Patron: STRABAG Partners: BIG Innsbruck Land Tirol Generali Gruppe proHolz Austria Swarovski Trigonos vizrt waagner-biro Sponsors: Halotech Sto Vöslauer

Editor Arno Ritter – Commissioner of the Austrian Pavilion, 13th International Architecture Exhibition, la Biennale di Venezia Authors Wolfgang Tschapeller, Christina Jauernik Editing Christina Jauernik Advising: Gisela Steinlechner Research Christina Jauernik with Mechthild Weber, Simon Oberhammer, Jesper Bork, Franz Kropatschek Commentary Texts Christina Jauernik, Gisela Steinlechner, Wolfgang Tschapeller Translation Martina Griller Proofreading Brian Dorsey Graphics gra�isches Büro Image Processing Markus Wörgötter Printing gugler GmbH, Melk, Austria Thermochromatic screen printing: Stainer Siebdruck, Salzburg, Austria

“Hands have no tears to �low” in Counterblast (1954) by Marshall McLuhan, adapted from the Dylan Thomas poem “The Hand That Signed the Paper.”

This work is subject to copyright.

All rights are reserved, whether the whole or part of the material is concerned, speci�ically those of translation, reprinting, re-use of illustrations, broadcasting, reproduction by photocopying machines or similar means, and storage in data banks.

Product Liability: The publisher can give no guarantee for all the information contained in this book. The use of registered names, trademarks, etc. in this publication does not imply, even in the absence of a speci�ic statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.

We have taken every care to identify and include any existing copyrights. In case of omissions or mistakes please notify the editor. © 2012 SpringerVerlag/Wien Printed in Austria SpringerWienNewYork is part of Springer Science + Business Media springer.at Printed on Recystar, 100% recycled Paper Typeface: Graphik regular, medium With 92 (partly coloured) Figures SPIN 86123206 Library of Congress Control Number 2012942967 ISBN 978�3�7091�119�6 SpringerWienNewYork

On behalf of the Federal Ministry for Education, Arts and Culture

With �inancial support from Patron: STRABAG Partners: BIG Innsbruck Land Tirol Generali Gruppe proHolz Austria Swarovski Trigonos vizrt waagner-biro Sponsors: Halotech Sto Vöslauer