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Emergent form : momentarily whole humans/lighthouses Jafari, Nahal 2020-05

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           EMERGENT FORM  MOMENTARILY WHOLE HUMANS/LIGHTHOUSES [GP2 report]             Nahal Jafari-SALA spring 2020     EMERGENT FORM  MOMENTARILY WHOLE HUMANS/LIGHTHOUSES [GP2 report]         Chair: Matthew Soules  Committee members: Chris Doray Clinton Cuddington     Matthew Soules     Blair Satterfield                     [Table of Contents]     -Abstract -Thesis statement -Methodology -Pre-narrative piece -The emergent form story and the background research  -Precedents -The film -The installation -Bibliography       [Abstract]  In this narrative, I’m looking closer into the light and the world itself, so close that it dissolves into particles. Its particles join the larger ocean of particles. The swirling ocean of particles that represents the world, is the cosmology of this project. In this cosmology, there are no boundaries and no borders, all the entities-including humans and architecture-are interconnected through the currents of this ocean of particles. In such a world, I’m exploring the cycle of time and our perception of it.  Time is nothing separate from us, it is simply a part of the same ocean of particles. Time is a product of our consciousness, we construct it as it constructs our consciousness in return. Existence of space is dependent on the presence of time and consciousness. Without which the only thing that is left of space is illusion of space. And eventually, I’m exploring our spatial sense in relation to the journey of time, in other words, the role of architecture and how it changes in relation to the cycle of time; as it drifts apart from the main current at some point and become interwoven again in the flow further in the loop.   [The cycle of time-space]               This thesis explores consciousness and space/time relationship throughout the notion of light. It portrays the interchangeable notion of entities by suggesting that architecture is a slippery vessel of shifting consciousness.  [Thesis statement]                                         [Timeline- GP1]1. Harry Francis. Mallgrave, The Architects Brain: Neuroscience, Creativity, and Architecture (Malden, MA: Wiley-Blackwell, 2012) 2. Gilles Deleuze, John Rajchman, and Anne Boyman, Pure Immanence: Essays on a Life (New York: Zone Books, 2012)  [Methodology] On the narrative base design- I chose narrative based design to illustrate the ideas in my head because of the power of language and its level of abstraction. What makes words so valuable to humans is their metaphoric power, their capacity to evoke images that are the means by which the mind categorizes things and performs its act of thinking.1 Words hold the concepts in a more abstract way than images or other mediums do. Language introduces a usually vast territory related to a specific concept by defining it with words, but then you are free to imagine various outcomes within that territory. I think of it as a way of introducing concepts and engaging the mind with the least amount of suggesting predetermined ideas in the audience’s mind. When an idea becomes a narrative or a story, it includes imaginative factors, it becomes even more open to interpretation.  With fiction, in contrary to the science, you are able to go beyond the given. It is up to imagination to reflect passion to make it resonate and go beyond the limits of its natural partiality and presentness. The mind has the capacity to move from one idea to another, but it does so at random, in a delirium that runs throughout the universe. The principles of human nature on the other hand, imposes constant rules on this delirium, which are in accordance with nature itself. principles shape the mind by imposing on it a nature that disciplines the delirium or the fiction of imagination.2 Fictions are extensions of us, we influence them and are influenced by them on the other hand.   On film and architecture- To take my proposal further, as my project is telling the story about our perception of time, I’m trying to explore it in mediums that include time in a more critical way alongside the more conventional methods like drawings. As I was imagining the formal qualities of the narrative and drawing some frames of the story, I started to imagine the narrative in the form of film making. I talk about time and consciousness and human’s experiences in my story a lot and on other hand, architectural spaces are about experiencing different feelings, perceiving different concepts and noticing the passage of time. They are considered as containers for time as well as space. Architecture acts as montage, it attaches moments, memories, images and spatial experiences to make an image of time, a film.  Film not only documents time, but it constructs time as well.  Considering films in relation to light is another influential concept in my story, films are non-physical, they are essentially projections of light that take the form of different times and different spaces in the storyline of a movie. A medium that has no physical attributes but embraces the viewer and surrounds them in a whole new world, untouchable but sensible, like light. And as Pascal Schöning states it in the Cinematic Architecture book: “The very essence of cinematic architecture is nothing less than the complete transformation of solid state materialistic architecture into an energized ever-changing process of illuminated and enlightening event appearances where past present and future activate a time spatially defined by duration perceptible through our senses and structured by our mental ability where the effect of independent movement of matter in space which is physical kinematics is illuminated by the often contradictory revelation of filmic cinematic sequences of     narrative memory producers thus attaining the otherwise impossible simultaneity of space and time.”1 In my initial draft of the animation I tried to approach time based on what is happening to it in the story. The frame lengths and camera movements are in correspondence to the time and how it is perceived in that specific moment of the story. For instance, I have fragmented images with camera jumping from one image to another without any zooming or panning for the parts that the story is about a timeless environment or when the time is defined as fragmented in the story. On the other hand, I have these long pans and continuous zooms that are portraying the aesthetics of the flow of time.  On my report structure- I have decided to have my narrative intermediating with the quote/explanatory paragraphs, as I thought this would be a better way to communicate my ideas and an easier way for the reader to draw connections between the story and the concepts in discussion. Although, the reader has a choice to either follow the story paragraphs only and continuously or to read the whole text in the existing order.  Before the narrative part of my report, I have included an introductory piece (Pre-narrative piece) that takes you through my older and fundamental ideas that have started to form years ago and got evolved and connected to each other as I came along in time and eventually led me to the current version of the story- which will still evolve as the time passes. The Pre-narrative piece is more about the tangible background of the more abstracted ideas in the story.   As for (GP2), I continued to explore light and projections and animations/films as mediums to communicate my ideas as well as drawings and installation. Since drawings and models are documenting time, light and experience in a more static manner, I think I presented my project in various mediums corresponding to the definition of time in each state of the story. There were also some collages of mediums such as projecting the film on the installation introducing new order of perceptions of time.  As my final project, I composed an animation/film that encompasses the story and the world I’ve been designing for the whole GP project. I also built the physical installation that was made out of semi-transparent fabrics and parts of the film being projected on them, creating an immersive experience of walking into that world of light and consciousness.                [Storyboard for the film]        [Pre-narrative Piece] I started to focus on the conflicts and contradictions of juxtaposition of the most unexpected concepts in our perception of the world. I was intrigued by their influence and how powerful they are. I started to search for more of these conflicts and to study their relationship. And I found a series of fascinating connections and analogies between these conflicts. As I was writing them in the format of a narrative, I actually found out that they are all connected to each other in a sense. This specific relationship was found in different aspects of perceiving the world for me that had the power of jeopardizing my sense of time and space. Here are some of the pre-narrative versions of these concepts: 1. I started to think about emplacement of cities, buildings and people and how it is similar to trees. Cities and trees are destined to keep their physical locations no matter what the living situation becomes for them. They are location bounded, physically bounded entities and will get destroyed due to their surrounding’s intolerable conditions, destined to destruction if the situation requires so. The destruction begins on the inside so that they are able to remain their faces unaffected on the outside. The kind of destruction I’m talking about isn’t only about the physical destruction, it is more about the destruction of their essence, of what that has made them what they are. A destruction due to the effects of social, economical, political or climatic issues that are happening in a city or to a landscape. Looking at the cities itself and without its occupants, reveals this process even more clearly. Cities and their buildings start to degrade and destroy under the pressure of the events happening. These happenings might not be physically visible but their effects are influencing the environment in some ways. After a while the environment becomes devastated from inside even though keeping a still looking exterior! In other words, it looks just the same to a passing observer, while they are not the same at all if you actually stay, observe and try to get to know it. As if they have spent all their energy and their existence on survival, that they have reduced to bare minimum. They have reduced to shells, to hollowed out shells. Although this picture is usually covered with the unaltered deceptive image of the city- the deceptive effect of the unchanged facades and surfaces of buildings and the environment that makes you believe they haven’t changed at all and are still solid on the inside.        2.Interrelated microcosms: In the way I perceive the world, it is infinitely detailed and it reveals more details as you zoom in more. Also, there are some undeniable levels of similarity between the different degrees of these zoomed-in frames. Sometimes you can’t tell if you are looking at a molecular level photo or at one illustrating galaxies far away. This is an interesting fact on perceiving the world that I think mixes up our mind set of it. We live in a universe of infinitely interrelated microcosms.                         [Brain cells or the view of the galaxy from far away] Our perception is fragmented, scattered and decentralized: Although, we perceive this interconnected universe and its systems in a continuous manner as we inhabit this world, but our memories of this seemingly continuous world are fragmented, scattered and even seem to be disordered. Boundaries and the physicality of entities are deceptive: This collection of interrelated microcosms looks so fragmented in the first glance, as its entities are seemed to be defined by impermeable boundaries; a collection of independent entities that we can identify each entity separate on the background of the world, for instance, a table is a separate object than the chair beside it and from the human body who is standing close by. However, if you look at the same image in a close-up view, the only thing you can see is a somewhat homogenous flow of particles, like looking at a galaxy full of stars.                      [If you look closer, everything is made out of the same particles, everything is related]    A conflict, an inconsistency or a contradiction between our perception and the universe- (Is it even right to consider our perception and universe two different entities or they are simply a continuation of each other?)   3.Technology: Our attachment and dependent on the technology nowadays have resulted in our “personal” being generated not in us anymore but in the technologic devices we are connected to, such as cell phones. They are becoming part of us and we feel incomplete, hollow and unsheltered without them. On the other hand, they are changing our perception over visuals, over our vision’s ability and mix up our space and time perception as well. With instances such as, looking into a screen that is a few millimeters deep but we are able to see an infinite world of information and images in it, or the fact that by simply having our phones with us we feel safe and sheltered while not having it leaves us with a sense of vulnerability and insecurity. A feeling that used to generate due to different architectural spaces or strong emotional connections with other people.                                                              [personal generating outside of “us”]           [The virtual feeling of being safe, sheltered]                     [The world behind a screen] The virtual world has shifted the rules of space and time in another aspect as well; it allows you to multiply your existence in various spaces and times simultaneously. Things don’t just exist where and when they appear to exist anymore. There is a whole new level of existence that has just got introduced with the appearance of virtual world. A different mode of existence which has brought up some conflicts with how our minds used to structure.   [virtual multiplication of self]  As the virtual world is not materialized and it exists in the mode of an invisible cloud of information, its effects are not easily visible either. It is hard for us to believe in the truth beyond what is visible or in other words, it is hard to always remember what is happening behind this comforting and relieving image. We tend to forget about the reasons of the events because it is easier to live that way. To simply let this deceptive image to cover up all the conflicts and smooths up the picture of what is actually happening for us, to surround ourselves with a world without any apparent conflicts. This is what exaggerated the factor of shock and increases the effects of confrontation with what is actually happening, when it happens.   4.Spaces or moments that are so influential: In specific spaces where you lose the sense of time: Their effect is so powerful and influential that it seems like they awaken you from a limbo state. Those spaces are so powerful in their special qualities, they are usually so delicate and include some rare and nearly forgotten qualities that might be hard to remember naturally. Like reminding you that you are alive, like reminding you to look up at the sky. These spaces are so impressive that they gather all your attention or consciousness to that specific space from all across the time spectrum, from past to the future. You forget about all the other things you’ve been thinking about constantly and you weren’t fully conscious because of that, all other issues that have been influencing the concentration of your consciousness. You lose the sense of time and start to exist consciously in that specific space.                                                                                                                                                 [existing in space without any consideration of time] Sometimes, this effect happens not because of a specific space but because of special event in time. A big, emotional moment that throws you out of the flow of time. Like after experiencing the death of a close person, after recovering from a really hard illness or after a really big victory like winning a competition or getting approved to your dream school. You lose the sense of where you are. You forget about all the unnecessaries. You find yourself existing fully conscious in that moment, in that unit of time, apart from its spatial features.          [existing in a unit of time without any consideration of its spatial feature]  These two events are one other reason that pushes you towards the other side of that deceptive image or in other words the veil. You will be able to see what is actually happening beyond that, even though momentarily. These happen when you lose the sense of time or space or in some cases both. This is what reminds us of the stage set effect (what seems to exist is actually different from what actually exists) and the excessive trust that we have over the truthfulness of our vision and authentication of the visual world. This trust makes the deceptive image more powerful and real.                         [the veil that is hiding what is actually happening and its effect on the extent of vision based on which side of the veil the person exists]1. Doray, Chris. “Commodifying Consciousness”, Master of Arts thesis, Architectural Association school of Architecture(AA), 2017 2. Harry Francis. Mallgrave, The Architects Brain: Neuroscience, Creativity, and Architecture (Malden, MA: Wiley-Blackwell, 2012) 3. Jean Baudrillard, Alain Willaume, and Chris Turner, Why Hasnt Everything Already Disappeared? (London: Seagull Books, 2016) 4. William John Mitchell, Me : the Cyborg Self and the Networked City (Cambridge, Mass: MIT, 2010) 5. “City Everywhere by Liam Young (Lecture Performance)”, You Tube video, 43:58, Posted by “MUTEK Montreal”, Apr 18, 2018, 6. Deleuze, Gilles, Spinoza: Practical Philosophy, City Lights Books, 1988, pg. 59   [The Emergent Form] –and the background research   [You can follow the black text for the story only or read the gray intermediary paragraphs for the background research related to each part of the story]      [Pre-story quotes] -We are designing the world while the world is designing us in return. As our minds are the extensions of the environment, consequently the environment is influencing, designing and building our minds in return.  -This is what architecture is supposed to do, mediating between the world and our consciousness by internalizing the world and externalizing the mind.1 -Unconscious continuous to wrestle after the matter has left the consciousness.2 -The urge of seeing the world in our absence, as we have started to disappear as well. Disappearing is also different form vanishing, as nothing vanishes and things remain traces when disappearing. Although all the things that have disappeared, keep coming back to us in infinitesimal doses they become internalized in the mental sphere.3 -About the virtual reality and technology: The only reality that exists for us is already a virtual one, we are dreaming machines by nature! 2 -I am a connecting creature who must always keep separating in order to be able to connect. My enclosures are leaky. The more we depend on the networks, the more tightly and dynamically interwoven our destinies become.4 -The future is already here, just not evenly distributed.5 Consciousness is completely immersed in unconscious.6   This is a story of humans and architecture in the context of universe in 4 stages of space-time cycle:   Our universe appears as a space time continuum [Stage1], a 4 dimensioned model that has time joined with the three dimensional space. However, the continuum appears to be homogenous and in despite of all the smaller scale sub changes, it still maintains a certain state of equilibrium. Looking closer, there are some areas of sudden concentration of “time”, as a result of being affected by the spatial attributes. Therefore, it is not in an actual equilibrium, as there are some sub-currents going on in the flow that are in charge of this imbalance. “Things are not always what they appear to be, if you look more closely”. Discovering this sub layer, you’ll see that there is a wave of transformation that takes the continuum into different stages which occurs in a looped manner over and over with the passage of time. It transforms the continuum between the spectrum of two extreme stages; from the seemingly homogenous stage to the most fragmented stage. These stages are representing two ends of the spectrum of space-time combination pattern. In other words, a reversal in the so called figure-ground relationship (figure representing time and ground, space).                  [Unfolded drawing of the [Stage1] towards [Stage2] of the cycle] 1. Arata Isozaki, Ken Tadashi Oshima, Arata Isozaki,(Phaidon Press, 2009) 2. Stephen Hawking, Brief Answers to the Big Questions (London: John Murray, 2019) 3. Baudrillard, Why Hhasn’t Eeverything Already Disappeared? Although, the stages don’t last for the same span of time and it is different with each cycle, depending on that cycle’s special condition. These transformations create some discontinuities between space and time, some desynchronizations that leads to irregularity in time distribution in the continuum. Some breaks in the space-time continuum, out of time experiences, in other words, some gaps in the flow of time. As the number of these gaps increases, the relationship between time and space starts to loosen more and time starts to get detached from space and gets concentrated in some parts of the continuum while the other parts are left evacuated of time. [Stage2].  The time concentrated parts of the continuum starting to create an independent medium. In those parts, it is not possible to associate a certain time to a specific space, they are not interwoven anymore. Those parts’ attributes are defined by time and not space.     [On the continuity of space and time]:   In Japanese cosmology: Ma space/time is an ancient Japanese concept, it is an unified understanding of time and space through a notion of intervals. Also, they used to believe time and space are not representing a fixed image but they were considered omnipresent and mutually responsive parts. In this belief system, space was only recognized through the mediation of time, it was perceived through the events that were happening within it overtime. Space is visualized as the result of combining planes and axes of time. In other words, their perceptive system worked in reverse; as they perceived the invisible rather than the visible, the ability to understand the blankness and gap over the space or the solid.1 In scientist’s view: In despite of what scientists used to believe in, time and space are actually not two separate entities, but they are closely interwoven in each other or as Stephen Hawking claims, they are one. The theory of space-time continuum suggests that you can spot an event that has occurred at any point in the history by having the 4 coordinates: the three spatial values plus time.2 This theory approaches space and time as if they are one- just like the MA space/time in Japanese culture. In technological aspects and the relationship between the mind, consciousness and the continuum: Baudrillard states that the digitization destiny looms for everything, thought and consciousness and…, soon there won’t be any blanks, gaps, silences or any suspension of thought between illusion and reality, there will only be a single continuous flow.3 He talks about this occurrence as a one-time thing, but in this story this appears as a stage of a cycle of events which loops over and over again. As there is always a stage of chaos with the introduction of a new changes in an era. 1. Mitchell, Me++ 2. McLuhan, Marshall. This is Marshall McLuhan: The medium is the message. (New York: NBC, 1967) 3. Jean Baudrillard, Simulacra and simulation (University of Michigan press,1994)   [On the separation of space and time]:  In the digital era, the pulse is faster; millisecond, microsecond, nanosecond, picosecond… . They don’t just mark the time, they trigger the execution of instructions and programs. As clocks multiplied and distributed themselves spatially, the relationship amongst them begin to matter. Before there was only a local time and it sufficed. But after the invention of railroads, there was a need to synchronize the time of different locations in order to schedule the trains departure and arrival time. We entered the era of globalized network time of GMT. Time zones and sleep cycles decoupled form the solar day. Computers added to the complexity of the construction of time; with them the important fact was, which tasks can perform real time and which cannot. In other words, if a machine is so fast, it can divide itself to multiple virtual machines for different simultaneous tasks that seem to occupy the same space and time. Parallel programing rather than sequential. A contradiction to the ancient concept of “what is here and now”.1 This is when it’s not possible to associate a certain time to a specific space anymore, as they are not following this ancient logic. Time and space have become decoupled. Once there was a time and a place for everything. Today, things are increasingly smeared across the multiple sites and moments in complex and often indeterminate ways. The more we interrelate events and processes across the space, the more simultaneity dominates succession. Time is no longer one thing after the other, but a structure of multiple, parallel, sometimes cross-connected and interwoven, spatially distributed processes that cascade around the world through networks.1 I can indefinitely multiply my points of physical agencies through space and time.1 As transportation networks have extended further, our physical habitats have grown more fragmented. On the other hand, the digital world is not in correlation with the physical world, it is always there just as I left it, whenever I log in from a new location.1 With technology, time and space have changed. Technology is a place for everything as well as everything in its place.2 And time has lost its correlation to space, it has started to become independent.  Simulacrum is a reality without origin, a hyperreal. It is the reflection of a profound reality. It masks and denatures a profound reality. It masks the absence of a profound reality. It has no relation to any reality whatsoever: it is its own pure simulacrum.3 [I refer to the deceptive image as simulacrum in the film]        The parts that are left with the “space” portion of the former continuum, are getting evacuated of time as well as of humans’ consciousness. [Stage3] Time and consciousness share the same nature. Time as a vessel for the concepts and humans’ consciousness is getting detached from the continuum and is taking all the concepts and people’s consciousness with itself, creating an independent flow of its own, the time realm. Light is a vessel for time, it holds time and by extension history in its particles, it has an inherent memory. And the flow of time is visible in the form of light raids swirling in a complicated pattern of movement, but if you look closer, those raids of light are made out of small particles; consciousness and time’s particles that are migrating in a fragmented manner towards the time realm. There is no sense of “space” and therefore the emplacement of entities is not what matters in the conversation of time realm. These gaps in the continuum or these time realms are not fixed in terms of their locations, they are floating across the space realm, evacuating it from time-like a vacuum cleaner- as they go. The state of time realm could be defined as “a world in becoming” which can be described more in terms of a network of relations between particles of consciousness and time than in terms of their emplacement or their formal qualities. Because they are not done forming yet, they are in the state of becoming, it is a flowing network.                   [Stage3]1. Doray ,Commodifying Consciousness 2. Gilles Deleuze, Cinema 1: The Movement Image ( Univ Of Minnesota Press, 1986) 3. Mitchell, Me++ 4. Stephen Hawking, A Brief History of Time (Random House US, 2018)  [On consciousness and unconsciousness]:  Although one cannot understand the conscious without talking about unconscious. we do not have direct conscious awareness of what occurs in our minds, which in turn confirms the phenomena, that if the cognitive unconscious is not doing the form making, then there would be no conscious thought.1 consciousness and unconsciousness has a major role in the way we perceive the world, in other words, we-our unconscious and conscious thoughts- are the architects of the world we are surrounded by. Some form of neurological activity within the human brain causes us to animate and stimulate the world we live in, through our unconscious shaping, and placement of inanimate objects throughout our built environment.1 We design our environment in various levels; physically; we design the surroundings by building infrastructures, buildings or landscape and unconsciously by collaging and overlying our consciousness over. We are considered also as a canvas for these either physical or non-physical designed environments, they design us in response. As we all are part of this looped narrative.   [On the flow of time and network of relations]:  Gilles Deleuze introduces the concept of the “whole” or its other names; the open or the duration. It relates to time and spirit rather than content and space. It doesn’t have parts, it is a duration. The whole is not and cannot be closed as it is an individual continuity it is in constant movement. The stream of consciousness can be read as a duration as well, it is a whole, an open set. The whole is always changing, creating and recreating itself. The whole would also be defined by relations, relations don’t belong to objects but to the whole.2 The plane of immanence is the movement (the facet of movement) which is established between parts of a system and between one system and another which crosses them all, stirs them up together and subjects them all to the condition on which prevents them from being absolutely closed.2 The plane of immanence is the mobile section of a whole a duration or of a universal becoming.2  [On time, consciousness and light]:  Time and time keeping has changed a lot in the history of mankind. Back in time, as a way of comprehending the flow of time we started with a concept of time keeping. The first approach to this was used to happen with the town community centers. They used to keep time for a city or a community. Later on, with the appearance of clocks and their multiplications, time keeping moved into dwellings. Eventually, with the creating of pocket clocks or the wrist watches, it became wearable, or in other words it became individualized.3 Also, as Stephen Hawking states, time is not absolute and is different for each individual based on what they are doing or where they are4, time has actually individualized. Although consciousness is a commodified medium in this story, it has an aspect of individuality to it, as it is fragmented and is separately modifiable by each individual. It creates a customized comprehension of the surroundings for each person. Existing in the flow of time, has made time to a vessel for consciousness to happen in, a fragmented context. 1. Hawking, A Brief History of Time  2. Mitchell, Me++ 3. Colin Barras, “What is a ray of light made of?”, BBC/earth, BBC, [On time, space and light]:  Theory of relativity considers the space/time not flat because of gravity, it is wrapped or curved by the distribution of mass and energy. So time is under the influence of masses; it runs slower closer to massive bodies or planets and faster as you get further away. The light is also following this rule and getting distorted when affected by gravity; for instance, it bends when passing by a massive body such as the sun.1 This distortion will affect the sense of location and the time itself. thinking about light as a vessel or a medium that carries time, our senses of time is affected by the speed of light.    We are always observing the past when we are looking up towards the stars and the universe in general as it takes years for light to reach us from further away in the universe. In a sense, we are not able to perceive what is happening in “real time” as it takes a certain time for the light to travel.  All these are a rejection to the previous assumption people had, that the time is absolute. In the theory of relativity, time is unique for each individual and is different depending where he is or what he is doing.1  [On the fragmented format]: In the digital realm, there is nothing between 0 and 1. The digital world is logically, temporally spatially discontinuous.2 in a super small scale, while the big picture still looks continuous and interconnected like a flow.   [On the fragmented light (light as photons)]: In studying light, Einstein discovered energy packets that are what light is made out of and he called them photons. They are now recognized as a fundamental particle in the structure of light. Visible light is carried by photons, and so are all the other kinds of electromagnetic radiation like X-rays, microwaves and radio waves. In other words, light is a particle. At this point physicists decided to end the debate over whether light behaved as a wave or a particle. Both models were so convincing that neither could be rejected. To the confusion of many non-physicists, the scientists decided that light behaved as both a wave and a particle at the same time. In other words, light is a paradox.4  Light as a medium to measure time with, a vessel for time.   1. Deleuze, Cinema 1 2. Baudrillard, Why Hasn’t Everything Already Disappeared? 3. Mitchell, Me++ 4. McLuhan, The medium is the message [On “space” losing its relevance]:  Carl Theodor Dreyer, the Danish film maker states in Cinema 1 book that the more the image is spatially closed, even reduced to two dimensional, the greater is its capacity to open itself on to a fourth dimension which is time and to a fifth which is spirit.1 This indicates the fact that in less physically rich arrangements, time expands. As if physical existence is acting as a resistance for the flow of time. In a sense it is implying the independency of time from space.1 The whole is a state which is constantly changing, a flowing-matter in which there is no point of anchorage and no center of reference assignable.  Jean Baudrillard in his book: Why Hasn’t Everything Already Disappeared? talks about the focus now being on the nothing rather than the being. He reminds us of the importance of the nothing, the disappearance and the specific mode of disappearance that humans have invented, a mode to become completely disappeared. And by extension, the real world begins, paradoxically, to disappear at the very same time as it begins to exist.2 Digital production erases the real as it is something capable of being imagined.2 Physical world or the space is losing its relevance. [Technology] [On technology and temporary human]:  Post biological future is when we think of ourselves as software and not hardware anymore.3 The consciousness is the so called software and the shell is the hardware. Without the consciousness we are just hollow shells. Electric circuity is an extension of the central nervous system.4 [On technology and network of relations]:  Technology is reshaping and restructuring patterns of social interdependence and every aspect of our personal life.4 It is eliminating the boundaries, borders and old categories.   [On how the brain works and singularity]:  Ray Kurzweil describes the way brain works and connects the process to the virtual world and technology in a sense. He explains that the brain works in a series of modules, each learning a pattern of information and recognize it and that way they create a hierarchy, but a rather complex hierarchy. The nature of this hierarchical order is not physical, it is actually virtual. This hierarchical order is what is being transferred through talking to other people as language is a hierarchical system as well.  He argues, as the speed of technological inventions is increasing, it is not increasing linearly like it used to before, it is increasing rather exponentially. This is how he thinks we are already in a place where we can internalize the technology to a level where it becomes part of the hierarchical system of our brains. We can connect this existing virtual hierarchical system of our thinking process to extend our mental reach. 1. “Ray Kurzweil – The Future & The Technological Singularity”, You Tube Video, 2:58:47, Posted by “The Artificial Intelligence Channel”, Mar 25, 2018, 2. Gilbert Simondon, Malaspina Cécile, and John Rogove, On the Mode of Existence of Technical Objects (Minneapolis, MN: Univocal Publishing, 2017) This is called biotechnology, which is actually a hybrid of biological and non-biological thinking. This is what I mean by internalizing the technology and what he calls the singularity. Singularity brings biotechnology along with itself which is a hybrid of biological and non-biological thinking. It is about internalizing the technology and to connect our neural system to the technological network directly as a way to extend our mental reach.1  [On technology and architecture]:  With singularity in process, technology is penetrating into this flow, opening up some gaps and hollow out some parts while it is filling into our weaknesses. It is creating some inconsistencies in terms of how the consciousness works. Because It is distorting the sense of distance and time and as the consequence of that it distorts our spatial sense as well. It interferes with the existing correlation between time and space, in other words, drifts them apart, creating those gaps in between.  [Distorted grid and gaps]  [On the relation between technology/ singularity and human’s consciousness]: The robot does not exist, that it is not a machine, no more so than a statue is a living being, but that it is merely a product of the imagination and a fictitious fabrication, of the art of illusion.2 Gilbert Simondon talks a lot about the nature of technology and its place in the culture in his book. A gap manifests itself in our civilization between the attitude provoked in man by technical object and the true nature of these objects and in order to be able to fill this gap and understand it, one needs to understand the mode of existence of these technologies.2 Technology is progressing and as becoming more advance, technology or the communication devices are losing more of their physical attributes, in other words, it is becoming less physical, more virtual and more internalized. They are becoming one with their users and penetrate into their user’s consciousness. As this network lives in the form of a flow, it has temporality as one of its underlying characteristics. In this realm, everything needs to be floating with the flow and be temporary to be able to be a part of this realm. Here, any space-bounded entity is undefinable as space has no relevance.  In the time realm there are no identifiable entities as everything is in a fragmented manner and in a constant state of becoming; creating temporary entities that would transform soon enough to another one. Living in the world of time, humans live in the form of Temporary Humans, they are seen as knots in the flow, not bounded by space anymore they are spatially extended beings with almost no limits to confine them, they are one with the concepts, stream of consciousness and time. They are not whole in their individuality anymore for their boundaries are neither identifiable nor fixed. They are in constant flux, affecting and getting affected by each other as a way of densifying the network.                      [The temporary human, spatially extended, a continuation of the flow]1.  Baudrillard, Why Hasn’t Everything Already Disappeared? 2.  Mallgrave, The Architects Brain 3. Mitchell, Me++ 4. Sarah Robinson and Juhani Pallasmaa, Mind in Architecture: Neuroscience, Embodiment, and the Future of Design (Cambridge, MA: The MIT Press, 2017) 5. Eduardo Kohn, How Forests Think: toward an Anthropology beyond the Human (Berkeley, London: University of California Press, 2015) [On undefinable entities]:  There is another interesting concept being discussed by Baudrillard, about the relationship between language and our perception or comprehension of concepts; if you go back in time, as far as concepts, and before the creation of language, humans started to call them to existence and detached them from their brute reality by naming them and conceptualizing them. The moment a thing is named, is the moment when it starts to lose its energy. After being named, the thing becomes reality. It is when a thing is beginning to disappear that the concepts reappear.1 In my story I drew some relations between the inherent powers of language and our perception of the world: When the concepts and consciousness have become independent in the time realm, there is a specific quality to the structure of its flow; the blurry boundary of its entities. They are pure concepts or particles of the stream of consciousness. And this is as if the “thing” (the physical vessel) has disappeared and now we are back to concepts again and to before they were named. In this system physicality is acting in the role of language for consciousness and concepts. Without their shells or their physical remnants, they are boundless concepts.  On technology and undefinable entities: I construct and I am constructed in a mutually recursive process that continually engages my fluid, permeable boundaries and my endlessly ramifying networks. I am a spatially extended cyborg.2 Refers to the internalization of technology and having technology extending humans abilities, becoming part of the human.  In this era, digital code now controls the supply of just everything that’s essential to us. In this networked electronically interconnected world, there is no distinction between address and target. We have had a shift from a world structures by boundaries to one dominated by connections, networks and flows. A gradual inversion of the relationship between barriers and links, now the networks, rather than the enclosure is emerging as the desired object. Connectivity is the characteristic of our age.3 Boundaries are diminishing they are losing importance.  [On temporality (temporary humans)]:  What are we? Should we consider the extent of our bodies as us? Or the bio-magnetic field that extends beyond that? Or our consciousness? We are used to consider the extent of our physical bodies as us because of the dominant role of vision.4 Ecology of Selves describes how selves merge into new kind of us as they interact with each other. Relationality changes our view towards the world as we are not the only kind of us, we are not the only ones who think, life thinks, thoughts are alive. Thoughts extend beyond human, we can think beyond ourselves, thoughts are alive. A person is not absolutely an individual. His thoughts are what he is saying to himself, that is saying to the other selves that is just coming into life in the flow of time. Selves relate to each other the way thoughts relate. We are all living, growing thoughts.5 1.  Albert Einstein, Reinhold Fürth, and A. D. Cowper, Investigations on the Theory of the Brownian Movement (New York: Dover, 1956) 2. Maurice Merleau-Ponty and Colin Smith, Phenomenology of Perception (Nevada: Franklin Classics, 2018)              [Thoughts extend beyond human, everything is related] Considering human’s body is a set of atoms renewing constantly. It is not a solid body but a world of universal variation, undulation and rippling. So does the flow of consciousness, as if you were to zoom in onto your skin, you won’t be able to find a defined line as the boundary for where the body stops and the world begins. It is a blurry boundary, it is undefinable. Just like the extent of reach of the stream of consciousness in the story.  “Things are not always what they appear to be, if you look more closely”. [Brownian movement]: The movement of small particles suspended in a stationary liquid kinetic theory of heat demanded by the molecular.1 The network of particles is in a constant flux. Particles are interacting with each other based on the pattern of movement that is going on in the network. [On everything being related]:  Ponty states, I cannot conceive myself as nothing but a bit of the world. He refers to the real as a closely woven fabric, as the “one”; we are all one light and participate in the “one” without destroying its unity.2 In technology’s point of view: In the digital age, the traditional divide between sender/receiver, author/audience is fading, this era is more about collaborating, participating and interactivity. 1. Merleau-Ponty, Phenomenology of Perception  2. Mallgrave, The Architects Brain 3. Robinson and Pallasmaa, Mind in Architecture The space realm is getting evacuated of concepts and consciousness through the connection threads at a considerable rate, leaving what is left of humans and architecture behind: hollow shells, residues of what has left of the continuum. Shells or the hollowed out spaces are all that is left from the space realm. With time gone, the essence of space changes as well, as time was considered the essence of space (and by extension architecture), like what consciousness is for humans. Without time architecture will reduce to still images, to hollowed out volumes, to surfaces and humans to evacuated human-formed shells with hollow eyes occupying those hollowed out architectural spaces.   [On hollow shells]:  Ponty in the preface of this book talks about Cogito, Ergo Sum’s (Rene Descartes) philosophy about establishing the principle of existence of a being from the fact of their thinking or awareness.1 And his famous saying: I think, therefore I am. The fact that the essence of people lies in their awareness and their consciousness, comes up in the story as people who their consciousness has left their shells have become hollow.  [On brain, the world and consciousness]:  The brain, consciousness and the world are continuously connected to one another. Consciousness is a complex system of parallel processing. So consciousness is creating itself with each new thought or willful focus. Our brain seems to create a small world of its own by the virtue of thought, feeling, reason, memory and language.2 Although this small world is considered a part of the bigger “one” or “whole”.   The mind is not separate from the world but it is actually an embodied dynamic system in the world, rather than merely a neural network in the head. In this model, the world is not a pre-specified external realm represented externally by the brain, but a relational domain enacted by a being’s particular mode of coupling with the environment.3 Neural networks pulsating in dynamic and coordinated rhythms, in formative models of perception, memory and even consciousness can be derived from understanding these rhythms.2 In other words, this understanding happens when our mind dynamics is synchronized with the world’s. The brain is these neural activities, there is no I or self apart from these neural activities.2 Perception and imagination are happening in the same area of brain, they are related. Reality is the product of our most august imagination.3 given this fact, there is no actual boundary between what is happening in the imagination and what is real in a sense, as they are interchangeable. And by extension, there is no identifiable line of where the brain starts and the surroundings ends.  The brain is a part of the surroundings, or the world is an extension of the mind.  If these Temporary humans decide to wonder in the reality they think they know, they will be surrounded by this deceptive and solid-looking image of their surroundings. Temporary humans have this other perception of what is happening around them, they live within this specific image of their so called “reality”. This image of reality is actually a mental image of the equilibrium state of the space time continuum-the stage 1. this image is a static and fixed documentation of that state, it is deceptively covering all the transformations from our perception and presenting the equilibrium state to us apart from what is actually going on beyond. It hides all the hollowness and presents a constant image of what it is expected to look like in their memory instead, like a stage set design! But still while living in the time realm and having this image as a cover, they might confront with their hollow shells that have been left behind in the space realm and be able to sense it through the deceptive image. That’s when the deceptive image drops down and lose its reassuring effect that was holding all the hollowed out volumes together and keep them from collapsing in front of the temporary human’s eye. With that shield gone, the reality reveals its hollowness. It is hollow of time as well as consciously-present-people. As the deceptive image is presenting itself so evidential, no one feels the urge to question it or even rethink it. It pleases any sense of curiosity or any need the Temporary Human feels towards holding down to a reality, searching for it or associating himself with it. This newly revealed reality would jeopardize and deconstruct temporary human’s imaginations of what reality is. The temporary human would lose the concept of reality along with losing that reassuring image.                                   [The stage-set effect]                                                                               [The confrontation moment]  “Things are not always what they appear to be, if you look more closely”.1. Mario Carpo, The Alphabet and the Algorithm (London: MIT, 2011) [On loss of reality]: In the digital age, authenticity is replacing by identicality because visuals have already become perfected. The evaluation of values is now based on non-visuals and not on how things look anymore as they are all identical due to the digital production. Eventually, loss of visuals will follow by the loss of physical object itself. (Mario carpo)      Confronting with his shell and seeing all the walls and floors of the seemingly solid buildings falling apart and revealing the hollowness beyond, leaves him in a state of shock to comprehend all the fundamental changes in what he used to think he knows!  This shock will affect the arrangement of the particles in temporary human and the flow of time. It starts turbulence in the flow which helps to gather all the initial particles of that human from across the realm and reconfigure him to the most complete and defined-edge version of himself; to a Momentarily Whole human.                 [Turbulence and the becoming of momentarily whole human]1. Deleuze, Cinema 1 2. Mitchell, Me++ The turbulence inverses the direction of the flow instantly which makes the particles of consciousness surrounding the Momentarily whole human swirling in the turbulence and eventually hurling out of the flow of time, in configuration of an Emergent Form. An out of time experience, the emergent form is when time densifies and becomes fragmented. An emerging, temporary form that encloses the Momentarily Whole human, for the time being, embraces him in a fragment of time that has been thrown out of that infinite flow, back into the currently time-deprived space realm, where the time can now only exist in fragments and it is temporary. [Stage3]           [Unfolded drawing of the [Stage2] to [Stage3] of the cycle]    [On different types of time]:  Gilles Deleuze talks about time mostly in relation to movement in his book. He further mentions two different aspects of time: 1. Time as a whole: a great spiral open ended on both sides which draws together the sets of movement in the universe and 2. Time as intervals, which indicates the smallest unit of movement.1 Time as interval indicates the smallest amount of time as he measures it by the scale of movement. A fragment of time. In technology point of view: All networks have their particular pace and rhythms. These constructed rhythms partition the time into discrete, assignable and sometimes chargeable chunks.2                                 [An out of time experience, the emergent form; where time densifies]1. Kohn, How Forests Think 2. Robinson and Pallasmaa, Mind in Architecture  A form that is inhabiting in fragments of time will be temporary by nature just as its host is. It is made out of fleeting glimpses of fragmented experiences, illusions of space on the edge of transformation, just as the Momentarily Whole Human is. its existence is dependent on the Momentarily Whole human and vice versa. It will exist until its occupant is willing to remember the shocking confrontation and resisting the temptation of replacing it by that deceptive but relieving image again. As long as he can manage to remain a somewhat whole person, who has been projected as injected consciousness/time over the space realm, creating an illusion of space. [Stage 4]             [Stage 4]-the complete cycle [On the Emergent Form]:  Comparing the structure and qualities of the flow of time to the flow of water, whirlpools representing the emergent form: Whirlpools are something other than the continuous flow which it requires, they are emergent forms. Also, fragile and can only happen under specific circumstances.1 And they are not permanent either.  Emergent form happening in an isolated fragment of time, separate from the flow, creating its own rules and aesthetics, even though momentarily. Emergent form is the architecture of the time-realm, it is the illusive space. A space without spatial qualities. Architecture is a work of art and every significant work of art is a complete microcosm, a metaphoric universe of its own.2 [On momentarily Whole human]:  Architecture is the art form that brings the whole man into play and his bodily sense of himself. Architecture is born from the body and we return to the body when we experience profound architecture.2 Emergent Form, an enclosure of particles of consciousness and time projected back to the space realm, equivalent of architectural spaces, a collage of familiar spaces that just have revealed their hollowness.  A rare occurrence that closes the loop of space time cycle, even though momentarily. This familiar order is a collection of traces of familiar spaces that have been left as memory in our particles, an illusion of space that throws you out of any flow or order of time. In other words, to the world beyond time, when architecture has become a non-space and it is merely an illusion of space. The emergent form is a reflection on what the consciousness has been through, for this illusion is still an extension of consciousness after all, this time only in a fragment of time. flashes of light are what the emergent form is portraying, as that is the extent of light’s existence in a fragment of time. Glimpses of light, glimpses of time.                         [The hypothetical drawing of the emergent form] “Things are not always what they appear to be, if you look more closely”.1. Robinson and Pallasmaa, Mind in Architecture 2. Mallgrave, The Architects Brain  [On humans and architecture]:   Human body as a building and vice versa, both interactive and alive. Buildings meditate between the world and our consciousness, through internalizing the world and externalizing the mind.1  [On emergent form(architecture) and time]:  Architecture is a defense against the terror of time. an instrument with which to confront the cosmos.1 Architecture tames time.1 It confines the infinite flow of time for us to be able to comprehend.  This architecture is made out of length of time.   [On emergent form(architecture) and mind]:  Architecture is a materialized expression of human mental space and our mental space is structured and extended by architecture.1 Our perception of the world is a composing rather than a copying of the external world. We are becoming one with the world and therefore, the body does not exist in time and space, it inhabits space and time. The body is the very precondition for the appearance of space and time. The body is the world, it is the fabric into which all objects are woven, man is but a network of relationships. When we inhabit the world, we at the same time borrow its inner framework of ideas.2 The body is neither a thing nor an idea but a loosely defined collection of ideas. Every experienced spatial order is always structurally identical with a functional order in the distribution of our underlying brain process.2 The fact that the brain structure is actually so similar to underlying structure of the world, the brain is simply an extension of the world or in other words, a concentrated node of the same network of relations as the one running in the world. Each individual builds his or her specific neural map as a result of having different experiences. This is a why we have different and customized perception of the world each that is different from another individual.2   [The structure of mind vs our surroundings]1. Mallgrave, The Architects Brain 2. Mitchell, Me++ 3. Michiel Dehaene and Lieven de Cauter, Heterotopia and the City: Public Space in a Postcivil Society (London: Routledge, 2015)  Internalizing a building in your body. Understanding architecture implies the unconscious measuring of an object or a building with one’s body, and projecting one’s bodily scheme on the space in question. We feel pleasure and protection when the body discovers its resonances in space.1 There is no difference in the brain between thinking about a chair vs seeing a chair.1 A body is like a building. A building is like the world. The world is like a body!    [On emergent form(architecture) and temporality]:  Nowadays the important characteristic of architectural space is the interchangeability aspect of it. How space can have various functions and accommodates various scenarios. It is now less about designer intends and more about imaginative and unanticipated purposes.2 Design is more about designing different ways of controlling the space. Like software changing the function without the form going through any changes. Information infrastructure that provides a framework for dynamic design making, adequate ability, responsive software beats reconfigurable hardware. Now it is the software programmer who controls the space use.2 It is about the software rather than the hardware.  [On heterotopia and emergent form]:   Foucault defines heterotopias as institutions and places that interrupt the apparent continuity and normality of ordinary everyday space. It is not like other common spaces, it is considered as “other space”, it embodies the tension between place and non-place. Heterotopia is nowhere in a sense, a place with no geographical markers, a place without a space, like the reflection in a mirror.3 Heterotopia has the power to juxtapose in a single real place several places, several emplacements that are in themselves incompatible.3 Some heterotopian emplacements are in fact illusionary, as one believes to have entered and, by the very fact of entering one is excluded. Illusionary spaces, counter sites, disparate spaces.3 Heterotopias have two aspects, they either gather familiar spaces around in an illusory manner or, they are a compensation and they create a whole other real space. Or in other words, they are real spaces that show reality to be the illusion. By their very imaginations and illusions heterotopias sustain the normality of everyday space and yet they negate these illusions, replacing them with other imaginary but static places.3 Emergent forms are fragments of illusionary spaces that are hidden in the flow of time, as if happening out of time.  1. Deleuze, Cinema 1 2. Turrell, James, The thingness of light 3. .Schöning, Cinematic Architecture  [On light]:  The plane of immanence is entirely made up of light, the image is movement, just as matter is light. In the movement-image there are not yet bodies or rigid lines, but only figures of light. Things are luminous themselves, without anything illuminating them.1 James Turrell’s theory “thingness of light” and the change of perception that happens in his works to a point where the light becomes solid, divides the space and change our spatial understanding of a space. He describes light as a medium with inherent memory, as a material to sense the history and time with, something that makes time tangible. He states his ideas on a descriptive quote on Roden Crater, an on-going project in the celebration of light: The chambers are designed to capture and hold starlight, both recent and ancient: You can mix this light of different ages as you would mix different wines. The light that comes from the ecliptic, for instance, which is light from the sun and reflected light from the moon, is like Beaujolais. It is new light. Then there is the light that comes from our galaxy, which is a little bit older. If you would actually take out the new light, light from the ecliptic and light from the galactic plane, then you are left with starlight that has taken millions or billions of light years to get to the crater. One chamber is designed to be filled with this ancient, red-shifted light. Inside you will have the sensation of light as a material substance, light with a physical presence which speaks of the passage of time and, also, of something beyond you -the universe that you are part of.2  [On the loops]: The process is happening in loops, just as anything else in this world where the final result is what that has started the whole thing. Gaps are the result of time leaving the continuum, while the very existence of them is the reason that time is leaving. Inconsistencies, glimpses of the unfamiliar showing from underneath the familiar and the juxtaposition of them all is the reason and the result of time leaving the space realm.   Light is seen as the main building material.3    In the end, this whole story can  happen in a gap in time, in other words, as an out of time experience!                                [The  story of humans, in order from bottom to top: hollow shells, temporary humans and momentarily whole humans on the top of the page]1. “City Everywhere by Liam Young (Lecture Performance)”, You Tube video, 43:58, Posted by “MUTEK Montreal”, Apr 18, 2018,  [Precedents]:  Liam Young is one of the most influential people in my research. He is a speculative architect who create narratives and makes movies based on those narratives. I have included some of his projects here as my precedents:  [City Everywhere by Liam Young (Lecture Performance) – 2018]: He explores going back behind the screen to look at the landscapes, people and machines that are producing those technologies and the future, through the lens of narratives, film and fiction. He introduces different examples of post Anthropocene cities in the future, where there are no peripheries and no boundaries, all cities are one, called cities everywhere. Just a continuous city of technology. A selection of tales from the dark side of technology. A city symphony gathered together from the actual footages of actual cities they have visited combined with speculative futuristic cities designed by him and his think tank.  A city of cloud of information. An emerging world tied to machines, technologies and cameras.  In this project he is envisioning an invisible net invading the space, dissolving the walls into a flow of information. The physical space appears as a fragile artifact or effect that can only be seen if caught in the net. In this city, the eyes of the city are numerous and a constant surveillance is happening. A city dissolving into fragments, looking temporary and in constant flux.  Ghost landscapes that only exist in our minds because of their existence in the virtual mediums while they don’t exist physically.  In the city everywhere, people had to design a hoody to remain invisible form the city scanning devices. You are visible physically and to human’s eye, but you are invisible only to machine’s eyes and that is what matters in this age. That is what defines being invisible.  The city is blank, like a green screen and can only be defined and animated by machines, augmented reality.  In a city where the life of the screen bleeds out and become the life of our spaces.  And that is how everything has reduced to surface to screens. 1. Liam Young, “ Neo-Machine: Architecture Without People,” Machine Landscape: Architecture of Post Anthropocene, January 11, 2019) [Architecture without people-neo machines Liam Young]:  Architecture without people, machine landscapes, this book is about the buildings where we keep the world in. The buildings that are storing our photos, information and our history. Like the home to Facebook. This space is filled with data and information and empty of people. It doesn’t require a lot for its architecture, the information and the machines can survive under a simple air conditioned environment. Here is the storage that holds our lives, our everything and we usually don’t seem to even know it exists physically. As our lives are getting less physically tangible, we have this imagination that they are being stored in a virtual storage. It is not important for us where they are, because they are with us no matter which location we are logging in from. He also talks about humans and their role in changing the world with what their developments and technological devices. He argues that, we might have been the starters of this trend, but we are not the leaders. Once something is started, it is definitely out of our hands, it is autonomous and alive, evolving and changing the world. We are already living in post Anthropocene. Machine landscapes are blank buildings containing the world history. An anonymous place for everything. Machine landscapes made us question all that we know of architecture. We are not in the center of all this anymore, we are not in the equation anymore!11. “WDCH Dreams,” Refik Anadol, accessed December 17, 2019, Refik Anadol-projects! Read about them Walt Disney Concert Hall Dream: Animating the Disney concert hall, giving the building consciousness, projecting what is happening inside on the outside of the building. They documented all the images existed from the concerts and shows that happened in that concert hall, add them to a simulator that combined and morphed the stack of images based on their similarities and then create a visual world out of them that does not exist on the big picture level but it does exist on the pixelated level. They did the same thing with the sound clips of the concerts that happened there. They with the help of deep neural network analyzers and other dimensional-reduction algorithms were able to simulate the patterns that we can’t see, patterns of the relations between images and sounds. To make the invisible, visible.  it is a projection of time through light. They introduced new realms of ideas and new ways of thinking by creating these new combinations of pixels and soundtracks.      1. “WDCH Dreams,” Refik Anadol, accessed December 17, 2019, [Pladis: Data Universe-2018-2019]: Refik Anadol studio Pladis: Data Universe’ is an immersive environment project by Refik Anadol. Project is an integral part of artist’s ongoing ‘Temporary Immersive Environment Experiments’ which is a research on audio/visual installations by using the state called immersion which is the state of consciousness where an immersant’s awareness of physical self is transformed by being surrounded in an engrossing environment; often artificial, creating a perception of presence in a non-physical world.  In this project ‘infinity’ and dataset from NASA chosen as a concept, a radical effort to deconstruct the framework of this illusory space and transgress the normal boundaries of the viewing experience to set out to transform the conventional flat cinema projection screen into a three dimensional kinetic and architectonic space of visualisation by using contemporary algorithms.  Light is the major element in the experiment, used to blur and interconnect the boundaries between the two realms actual/fictional and physical/virtual. It signifies the threshold between the simulacrum space created by the projection technology, and the physical space where the viewer stands. The experiments will discuss the inherent spatial qualities of immersive virtual environments and their effect on the embodied person. Through the presented framework, the experiments intend to question the relativity of perception and how it informs the apprehension of our surroundings. Rather than approaching the medium as a means of escape into some disembodied techno-utopian fantasy, projects sees itself as a means of return, i.e. facilitating a temporary release from our habitual perceptions and culturally biased assumptions about being in the world, to enable us, however momentarily, to perceive ourselves and the world around us freshly.12. “WDCH Dreams,” Refik Anadol, accessed December 17, 2019, [Melting Memories-2017-2018]: Refik Anadol studio From February 7 through March 17, 2018, Pilevneli Gallery presented Refik Anadol’s latest project on the materiality of remembering. Melting Memories offered new insights into the representational possibilities emerging from the intersection of advanced technology and contemporary art. By showcasing several interdisciplinary projects that translate the elusive process of memory retrieval into data collections, the exhibition immersed visitors in Anadol’s creative vision of “recollection.” Comprising data paintings, augmented data sculptures and light projections, the project as a whole debuts new advances in technology that enable visitors to experience aesthetic interpretations of motor movements inside a human brain. Each work grows out of the artist’s impressive experiments with the advanced technology tools provided by the Neuroscape Laboratory at the University of California, San Francisco. Neuroscape is a neuroscience center focusing on technology creation and scientific research on brain function of both healthy and impaired individuals. Anadol gathers data on the neural mechanisms of cognitive control from an EEG (electroencephalogram) that measures changes in brain wave activity and provides evidence of how the brain functions over time. These data sets constitute the building blocks for the unique algorithms that the artist needs for the multi-dimensional visual structures on display. Anadol’s installations do not only address a productive espousal of cutting-edge technology and art but also a strong preoccupation with the study of human memory from Ancient Egyptians to Blade Runner 2049. The exhibition’s title, Melting Memories, refers to the artist’s experience with unexpected interconnections among seminal philosophical works, academic inquiries and artworks that take memory as their principal themes. The title further draws attention to the melting of neuroscience and technology into these centuries-long philosophical debates, questioning the emergence of a new space where artificial intelligence is not in conflict with individuality and intimacy. 1. James Turrell, “About,” Roden Crater, accessed December 17, 2019, [James Turrel- Roden Crater-light]  Roden Crater, located in the Painted Desert region of Northern Arizona, is an unprecedented large-scale artwork created within a volcanic cinder cone by light and space artist James Turrell. Representing the culmination of the artist’s lifelong research in the field of human visual and psychological perception, Roden Crater is a controlled environment for the experiencing and contemplation of light. It takes its place within the tradition of American landscape art that began in the 1960s, requiring a journey to visit the work in the remote desert with truly dark night skies. While minimally invasive to the external natural landscape, internally the red and black cinder has been transformed into special engineered spaces where the cycles of geologic and celestial time can be directly experienced. It will constitute a truly culminating phenomenon in world art.  Turrell’s immersive work with how we see light in varying contexts, both natural and created, led him to conceive an artwork so remote from manmade distractions, and at a high altitude so naturally conducive to unlimited sightlines of the vast sky, that it could provide a singular experience. After an extensive search, he found his ideal conditions at Roden Crater. Since acquiring the dormant cinder cone in 1977, Turrell has fashioned Roden Crater into a site containing tunnels and apertures that open onto pristine skies, capturing light directly from the sun in daylight hours, and the planets and stars at night. Indeed, it is more akin to the communally developed sites of ancient Incas, than to the conceptions of any individual one can think of in modern times.  Roden Crater is a gateway to the contemplation of light, time and landscape. It is the magnum opus of James Turrell’s career, a work that, besides being a monument to land art, functions as a naked eye observatory of earthly and celestial events that are both predictable and continually in flux. Constructed to last for centuries to come, Roden Crater links the physical and the ephemeral, the objective with the subjective, in a transformative sensory experience.1 He talks about light as a “thing”, as if it is materialized and has solidity to it. In this building, he designed the whole structure around light and in the celebration of light. He positioned some of his sky rooms in a direction that they don’t get any unwanted light and all they get is light coming from the old times, from far away in the galaxy. Like receiving “time” in the vessel of light. Being in those room and having the ancient light being poured on you, are you considered being in those times? Where and where are you during that experience?  1. Rachel Hann, “Blurred Architecture: Duration and performance in the work of Diller Scofidio + Renfro,” , (October 2012).  2. Beatriz Colomina, Mark Wigley, Are we human? ( Zürich Lars Müller, 2016)  Blur pavilion- Diller+Scofidio-2002 The pavilion Diller+Scofidio finished designing on October 2002 in Switzerland. A steel structure pavilion floating on the Neuchâtel lake, covered with mist. They used fog and steel as the primary material for their design and as the result, one can imagine the ever-changing notion of its form. A building that moves with the wind and changes in dimension and form depending on the environmental conditions. In other words, it has loose boundaries and indistinct borders, as you can’t really tell where the building ends and the sky continues due to the moving volume of this pavilion. Time. Architecture could be understood as a container for time and as Pallasmaa puts it: “Architecture emancipates us from the embrace of the present and allows us to experience the slow, healing flow of time.… [Buildings] enable us to see and understand the passing of history, and to participate in time cycles that surpass individual life.” ¹ Buildings are fixtures in the timeline of history which are changing slightly and slowly with the surrounding condition and by those means help us comprehend the invisible passage of time. With this in mind, movement and change can be considered as some visible signs of time-that can appear as aging or cracking or etc. on a building. Since whenever a movement or a change happens, there is time involved or in other words, in order to comprehend the movement, you need some amount of time passage. In Blur’s case, the whole form is accused to change constantly with every wind for it has an unstable material: a cloud for the form. Instability and movement is the notion of this building as well as time’s.  A building that is portraying time with its form. Going back to the   concept of boundary, Blur is a borderless architecture which visualizes the concept of time that is basically borderless itself.  This borderless quality of Blur continues in other levels of the project; as Rachel Hann states in “Blurred Architecture: Duration and performance in the work of Diller Scofidio + Renfro” article, it is blurring the boundaries between disciplines, architecture and other arts. She explains, it is more of a performance than architecture and since it has a reciprocal relationship between its occupants it can be considered as a performative architecture. ¹ Performances are time-based arts that when happening in the medium of architecture could happen through both the occupants and the architecture itself. In the case of Blur, you can call it an ongoing collaborative performance of the building (cloud), its occupants and nature (mostly the weather condition). They are all an active part of this performance which reacts to each other’s acts that creates this reciprocal relationship between them. Rachel talks about architecture as something that is defined by social transactions it supports. These social transactions are occupant’s role in this performance. Consequently, she brought this quote from Tschumi that there is no architecture without event, architecture is driven from events and interactions happening in it and on the other hand this events and interactions are shaped by the architecture as well. In fact, they are mutually affecting each other or designing and being designed by each other. There is a similar idea mentioned in “Are we human?” book that explains how architecture is designed by human and how it is designing the human afterward. The authors explain in detail how our behavior and even our personality is affected by the very space we created. ²  In relation to Blur, it seems   architecture as an actor in this performance has stepped aside in a “Blur” and out of focus to open up the stage more for other actors to perform. So events are created by mixed and indistinguishable 1. Cary Wolfe, “Lose the Building: Systems Theory, Architecture, and Diller+Scofidio’s Blur”, Postmodern Culture 16, no.3 (May 2006): 1053-1920 interactions between people, the cloud, wind, and other smaller contributing roles. The effect of each actor is not clear by its own, it is a cloud of effects that create this collaborative acts. Consequently, this mix leads to greater performance and finally the design of Blur, even though just for a fraction of time and before it changes again! This building is a Blurred platform for this mist of indistinguishable acts and reactions. Considering the concept of boundaries this time in the relationship of exterior and interior in this building and as mentioned above, it is not clear where the building stops and the environment starts. Niklas Luhmann’s words in Cary Wolfe’s article explains the relationship of a system as a broader term or an object (in our case: Blur) with its environment and the fact that a system always tries to exclude itself from the environment and by doing so it can be understood as a separate system. ¹ Whereas with Blur, this never happens. Although it looks like it has excluded itself from the environment but the reality is that the environment is still there, it is all over the space.  Christo and Jean Claud’s Wrappings can be another reaction to the concept of boundaries as they had this argument that, if buildings can no longer legitimize their boundaries, they must be wrapped. By wrapping the buildings, the form was going in a process of invisibilization that paradoxically led to make it even more visible and noticeable by concealing it. In this relation, Luhmann explains this paradox of when invisibilization of something accompanies making something else visible. And further in the article Wolfe claims, Blur is a wrapped building with no building inside or as the architect (Diller) says, Blure is the making of nothing. ¹For Blur, it is the wrapping that is more important or put it this way: the wrapping is The form of the building. Also, in this case, the wrapping is formless as it is constantly changing and there are no distinct boundaries to it. Author of the article, Wolfe states this issue as, the strength of Blur’s formal innovation is its formlessness- a paradox! ¹ To conclude, Blur is fading boundaries between different realms, it is diminishing the boundary between architecture and other arts such as performative art, as the main one. It is becoming whole another identity than conventional architecture that we are used to seeing more often. As discussed above, it is going in the realm of performative art or better to say it this way: it is fading the boundaries of architecture discipline and transforming to a performance. Architecture discipline is dealing with time in a new way in Blur pavilion. Blur is a building that consists of events, happenings or in other words performances rather than solid materials. Architecture that is usually more solid and has distinguishable boundaries with the rest of the world, here is turning to something quite opposite to its nature: to something borderless and indistinguishable from its environment. While all these are happening the architecture itself is fading in the background, it is being made of time more than showing portraying the passage of time on itself. A cloud of time which you can see your visual interaction effects in! 1. Louisa Magrics, “Frei Otto,” researchlm, April 11, 2016,  [AMID.Cero09: Immaterial museum]: A spatial loop that takes away all the possible perceptions of space or the emplacement, loss of spatial references, it is an infinite spatial loop. Rather than being a building, the immaterial museum is a disturbance, a map to the visual, climatic and digital displacement of the museum garden. This ring configuration defines a space whose extents are impossible to perceive, a kind of mechanism of dislocation and loss of spatial references that expands the size of the museum into an infinite spatial loop.1                              1. Louisa Magrics, “Frei Otto,” researchlm, April 11, 2016,   [Frie Otto: Wool Experiences]:  In these wool experiments he explored the qualities inherent in this material and its structure in the form of cancellous bone structure. Around the beginning of the 1990s, Frei Otto and his team at the Institute for Lightweight Structures in Stuttgart studied what they called “optimized path systems.” Previously, similar to the chain modeling technique Gaudí used for the Sagrada Familia, they had experimented with material systems for calculating form. Each of these material machines was devised so that, through numerous interactions among its elements over a certain time span, the machine restructures, or as Frei Otto says, “finds (a) form.” Most of them consist of materials that process forces by transformation, which is a special form of analog computing. Since the materials function as “agents,” it is essential that they have a certain flexibility, a certain amount of freedom to act. It is also essential however, that this freedom is limited to a certain degree set by the structure of the machine itself.  The material interactions frequently result in a geometry that is based on complex material behaviour of elasticity and variability. Sand, balloons, paper, soap film (including the famous minimal surfaces for the Munich Olympic Stadium), soap bubbles, glue, varnish, and the ones I will be referring to here: the wool-thread machines. This last technique was used to calculate the shape of two-dimensional city patterns, but also of three-dimensional cancellous bone structure or branching column systems. They are all similar vectorized systems that economize on the number of paths, meaning they share a geometry of merging and bifurcating. 1   [Antony Gormley, Another singularity, installation-2008]: Mathematical physicist and philosopher Roger Penrose wrote an essay on his exhibition. He began by writing about architecture of mathematics and the beauty of geometry. Then he went on to consider the cosmological perspective, the four-dimensional geometry of space-time, the gravitational field of collapsed stars, and black holes, the event horizon and the condition of singularity, ‘where the destiny of matter and the curvature of space-time…becomes infinite and everything goes crazy’. His body zones present analogies on a cosmic scale just as readily as they do at the sub-optical level of atomic or organic structure. Another Singularity, of 2008-09, proposes the body as an abstracted space, without dimensions rather than as object. From a core of polyhedra that describes a body zone-five times life-size-lines of tensioned cord shoot out to walls and ceiling and the four corners of the gallery, lines of seemingly infinite expansion from the skin of the body to the ‘skin’ of the architecture. As with earlier immersive works, viewers entered this high-energy field of expanding space, ever-changing as they moved through, as light from outside caught the lines. Gormley saw the work as internalizing the ‘foundational conditions of space/time’, the ‘Big Bang’: the ‘singularity’ of the title is a reference to a location in space/time where the gravitational field of a celestial body becomes infinite. 1   [Antony Gormley-The blind light, installation-2007]: He was exploring light and dark in this installation based on the experiences he had as a kid. Gaston Bachelard, quoting a well-known line from Baudelaire- ‘vast like night and like the light’-wrote of dreams of ‘intimate immensity’, of two kinds of space that affect us imaginatively, intimate space and exterior space. ‘space, vast space, is the friend of being’, he contended. Gormley’s description of the dust strom in the outbreak in Australia, back in 1989, was of a feeling of ‘total emotion-being integrated in a moment of time and space that was totally connected, universally alive’: then, he’d been ‘swept up in a moment of pure becoming’. Such intense experiences, moments of connection, of engagement with incommensurable realities, were for him testament to his firm conviction, expresses back in 1985, that ‘deep within our cellular wisdom there is a close bond between us and the really powerful things in the world, the elements, the planets, and the space that connects them all.’ This installation was first created at Hayward Gallery in London in 2007, creating a paradox, a re-creation of the same experience. A cooled atmosphere of almost total humidity, intensely illuminated from above in a glass room in the middle of a dark gallery. He imagined it as a ‘very brightly lit glass box filled with dense cloud, where people will vanish as they enter the chamber but might emerge as shadows for the viewers outside of the box.’ The idea of making the invisible manifests, of being without mass that is made of light. The sense of disorientation, aloneness and apartness. A state of feeling without seeing, of sensation without narrative, beyond appearance-between the material and the immaterial- in which what is within you and what is outside feels one and the same. If Gormley’s project, as whole, can be said to present the body as a catalyst for reflexivity, Blind Light takes this to its furthest point, inducing you to feel yourself as ‘a disembodied intelligence-a thought in space.’ 1                  Film precedents:  [Tim Burton-Miss Peregrine’s Home for Peculiar Children movie-2016]: Miss Peregrine's Home for Peculiar Children is a 2016 American fantasy film directed by Tim Burton and written by Jane Goldman, based on the 2011 novel of the same name by Ransom Riggs. [Inception- Christopher Nolan-2010]  [Interstellar – Christopher Nolan-2014]  [Memento- Christopher Nolan-2000]  [The Lighthouse-Robert Eggers-2019]  [The Pillow Book-Peter Greenaway-1996]   [The brain being an extension of the world]   [The Film] For the production of the film, I followed the storyboard that I had generated, modeled some 3d scenes in Rhino and used After Effects to overlay them with effects and lights and animate the whole scene. I used Cinema 4d and different plugins on After Effects as well as animating my 2d hand-drawn drawings to come to life and encompass the viewer. The music of the film was a collaboration between Nick Penner and I. I used Bloom, Brian Eno’s application to create the first draft of the music for the film. And Nick edited that version and added some original sound effects to it.  The dual narrative of the film: My voice as opposed to the computer voice helped me to narrate the story in a more organized way. As the computer voice is telling all the facts and quotes while I just tell the pure story. This created a dynamic effect to the narration that leads the viewer through the ups and downs of the experience of watching the film.  Here I have attached a link to the final version of the film. And the link to a webpage I created for showing my original drawings                  [The Installation] To go a step further, I decided to build an installation of light to encompass the viewer even more in the experience. Due to the changes of plan and having a digital presentation only, I incorporate the installation in the project in terms of adding some footages of the viewer entering this vaporized world of light and consciousness in the beginning and the end of the film. As a way of setting the mind of the viewer for experiencing this journey.                                                                                           Installation storyboard-                                                                                 Installation plan and perspective drawings         Installation photos by Sai Di       [Bibliography]: Baudrillard, Jean, Alain Willaume, and Chris Turner. Why Hasnt Everything Already Disappeared? London: Seagull Books, 2016. Baudrillard, Jean. Simulacra and Simulation. University of Michigan press, 1994. Carpo, Mario. The Alphabet and the Algorithm. London: MIT, 2011.  Dehaene, Michiel, and Lieven de Cauter. Heterotopia and the City: Public Space in a Postcivil Society. London: Routledge, 2015.   Deleuze, Gilles. Cinema 1: The Movement Image. Univ Of Minnesota Press, 1986.   Einstein, Albert, Reinhold Fürth, and A. D. Cowper. Investigations on the Theory of the Brownian Movement. New York: Dover, 1956. Hawking, Stephen. A Brief History of Time. Random House US, 2018.   Hawking, Stephen. Brief Answers to the Big Questions. London: John Murray, 2019.  Kohn, Eduardo. How Forests Think: toward an Anthropology beyond the Human. Berkeley, London: University of California Press, 2015.   Merleau-Ponty, Maurice, and Colin Smith. Phenomenology of Perception. Nevada: Franklin Classics, 2018.   Mitchell, William John. Me++ : the Cyborg Self and the Networked City. Cambridge, Mass: MIT, 2010.   Robinson, Sarah, and Juhani Pallasmaa. Mind in Architecture: Neuroscience, Embodiment, and the Future of Design. Cambridge, MA: The MIT Press, 2017.    Simondon, Gilbert, Malaspina Cécile, and John Rogove. On the Mode of Existence of Technical Objects. Minneapolis, MN: Univocal Publishing, 2017.  Young, Liam. “ Neo-Machine: Architecture Without People.” Machine Landscape: Architecture of Post Anthropocene, January 11, 2019. Francis, Harry. Mallgrave, The Architects Brain: Neuroscience, Creativity, and Architecture. Malden, MA: Wiley-Blackwell, 2012   Deleuze, Gilles, John Rajchman, and Anne Boyman, Pure Immanence: Essays on a Life. New York: Zone Books, 2012  Pascal, Schöning, Cinematic Architecture. London: AA Publ., 2009  Doray, Chris. “Commodifying Consciousness”, Master of Arts thesis, Architectural Association school of Architecture(AA), 2017  Deleuze, Gilles, Spinoza: Practical Philosophy, City Lights Books, 1988, pg. 59  Isozaki, Arata and Tadashi, Ken Oshima, Arata Isozaki. Phaidon Press, 2009  McLuhan, Marshall. This is Marshall McLuhan: The medium is the message. New York: NBC, 1967  Colomina, Beatriz and Wigley, Mark, Are we human? Zürich Lars Müller, 2016  Wolfe, Cary, “Lose the Building: Systems Theory, Architecture, and Diller+Scofidio’s Blur”, Postmodern Culture 16, no.3, May 2006       Websites:  “City Everywhere by Liam Young (Lecture Performance)”, You Tube video, 43:58, Posted by “MUTEK Montreal”, Apr 18, 2018,  Turrell, James. “About.” Roden Crater. Accessed December 17, 2019.   “WDCH Dreams.” Refik Anadol. Accessed December 17, 2019.  “Another Singularity .” Antony Gormley. Accessed December 17, 2019.   “Immaterial Museum .” Cristina y Efrén. Accessed December 17, 2019.   Magrics, Louisa. “Frei Otto.” researchlm, April 11, 2016.  “The Blind Light.” Antony Gormley. Accessed December 17, 2019.  Barras, Colin, “What is a ray of light made of?”, BBC/earth, BBC,  “Ray Kurzweil – The Future & The Technological Singularity”, You Tube Video, 2:58:47, Posted by “The Artificial Intelligence Channel”, Mar 25, 2018,  Hann, Rachel, “Blurred Architecture: Duration and performance in the work of Diller Scofidio + Renfro,” October 2012.  


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