UBC Graduate Research

Apartment 432 Lüttich, Kim 2021-05

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- A -so that what you thought you knew was something completely different.Apartment 432.kim lüttich- ii -- i - They sailed well and the old man soaked his hands in the salt water and tried to keep his head clear. There were high cumulus clouds and enough cirrus above them so that the old man knew the breeze would last all night. The old man looked at the sh constantly to make sure it was true. It was an hour before the rst shark hit him. The shark was not an accident. He had come up from deep down in the water as the dark cloud of blood had settled and dispersed in the mile deep sea He had come up so fast and absolutely without caution that he broke the surface of the blue water and was in the sun. Then he fell back into the sea and picked up the scent and started swimming on the course the skiff and the sh had taken. It was almost too good to be true. These words cannot be taken literally. When the old man saw him coming be knew that this was a shark that had no fear at all and would do exactly what he wished. He prepared the harpoon and made the rope fast while he watched the shark come on. The rope was short as it lacked what he had cut away to lash the sh. The old man's head was clear and good now and he was full of resolution, but he had little hope. It was too good to last, he thought. He took one look at the great sh as he watched the shark close in. It might as well have been a dream, he thought. I cannot keep him from hitting me but maybe I can get him. Dentuso , he thought. Bad luck to your mother.Space has long been seen as being a monolithic whole, a monolithic hull which is grounded in the perception of four walls. Space, however is not quite so trivial, not quite so clinical. Instead, it is an entity of many: beings, forms, phrases, phases, scales. It is not confined nor defined by its boundar-ies but rather by its intestines; itself is a being. This is a story of an x-ray of Itself, in time and through time, with scale to itself and to others. It is a reel of its life, in real life.This is a beginning. Or at least that’s what I think.abstract- iv -- iii -i i i0 10 20 30 40 50 60 7 i i ii vvv iv i iv i i iBut thisis not the end.First, something like a draft disturbs dust,picks plaster, unsettles papersgathers into a breeze, darkens into a wind,a gust.Then the walls collapse.Its long fingers drape, hang(In the middle of the room, the midst of the things)It demandsSpace.Don’t forget, It says,time is as confining as Space.It surveys the Emptiness,graces the floor, gnarls,looks at her straight in the eye and - - The walls snap back. The windows bang closed.There never was a window there before.The Vastness is a severed circle,half over, half on, the Space’s oily skin.She reaches out, right therestartled by her hunger for It.Startled by her own Unknown. Don’t forget, It says,this is the world of the Unknowing Known.This is the world of experimentation,of bubbling and blubbering concoctions,reaching, dripping...But thisis not the End.content- vi -- v - I started this project trying to define what Space is, what Space was. I quickly learned that it was a lot more com-plicated than that. And so I did precisely that which I had been so relieved not to have to do: I built. Little empires, little ves-sels; at war, in war; complete destruction; complete construc-tion.  And as the virus waged on, my apartment became my laboratory. A place of constant creation, exploration, miscalcu-lation. Here I was, in my apartment, seeing things for the first time. I saw tea leaves, and coffee, baby grains of sand being led to the playground by their parents. I saw highways of dust, all meeting at the same pullout. I saw bouquets of miniscule water droplets, floating, hovering, until they mysteriously vanished, only to reappear again later.  It became something greater than I could ever have known. And it certainly is not over. This is a working document, an instrument to be amended all on its own.  This project has become so much more than I could ever have thought I could do. I owe many thanks to Thena, Yek-ta, Tom, and Mahina. acknowledgementsi.But thisis not the End.- viii -- vii -list of figuresii.First, something like a draft disturbs dust,picks plaster, unsettles papersFig. 1   A Slice of the Door of Apartment 432     From Dust, Showing Debris, with the     Door Being Open, Author, 2021; Title     Page.Fig. 2  A Picture of A Jumble of Words,   Unheard and Misunderstood, Author,     2020; p.i.Fig. 3  A Growth, Without a Tumour,  Laurenzo Light et al.  3.603B; p.2.Fig. 4  The Light Spills Into a Window and Grows,    Laurenzo Light et al.  3.603B; p.3.Fig. 5  Peace Has Left and Chaos Returns, Light    Continues to Grow, Laurenzo Light et al.     3.603B; p.4.Fig. 6  The Enemies Are Encroaching, The Light    Still Grows, Laurenzo Light et al.,   3.603B; p.5.Fig. 7  Will There Be Peace, Undecided, The Light    is Growing More Slowly, Laurenzo Light   et al., 3.603B; p.6.Fig. 8  The School Bus Line, From the House   Across the Street, Renae Htoo, 4.534B; p.10.Fig. 9  Everything is Disappearing Only to   Reappear Again and Again and Probably    Again, Oliver Aire, 400M; p.14.Fig. 10  A View From the Sleep, But Not Everyone   is Here and Not Everyone is Sleeping,   Doreen Usta, 360; p.18.Fig. 11  Before the Next Session Started but After    the Last One Ended, Carol Gerret, 82; p.22.Fig. 12  The Rush Between the Dark (or so) and the    Other Dark (and wet), Sol Cuchara, 175842;    p.26.Fig. 13  Everything is in Chaos and This is an   Imprint of It, Frida Oot et al., 13-21; p.30.Fig. 14  Map Showing Different Networks and the    Cloud Behind Them, Isabella Fiwfe, 289467;    p.34.Fig. 15  Dust, Under the Couch, Before the War,   Doreen Usta et al., 10e18; p.38.Fig. 16  Dust, Under the Couch, During the War,   Doreen Usta et al., 10e19.5; p.39.*All documentation produced by: Blake Nuit, Carol Gerret, Doreen Usta, Ferda Fhly, Isabella Fiwfe, Patryk Knut, Frida Oot, Georgia Laetin, Grant Lio, Laurenzo Light, Oliver Aire, Peter Apier, Ralph Quabge, Renae Htoo, Sean Cactiu,  Sol Cuchara or B.I.O.H.A. Press is being used with the permission of the attributed artists.- x -- ix -Fig. 17  Dust, Under the Couch, After the War,  Doreen Usta et al., 10e20; p.40. Fig. 18  Moisture Hitting the Window, Shock,   Renae Htoo et al., 22369; p.41.Fig. 19  Moisture Sunbathing on the Window,   Slowly, Renae Htoo et al., 22369.11; p.42.Fig. 20  Fruit Fly Flying Around Its Earth, A   Cactus, Ferda Fhly and Sean Cactiu,   8mil.37; p.43.Fig. 21  Darkness Meeting Lightness, Along the    Carpet, Laurenzo Light and Blake Nuit,    4.603B; p.44.Fig. 22  Darkness Ate Lightness, Along the Carpet,    Laurenzo Light and Blake Nuit,   4.603B; p.45.Fig. 23  Drawing of a Drawing of the Plan of   Apartment 432, Author, 2021; p.47.Fig. 24  Photograph of Apartment 432 with   Instruments in Place, Author, 2021; p.48.Fig. 25  Drawing of a Photograph of an Elevation of    Instrument 001, Author, 2021; p.51.Fig. 26  Photograph of Instrument 001 from the    Kitchen, Author, 2021; p.52.Fig. 27  Details of Instrument 001, View Through   the Panel, Author, 2021; p.53.Fig. 28  Details of Instrument 001, Looking Up    Along the Panels, Author, 2021; p.53.Fig. 29  Details of Instrument 001, Looking North    Along the Panels, Author, 2021; p.53.Fig. 30  Drawing of a Photograph of a Plan of   Instrument 002, Author, 2021; p.57.Fig. 31  Stitched Picture of a Timelapse Montage of    Instrument 002 in Apartment 432, Author,    2021; p.58.Fig. 32  Collage of Scans of Carbon Copy Paper    Components of Instrument 002 (1:1 scale of    Apartment 432 just not in this reproduction),   Author, 2021; p.59.Fig. 33  Detail of Collage of Scans of Carbon Copy    Paper Components of Instrument 002,   Detail of Component #284, Patryk Knut,    2021; p.60.Fig. 34  Detail of Collage of Scans of Carbon Copy    Paper Components of Instrument 002,   Detail of Component #235, Patryk Knut,    2021; p.60. Fig. 35  Drawing of a Photograph of an Elevation of    Instrument 003, Author, 2021; p.63.Fig. 36  Detail of Drawing of a Photograph of an   Elevation of Instrument 003, Component   01, Author, 2021; p.64.Fig. 37  Detail of Drawing of a Photograph of an   Elevation of Instrument 003, Component   02, Author, 2021; p.64.Fig. 38  Detail of Drawing of a Photograph of an   Elevation of Instrument 003, Component   03, Author, 2021; p.64.Fig. 39  Photograph of Components 01, 02, and 03    of Instrument 003 In-Situ, Author, 2021;    p.65.Fig. 40  Photograph of Components 01, 02, and 03    of Instrument 003 In-Situ, Author, 2021;    p.65.Fig. 41  Detail of Component 02 of Instrument 003,    Author, 2021; p.65.Fig. 42  Detail of Component 01 of Instrument 003,    Author, 2021; p.65.Fig. 43  Drawing of a Photograph of an Elevation of    Instrument 004, Author, 2021; p.69.Fig. 44  Instrument 004 In-Situ (with Instrument    003 in background and Instrument 005 in    foreground), Author, 2021; p.70.Fig. 45  Instrument 004 In-Situ (with Instrument    005 in the background), Author, 2021; p.71.Fig. 46  Detail of Instrument 004 in the Valley,   Author, 2021; p.72.Fig. 47  Detail of Instrument 004 on the Peak,   Author, 2021; p.72.Fig. 48  Detail of Instrument 004 - Longitudinal,   Author, 2021; p.72.Fig. 49  Detail of Instrument 004 in the Middle,   Author, 2021; p.72.Fig. 50  Drawing of a Photograph of an Elevation of    Instrument 005, Author, 2021; p.75.- xii - - xiii -Fig. 51  Partial Elevation of Instrument 005, Author,    2021; p.76.Fig. 52  Detail of Instrument 005 from Below,   Author, 2021; p.76. Fig. 53  Detail of Instrument 005 Showing   Suspension Instrument, Author, 2021; p.78.Fig. 54  Detail of Instrument 005, Author, 2021; p.78.Fig. 55  Detail of Instrument 005, Author, 2021; p.78.Fig. 56  Detail of Instrument 005 Showing   Relationship to Floor, Author, 2021; p.78. Fig. 57  Drawing of a Photograph of an Elevation of    Instrument 006, Author, 2021; p.81.Fig. 58  Photograph of Instrument 006 with a   Visitor, Author, 2021; p.82.Fig. 59  Plan Photograph of Instrument 006 with    Breakfast, Author, 2021; p.82.Fig. 60  Detail of Instrument 006, Author, 2021; p.83.Fig. 61  Detail of Instrument 006, Author, 2021; p.83.Fig. 62  Detail of Instrument 006, Author, 2021; p.83.Fig. 63  Detail of Instrument 006 with Crumbs,   Author, 2021; p.83.Fig. 64  Drawing of a Photograph of an Elevation    of the Office Underneath the Stairs in   Apartment 432, Author, 2021; p.86.Fig. 65  Plate II, Author, 2021; p.92.Fig. 66  Meteorite Dust, Author, 2021; p.93.Fig. 67  The Explosion of an Atomic Bomb 0.0016    milliseconds After the Trigger is Pressed,    Author, 2021; p.95.Fig. 68  Making of Instrument 001, The Panels are    Hanging Part A, Author, 2021; p.101.Fig. 69  Making of Instrument 001, A Real   Close-Up with Blemishes, Author, 2021;    p.101.Fig. 70  Making of Instrument 001, The Panels are    Drying, Author, 2021; p.101.Fig. 71  Making of Instrument 001, The Back Will    Never Be the Same, Author, 2021; p.101.Fig. 72  Making of Instrument 001, The Panels are    Hanging Part B, Author, 2021; p.101.Fig. 73  Making of Instrument 001, The Sun is   Tyring to Get Through, Author, 2021; p.101.Fig. 74  Making of Instrument 001, The Panels are    Hanging Part C, Author, 2021; p.101.Fig. 75  Making of Instrument 002, Panels are   Everywhere and the Floor is Gone, Author,    2021; p.102. Fig. 76  Making of Instrument 002, It Used to Be    Clean, Author, 2021; p.102.Fig. 77  Making of Instrument 002, A View from the    Bedroom with a View to the Outside that is    Reflected Back Inside 1, Author, 2021; p.102. Fig. 78  Making of Instrument 002, A View from the    Bedroom with a View to the Outside that is    Reflected Back Inside 2, Author, 2021; p.102.Fig. 79  Making of Instrument 003, The Blender and    the Purple Mush, Author, 2021; p.105.Fig. 80  Making of Instrument 003, A View of the    Pulp Before It Got Stuck, Author, 2021;    p.105.Fig. 81  Making of Instrument 003, The Pulp After   it Ripped the Paper, Author, 2021; p.105.Fig. 82  Making of Instrument 003, More Pulp    Again, Author, 2021; p.105.Fig. 83  Making of Instrument 003, This Really    Didn’t Work or Always Use the Paper Part A,   Author, 2021; p.105. Fig. 84  Making of Instrument 003, This Really    Didn’t Work or Always Use the Paper Part A,   Author, 2021; p.105. Fig. 85  Making of Instrument 003, Everything Is    Really Slow, Author, 2021; p.105.Fig. 86  Making of Instrument 003, The End,   Author, 2021; p.105.Fig. 87  Making of Instrument 004, The View After    46 Hours, Author, 2021; p.106.Fig. 88  Making of Instrument 004, The View After    22 Hours, Author, 2021; p.106.Fig. 89  Making of Instrument 004, The Sun Is   Playing, Author, 2021; p.106.Fig. 90  Making of Instrument 004, I Spent a Week    Making Straws, Author, 2021; p.106.Fig. 91  Making of Instrument 005, The Gelatin is    Almost Ready But It’s Hard to Tell, Author,    2021; p.107.- xiv - - xv -Fig. 92  Making of Instrument 005. The Foam is    Floating, Author, 2021; p.107.Fig. 93  Making of Instrument 005, Removing the    Foam but Very Quickly, Author, 2021; p.107. Fig. 94  Making of Instrument 005. Trial 3 in Small    Scale, Author, 2021; p.107.Fig. 95  Making of Instrument 005. Spreading the    Gelatin Against the Border in Small Scale,    Author, 2021; p.107.Fig. 96  Making of Instrument 005, View Before   Realizing That Everything is Stuck in Large    Scale, Author, 2021; p.107.Fig. 97  Making of Instrument 005, Some Beings    Got Trapped But They Will Get Released,    Author, 2021; p.107.Fig. 98  Making of Instrument 006, Before Things    Got Wild (for the beings) in the Blender,   Author, 2021; p.108.Fig. 99  Making of Instrument 006, After Things   Got Wild and Some Beings Threw-Up,   Author, 2021; p.108.Fig. 100  Making of Instrument 006, Everyone is Dry    and Calm, Author, 2021; p.108.Fig. 101  Making of Instrument 006, The Deckle and    Mould is Full But It’s Not Right, Author,    2021; p.108.Fig. 102  Making of Instrument 006, The Deckle is    Released, Author, 2021; p.108.Fig. 103  Making of Instrument 006, Everything    Looks Good Version #237, Author, 2021;    p.108.Fig. 104  Making of Instrument 006, The Sponge is    Getting a Shave, Author, 2021; p.108.Fig. 105  Making of Instrument 006, The Babies are    Drying and Everyone is Happy, Author,   2021; p.108.Fig. 106  Another Dimension, A Video of Apartment    432, Author, 2021; p.110.Fig. 107  Apartment 432 and Its Beings All Jumbled,    In a Fisheye, Then Turned Around and   Flattened, Author, 2021; p.111.For everything who was told they never could. You can.- 1 - - 2 -iii.prologuegathers into a breeze, darkens into a wind,a gust.A Growth, Without a TumourLaurenzo Light et al., 3.603B.- 3 - - 4 -The Light Spills Into a Window and GrowsLaurenzo Light et al., 3.603B.Peace Has Left and Chaos Returns, Light Continues to GrowLaurenzo Light et al., 3.603B.- 5 - - 6 -The Enemies Are Encroaching, The Light Still GrowsLaurenzo Light et al., 3.603B.Will There Be Peace, Undecided, The Light is Growing More SlowlyLaurenzo Light et al., 3.603B.- 7 - - 8 - In some distant place, a door slams shut. A young woman shifts in her chair. Her pen strokes the paper and then stops. The bags under her eyes are emphasized in the low light. All around her are scraps, creating vast tunnels and caves of abandoned ideas1. The one that has survived the war is the one she is sighing over now. She will present her concept today, delicately suspending her thoughts into two dimensions, hung onto the wall. She dreads the moment the question will come. She cringes at the comments that will follow too.  She doesn’t understand what is to be understood as space. To her young ears it sounds as if everyone has their own versions. It is, seemingly, an unknown known2.  Soon, the ever expanding light will rush through the single panes of the windows. Her cluttered desk, with tiny droppings of eraser here and smudges of ink there, will no lon-ger be the lighthouse in a choppy sea. Her single desk lamp will become fainter and fainter, like a ship sailing away from the shore. But for now, in the dim light, it is just the young woman, her lamp, and a dark sea. She wrestles with her three dimen-sional ideas, stripping them down, squishing them into the pa-per.  And there they will stay. Outside, and in. Inside, and out.  It is early April. The captain of the Star Harmonia fe-verishly navigates her wide berth through the delicately woven channels. Her hull has sunken down further, the towering loads bearing down on her vast chest. The captain must play the game, letting the current take him further out to sea. The peo-ple are expecting him. The brewer picks up his hops and starts the production of his award-winning ales. Two revelers stumble past the scraggly buildings, in their haze they have gone several streets too far. A man finishes his night shift, a new man takes his place.  In the vast room on the third floor, the young woman is still hunched over in her chair3. For the past several months, she has created many fictional reproductions, all about space. It has been so all-encompassing that she cannot be sure whether her reality is truth or fiction. There seems to be a never-ending stream of space possibilities. And they all seem compelling - perhaps all of them are true, all of them are false4. But for now, the young woman leans her left elbow on the table, pen down. Looks at the paper sideways, waiting. She had never seen the clock in the corner, the one that now said 00.165.- 9 - - 10 -iii.iiwater dropletThen the walls collapse.The School Bus Line, From the House Across the StreetRenae Htoo, 4.534B.- 11 - - 12 -  Suppose space is a collective, it exists solely because there is more than just itself. In this situation, there is no uni-formity, no maximum, just one minimum. There is addition and subtraction, but no zero6. There is emptiness but not nothing-ness, there is vastness without infinity.  For the most part, beings will not know that there are worlds of others. There is not enough day nor night to go over familial history - it would take each being an incomprehensible amount of time to list off all the clouds, puddles, oceans, rivers, and seas they had once been apart of. And that’s just the im-mediate family. Next, you’d have to consider all the backs, the hats, the umbrellas, the rocks, and the roots each being had ever rolled down and through. There simply wouldn’t be the time. So in this world, there are no formal introductions. You are just here (or there) and you continue on as you were. Per-haps a being will get picked up by a shoe, hitching a ride into the next space, diminishing the former to expand the latter. In this event, even if a new being takes the place of the old, the space is fundamentally different. Here, composition is every-thing7. It is the compass, the dictator, the ambassador, and the map.  It all seems rather random, but that couldn’t be fur-ther from the truth. Every indent, every placement is made with great concern. As there is no space without the collective, the beings in this world have erected an ingenious solution. Their feet and hands are infinite, allowing for 360 degree movement in any and all directions. Their fluidity a direct result of the need for collection and connection.  A being says goodbye to his group, dividing into many more. Slowly these new clones emerge and huddle into a steam. Rising, growing, shrinking, moving. Parents huddle into their kids, hoping that they will not be ripped from their arms just yet. One more hug, as the sun’s fingers grip the tops of the trees, pulling itself over the top of the mountain. The beam will come and this space will disappear, leaving only a faint outline on the wooden planks.  On some occasions, plagues of these beings can swarm entire swaths, establishing territories on top of already claimed land. These pirates are unwanted enemies of the state, like the fruit flies circling the bowl on the kitchen table. Most of the time, however, these spaces blend into the existing world, becoming as immemorable as the consecutive pages of a poor-ly written book. In this world, just as everything can appear, it can dis-appear. A mist, a fog, a cloud, a drop. The cycle repeats, with slight variations, endlessly. All things happening now happened a million times before and will surely happen a million times again. And in the dead of night, when most noises are asleep, these beings fill the vacant streets with their songs, sung for the millionth time. Once more.- 13 - - 14 -iii.iiiair moleculeIts long fingers drape, hang(In the middle of the room, the midst of the things)It demandsSpace.Everything is Disappearing Only to Reappear Again and Again and Probably AgainOliver Aire, 400M.- 15 - - 16 -  One cannot enter a building, walk down a forest path, brush up against the dust of an old brick building without meeting ten trillion trillion beings8. They are invisible in all plac-es, invisible to most others. Just not themselves. In this world, the beings are constantly jostling for the best spot.   The highest highs are accompanied with the priciest price tags. Years ago it had been decided that the best space was that which was the furthest up. It was the hardest to get to, so only those with the appropriate resources could reach it. Gates were implemented, night guards stand on rotation. It is said that in this space there are luscious gardens, cheeks are always rosy.  Those beings who have made it do not descend back down into the crowded chaos below. They look down at their neighbours with a mix of pity and disgust, slowly forgetting their common ancestry. Some boast that they have lived their whole lives up high, in the highest space on the highest peak, never having descended into the valley below. They teach their children to shun the children from lower elevations. There are separate sports leagues, bakeries operate on different sched-ules.  Here, the spaces are clear delineations, separated in both literal and metaphorical terms9. There are not unlimited caches of space, there are only two: the low and the high. Be-ings inhabit these spaces but do not themselves create it. The space is there because of them, but not for them.  But they don’t seem to mind. For them, they are not concerned with such trivial matter. Those down below look with longing at their neighbours up above. Thinking, wishing, hoping. If only they worked those extra hours, maybe then they could climb up. But the night guards now have additional shifts, the barricades reinforced. Rumour has it that now there is a fight in the highest high: the beings on the very top want to build a barricade. It seems to never be good enough.- 17 - - 18 -iii.ivdust particleDon’t forget, It says,time is as confining as Space.A View From the Sleep, But Not Everyone is Here and Not Everyone is SleepingDoreen Usta, 360.- 19 - - 20 -  Consider a world in which no being is the same. A world where compositions are so varied, like the fingerprint on a human thumb. Here, a being’s innards are like a barcode, hint-ing at its origins without revealing its entire family tree. In this world, beings are not out in the open - they are timid, nervous, erratic10. They prefer the darkest of corners, slowly gathering their comrades over time. They are prolific hoarders, x-rays of their inhabited spaces over time. These be-ings do not produce space, but rather products of it. They are also thieves, stealing tiny fractions in the dead of night. In the classroom, the children in this world are not taught maths and sciences. Instead, they are taught the skills of creeping, of hiding. Nothing above the faintest decibels are produced by these beings, ever concerned of their unveiling. Age is not derived from the passage of time, but rather from the collection of it.  In each space, there is at least one being, no matter the number of occasions the vacuum is brought out. Size is adjust-ed accordingly too: the greater the space, the greater the being. The more trafficked the space, the more diverse the being. The space and the being is completely interdependent. A symbiosis which could only occur here. A symbiosis because were it not for these beings, the space would eventually be swallowed by the uncollected detritus and debris.  It is then, a complex relationship: the beings as sav-iours of the space, the beings as phantom delineators of ex-tents11. For no being will cross over into a different space. They are forever relegated to the corners which prohibit their further advancement. No wars are fought here, beings are unaware of the apartment next door. Instead, they cower in the depths, and underneath couches. Like hunters, patiently waiting for their next prey to come just a little bit too close. They extend, grab, contact, weave. With each acquisition, space is altered, never to return to its original state. - 21 - - 22 -iii.vashIt surveys the Emptiness,graces the floor, gnarls,looks at her straight in the eye and - Before the Next Session Started but After the Last One EndedCarol Gerret, 82.- 23 - - 24 -  Imagine a world in which a being lives just five min-utes. An entire lifetime, compressed into 1/288 rotation of the Earth. Compressed into the time it takes to hard boil an egg. This is a world that not only moves at tremendous speeds, but also consists of shapeshifters. A being inhabiting this world starts out as one entity and ends his or her life as something completely different.  At the onset, space is horrendously compressed, all beings smashed together like the busiest bus in the largest city during the worst rush hour. Not surprisingly, these beings spend the first part of their lives in constant arguments and battles. Disagreements about who was standing on who, who was being suffocated by whom. Fights about the bad odour of the neighbour, about the hot water always being used up.  Here, space becomes two entities, although not si-multaneously12. Beings are packed squished, molded, forced into a space which seems significantly too small for their great volume. Space becomes their prison, their confined embrace. And yet with a single flame, a glowing ember, they are released. Like the brightest star on the blanket of the night, as the ember smoulders, death and escape walk down the aisle, hand in hand.  Beings here spend their lives disgruntled, desperately hoping their situation would change. Except when the moment comes and their existence does improve, the cruel irony is that their lives, in this form, are over too. - 25 - - 26 -iii.vispoon- The walls snap back. The windows bang closed.There never was a window there before.The Rush Between the Dark (or so) and the Other Dark (and wet)Sol Cuchara, 175842.- 27 - - 28 -  A being suddenly thrust into this world would have to be excessively talented at dodging. For all is coming at them, endangering their very existence, every second of every day. Gangly towers fall from the sky in repetitive motions. Some are close, some are far, the spindles consistent across the world.  And yet, surprisingly, for the beings here, there is one main purpose. And it isn’t to avoid the immediate kiss of death from the terrors up above. It is to build, exploit, and conquer13. If there are terrors in the skies, these beings are the terrors down below.  Each being here is born into a hierarchy, there is rig-id structure, no uprisings allowed. Protests in the streets are squashed immediately, posterboard and paper (or markers, for that matter) are not sold here. Beings at the bottom of the pyr-amid must work, at tremendous speeds, always in record time.  Children are taught to bump into each other, their del-icate antennas sense failure or success14. Decisions are made, maps are drawn, empires are built. Beings spend their lives working for the Queen. Everything relies on everything else, and space is a product of this existence.  For this is a world where space is not merely a con-fined logic, instead it is the entire trail. The entrails of the be-ing’s work is as much the space as is the empire itself. Were it not for this expedited movement, each dodge made to avoid imminent death, the delineations of space would not occur. Here, there are layers and complicated webs, spaces woven on top of others, like the layer cake of roots in a forest floor15.  Some argue that this is the most stressful of all exis-tences, this constant racing, searching, repeat. Others point out that there is a high level of order and understanding, allowing for a life without the fear of the unknown. Hard to say, which one is better.- 29 - - 30 -iii.viifootprintThe Vastness is a severed circle,half over, half on, the Space’s oily skin.Everything is in Chaos and This is an Imprint of ItFrida Oot et al., 13-21.- 31 - - 32 -  From a description of the appearance of the trees, the river, the streetlights, and the sidewalk, all would appear nor-mal. The forest stretches to the north and west, slowly climbing into the hills and then the mountains far away. Paths stretch out here, and out there, slicing through the image with the same ease as a pair crisp new scissors. Some are wider, some nar-rower, some more compressed than others. From here, howev-er, there seems to be order, no hair out of place16. But look more closely, much more closely, and it be-comes apparent that not all is as it appears. The paths are not crisp, clean lines, but rather scraggly with rough edges. A little nudge out here, a little nudge out there. No path is the same, each space has its own unique markings.  This is a world wherein the beings are the designers, the doctors, and the line cooks. The beings before them have laid down the spaces to be followed, and most beings do follow this trajectory. It is, afterall, constantly being reinforced in the ads on the television and the radio. The elderly lady across the hall states the importance of such adherence at every chance. The echoes of the children singing the Order Song bounce off of the sandstone walls like tiny raindrops falling into a vast ocean.  These beings live lives of order and monotony. Like a flickering light, each lift up elevates the beings into overwhelm-ing light, and each push down thrusts them into all-encompass-ing darkness. Their lives are structured around this dichotomy, in sequential order until the darkness prevails.  And then there are some beings, albeit a very minus-cule minority, who dare to break the rules. In the cover of the night, and away from prying eyes, they venture into the great unexplored. These beings go into the unspaces of space - that realm which has boggled scientists for years. On the one hand, it should be space as it is accessible and moldable, and on the other it is not space as it does not meet the standards of the definition. At any rate, the beings here are not all too concerned about such state of affairs. For they are sure that if enough be-ings trample over the same unspaces, they will be molded into a space17. And that is truly their only concern.- 33 - - 34 -iii.viiiwifiShe reaches out, right therestartled by her hunger for It.Map Showing Different Networks and the Cloud Behind ThemIsabella Fiwfe, 289467.- 35 - - 36 -  It is late afternoon. Everything is buzzing, beings hur-riedly scurrying from here to there. It is not as busy as it was, nor as busy as it will be, but it is growing. Traffic is getting worse.  In this world, beings travel tremendous distances in in-explicably short periods of time. They ping, zoom, flit, from one connection to the next, carrying the zeroes and the ones. Once landed, the jumbled mess is assembled, regurgitated. Some-thing else is swallowed, and the cycle is repeated. Back and forth, like a game of ping pong between the best two players in the world.  Beings stay, forever on one path, forever bound to one connection. There are infinite paths and thus there are in-finite beings. It is only the zeroes and the ones which are ev-er-changing. First, thirty-three zeroes and fifty-eight ones are transported. Vomited out, seventy-five zeroes and ninety-two ones are flitted back18. In the next track over, the same, only different volumes.  Here, space is not a singular path, cut off from its fa-milial origins. The tracks are the umbilical cords which bind the beings to the space: there is not one without the other. Beings in this world are aware of this, and spend their whole lives sus-pended in anxiety. Scared of teetering off the track, taking the corner with just a little too much speed. For beings here are easily replaceable - there are no funerals, dead bodies are nev-er recovered.  The consolance comes from the fact that although ev-erything else is fleeting, space is an unbreakable constant. A world in which space is absolute is a world void of inhibitions19. For while the onset of sadness is unpredictable, the emergence of space is predictable. While beings wallow, space stands firmly rooted. While beings doubt their individuality, space is wholly confident in its existence. In a world of uncertainty, be-ings take refuge in this assuredness. For in a world where space is a permanent fixation, beings can always rely on its founda-tions.- 37 - - 38 -iv.interludeStartled by her own Unknown. In a moment which to me was fleetingto it it was eternal.The blacknessand the light;the back and the forthalthough the forth seemed less forthcoming. In the room,Dust, Under the Couch, Before the WarDoreen Usta et al., 10e18.- 39 - - 40 -I am not even too sure Is it the same one as the day before?Or is the before the same one as now?The now can only become the knownthrough the passing of time.or outside the window,Dust, Under the Couch, During the WarDoreen Usta et al., 10e18.Time had never been an entity which had concerned it beforewhich still stood true now.It was space which was the sole proprietor.Or so it seemed to meto be as I stood by watching it float inbetween the spikesof the transplanted plantapparently sitting still.Or maybe that was just because of my percep-tion of time.or under the bed - that one spot in the far corner.Dust, Under the Couch, After the War.Doreen Usta et al., 10e18.- 41 - - 42 -Or perhaps,unlike anything at all,there was only this.He had never thoughtthat it was endlessbut it seemed as thoughthere was always somethingjust that much further.If only he squinted his eyes.It was always thereand yet, somehow, Moisture Hitting the Window, ShockRenae Htoo et al., 22369.This was some of the best,better than it had ever been.A collection of tiny specksof dustof dirtof skinof lint from your socks.She’d been collecting it for years(or days, even seconds maybe -who knew?)and now she relisheda cloud following her everywhereshe went.always hiding.Moisture Sunbathing on the Window, SlowlyRenae Htoo et al., 22369.11.- 43 - - 44 -It wasn’t always this upending.Riots came and went,protesters ebbing inpockets here nor there.No-one was ever surewhat exactly it wasthey were so adamantly up in arms.(For arms could not be found here).But swaying, surging, retreating,catapulting miniscule grains into the skyonly to fall back downupon them.Although it didn’t quite agreewith the term “hiding”.Fruit Fly Flying Around Its Earth, A CactusFrida Fhly & Sean Cactiu, 8mil.37.Here stood a mountainof spikes as far as one could see.Only they weren’t prickly;quite delicate instead.But not like a flower,rather like a steel ribbon,That which heldthe bridge in place.Darkness Meeting Lightness, Along the CarpetLaurenzo Light & Blake Nuit, 4.603B.Maybe there should have been something else,except that the regulations never changed.- 45 - - 46 -The creep,he noted,only happening at night.Slowly the vastness becamea flickering alive.Ghosts hovering,quivering,afraidof their own shadows.Darkness Ate Lightness, Along the Carpet.Laurenzo Light & Blake Nuit, 4.603B.The guest list had never been amended.It was just as it had always been.v.instrumentsDon’t forget, It says,this is the world of the Unknowing Known.- 47 - - 48 -Drawing of a Drawing of the Plan of Apartment 432Author, 2021.Photograph of Apartment 432 with Instruments in PlaceAuthor, 2021.- 49 - - 50 -v.iinstrument 001tracking: airlocation: emergency sprinkler pipedimensions: 46” x 3.2”; 52” x 3.2” All the instruments in this laboratory are made, by hand: an accumulation of processes, all in one frame. Its growth, its patient zero, can be identified right here: this paper, sus-pended in mid-air. Egg cartons, old scraps, amazon packaging: it’s all here, blended, whizzed until it is nothing but a mush of its former self20, metamorphosing into an instrument to measure, to record, to explore. Covered in oil, its fibrous skeleton broken down22, just enough to be structurally sound whilst allowing the tiniest of tiny sun rays to peek through its body, bringing our eyes’ attention to the shadows dancing behind it. - 51 - - 52 -Drawing of a Photograph of an Elevation of Instrument 001Author, 2021.Photograph of Instrument 001 from the KitchenAuthor, 2021.- 53 - - 54 -Details of Instrument 001Author, 2021.View Through the Panelhomemade paper, canola oil, archival ink, char-coal, acrylic, upholstery threadbifold panels change shape, form, position, as the air movement changes in the apartmentLooking Up Along the Panelshomemade paper, canola oil, archival ink, char-coal, acrylic, upholstery threadbifold panels change shape, form, position, as the air movement changes in the apartmentLooking North Along the Panelshomemade paper, canola oil, archival ink, char-coal, acrylic, upholstery threadbifold panels change shape, form, position, as the air movement changes in the apartment- 55 - - 56 -v.iiinstrument 002tracking: canine & human & oil & crumb & debrislocation: concrete floordimensions: 524” x 179” Here lies, quite literally, one instrument, one whole. And yet, like a centipede,  it is composed of many different limbs, moving together21, succinctly. Each could be  indepen-dent of the other, and yet would make little sense without the whole. This is an instrument of layers: first the paper, then the carbon paper stapled on top23. With each foot step, each chair movement, each drop, little particles of the carbon get moved from the top layer to the bottom, its shadow permanently etched on. This is an instrument which measures movement, a visual chronology of how the space is used. A carbon copy of the story the space has told.- 57 - - 58 -Drawing of a Photograph of a Plan of Instrument 002Author, 2021.Stitched Picture of a Timelapse Montage of Instrument 002 in Apartment 432Author, 2021.- 59 - - 60 -Collage of Scans of Carbon Copy Paper Components of Instrument 002 (1:1 scale of Apartment 432 just not in this reproduction)Author, 2021.Detail of Component #284  heavyweight paper, carbon copy paper, stapleshuman, dog, oil, dog boneDetail of Component #235  heavyweight paper, carbon copy paper, stapleshuman, dog, sand, rockDetail of Collage of Scans of Carbon Copy Paper Components of Instrument 002 (1:1 scale of Apartment 432)Patryk Knut, Adventures of Two Friends: A Graphic Novel, C. C. Publishing, 2021.- 61 - - 62 -v.iiiinstrument 003tracking: condensation & moisturelocation: air ventsdimensions: 34” x 72” An instrument was needed to visually explore that which cannot be seen: the droplets, those tiny microscopic things. Using the force of a blender, red cabbage was reduced to its watery grave, and painted on to the imperfect paper24. Each paper, suspended, the bathroom door closed; droplets choking, jostling for the best position. Soap particles enter the mix, the air is heavy and thick; the human blissfully unaware of the war behind the shower curtain. And when the gate is opened, the droplets released, the cabbage paper is there to greet them26. Forever, these droplets are engraved and remem-bered: where they touch the paper the colours change. Each paper different, each droplet having interacted with a different soap.- 63 - - 64 -Drawing of a Photograph of an Elevation of Instrument 003Author, 2021.Baselayer for Compo-nent 01 of Instrument 003  ink, large format plotter, historical photographs, author’s personal collectionsmoisture, in the groundBaselayer for Compo-nent 02 of Instrument 003  ink, large format plotter, historical photographs, author’s personal collectionsmoisture, in large puddlesBaselayer for Compo-nent 03 of Instrument 003  ink, large format plotter, historical photographs, author’s personal collectionsmoisture, in the sky- 65 - - 66 -Photograph of Components 01, 02, and 03 of Instrument 003 In-Situhomemade paper, ink, archival ink, charcoal, acrylic, canola oil, car window glass shards, upholstery thread, silver thread, cabbage extract, moisturemoisture tracking through the apartmentPhotograph of Components 01, 02, and 03 of Instrument 003 In-Situhomemade paper, ink, archival ink, charcoal, acrylic, canola oil, car window glass shards, upholstery thread, silver thread, cabbage extract, moisturemoisture tracking through the apartmentDetail of Component 02 of Instrument 003homemade paper, ink, archival ink, acrylic, canola oil, car window glass shards, upholstery thread, silver thread, cabbage extract, moisturemoisture tracking through the apartmentDetail of Component 01 of Instrument 003homemade paper, ink, archival ink, charcoal, acrylic, canola oil, car window glass shards, upholstery thread, silver thread, cabbage extract, moisturemoisture tracking through the apartment- 67 - - 68 -v.ivinstrument 004tracking: sand & dirt & debrislocation: shag rugdimensions: 20” x 10” x 13” (max) / 4.5” (min) There is this idea, in a laboratory, that everything must have its place, everything must be sterile. This laboratory, however, unapologetically does not follow those rules. And no-where is that more apparent than right here. The tiny grains of sand, the dirt that is tracked in on the bottom of feet, clinging onto the hair hanging from a dog’s beard. A sort of catchment was needed to measure25, to record, and to house. An inviting landscape of straw highrises now greets these beings27, gestur-ing them to settle in, make themselves at home.  Another instru-ment that grows and changes over time.- 69 - - 70 -Drawing of a Photograph of an Elevation of Instrument 004Author, 2021.Instrument 004 In-Situ (with Instrument 003 in background and Instrument 005 in foreground)Author, 2021.- 71 - - 72 -Instrument 004 In-Situ (with Instrument 005 in the background)Author, 2021.Detail of Instrument 004 in the Valleyhomemade paper, canola oil, tacky glue, bond gluesand and debris nestling and catchmentDetail of Instrument 004 on the Peakhomemade paper, canola oil, tacky glue, bond gluesand and debris nestling and catchmentDetail of Instrument 004 - Longitudinalhomemade paper, canola oil, tacky glue, bond gluesand and debris nestling and catchmentDetail of Instrument 004 in the Middlehomemade paper, canola oil, tacky glue, bond gluesand and debris nestling and catchment- 73 - - 74 -v.vinstrument 005tracking: dustlocation: couchdimensions: 28” x 54” Every place, virtually every crevice, has beings that we try so hard to get out. And yet, somehow they are here to stay. This is an instrument meant not to destroy but to invite: invite the dust into the crevices of this gelatin paper. It is an instru-ment with an open invitation for the dust to explore its valleys and its peaks, and to determine for itself where it would like to rest its head. Like the dust, this instrument is a shapeshifter28: it transitions from crystal clear flowing lava, to gooey molasses, and finally to a topographic plastic30, as smooth, however, as a baby’s skin. A requirement, you see, for the dust to be able to succinctly maneuver along its frame. - 75 - - 76 -Drawing of a Photograph of an Elevation of Instrument 005Author, 2021.Partial Elevation of Instrument 005gelatin powder, water, upholstery thread, wood, acrylic paintresting place for dust, away from the vacuum cleaner and floorDetail of Instrument 005 from Belowgelatin powder, water, upholstery thread, wood, acrylic paintresting place for dust, away from the vacuum cleaner and floor- 77 - - 78 -Detail of Instrument 005 Showing Suspension Instrumentgelatin powder, water, upholstery thread, wood, acrylic paint, green tape (bonded to gelatin sheet)resting place for dust, away from the vacuum cleaner and floorDetail of Instrument 005gelatin powder, water, upholstery thread, wood, acrylic paintresting place for dust, away from the vacuum cleaner and floorDetail of Instrument 005gelatin powder, water, upholstery thread, wood, acrylic paintresting place for dust, away from the vacuum cleaner and floorDetail of Instrument 005 Showing Relationship to Floorgelatin powder, water, upholstery thread, wood, acrylic paintresting place for dust- 79 - - 80 -v.viinstrument 006tracking: crumbslocation: kitchen tabledimensions: 58” x 37” A familiar face, a paper instrument suspended, hang-ing in mid flight. Carefully pieced together, the water as a glue, having been whisked away29; now the instrument is a mere skin. Each time a crumb is dropped, it is marked, it is recorded31. The larger the circumference of the circle, the larger the crumb which found its resting place on the paper. And as each meal is eaten, as each particle settles, the paper grows, its limbs ex-tend. Growth happens in millimeters over vast swaths of time, yet each is recorded: a lasting history of all that which once found its place on the table. - 81 - - 82 -Drawing of a Photograph of an Elevation of Instrument 006Author, 2021.Photograph of Instrument 006 with a Visitorbase: handmade paper; circles: handmade paper, various dimensions (the bigger the circle, the bigger the crumb)fallen crumbs are marked by a corresponding paper circlePlan Photograph of Instrument 006 with Break-fastbase: handmade paper; circles: handmade paper, various dimensions (the bigger the circle, the bigger the crumb)fallen crumbs are marked by a corresponding paper circle- 83 - - 84 -Detail of Instrument 006base: handmade paper; circles: handmade pa-per, various dimensions (the bigger the circle, the bigger the crumb)fallen crumbs are marked by a corresponding paper circleDetail of Instrument 006base: handmade paper; circles: handmade pa-per, various dimensions (the bigger the circle, the bigger the crumb)fallen crumbs are marked by a corresponding paper circleDetail of Instrument 006base: handmade paper; circles: handmade pa-per, various dimensions (the bigger the circle, the bigger the crumb)fallen crumbs are marked by a corresponding paper circleDetail of Instrument 006 with Crumbsbase: handmade paper; circles: handmade pa-per, various dimensions (the bigger the circle, the bigger the crumb)fallen crumbs are marked by a corresponding paper circle- 85 - - 86 -vi.epilogueThis is the worldof experimentation.Drawing of a Photograph of an Elevation of the Office Underneath the Stairs in Apartment 432 Author, 2021.- 87 - - 88 - This is her experiment, a laboratory of inventions, of creations, of studies. By her, with her, without her. There is no end product, no final outcome. It is a laboratory of continu-ation, a partnership for life. Indeed, she can go wherever she may please, but it is the insides that she cannot leave.  In some distant place, a door slams shut. A young woman shifts in her chair. The bags under her eyes are empha-sized in the low light. She sits at her desk, completely unaware of the clamorous sea that is the space which surrounds her. Further along, another young man sits at his desk, equally as unaware. Further south still, the scene repeats. Unending.  For this is not just her story, it is their story, your story, our story. It is a question of what we understand space to be, of looking inwards and perhaps seeing space for the first time. It is a daydream; one which carries you along a pristine sparkling river, with luscious trees teasing the rivers surface. And as you float, you wonder: what if these instruments were a part of our everyday life? What if our houses became places of commu-nity gatherings for beings both great and small32, and our tools became welcome mats, instead of treatises of war. - 89 - - 90 -vi.bibliographyof bubbling and blubbering concoctions,reaching, dripping...Aire, Oliver et al. The Handbook of the Unseen World. Vancouver: B.I.O.H.A. Press, 2020.Bachelard, Gaston. The Poetics of Space. New York: Penguin Books, 2014.Borges, Jorge Luis. Ficciones. Barcelona: Lumen, 2019.   Boyer, M. Christine. CyberCities: Visual Perception in the Age of Electronic Communication. New York: Princenton Architectural Press, 1996. Brodsky, Alexander and Ilya Utkin. Brodsky & Utkin. New York: Princeton Architectural Press, 2003. Calvino, Italo. If on a Winter’s Night a Traveller. London: Vintage, 2015. Calvino, Italo. Invisible Cities. London: Vintage Digital, 2010. Easterling, Keller. Extrastatecraft. Madrid: Mairea Libros, 2015. Edgerton, Harold. Atomic Bomb Explosion Through a Rapatronic Camera. 1987. Photograph. Massachusetts Institute of Technology. Foucault, Michel. The Birth of the Clinic: an Archeology of Medical Percep-tion. London: Routledge, 2008. Foucault, Michel. Discipline and Punish. New York: Vintage Books, 1978.Gillet, J. A., and W. J. Rolfe. Astronomy for the Use of Schools and Academies. New York, New York: Potter, Knight, Ainsworth, 1888.Ishigami, Junya. Another Scale of Architecture. Japan: LIXIL Publishing, 2019.Kaplicky, Jan. Jan Kaplicky Drawings. London: Circa Press, 2015.Knut, Patryk. Adventures of Two Friends: A Graphic Novel, C.C. Publishing, 2021.Kotoulas, Soririos. Space Out. Wien: Springer, 2005. Lefebvre, Henri. The Production of Space. John Wiley and Sons, 1991.   Lefebvre, Henri. State, Space, World: Selected Essays. Minneapolis: Universi-ty of Minnesota Press, 2009.Matta-Clark, Gordon. The Beginning of Trees and the End. New York: David Zwirner Books, 2015.Morton, Timothy. Hyperobjects: Philosophy and Ecology after the End of the World. Minneapolis: University of Minnesota Press, 2017.   Noble, Paul. Nobson. Amsterdam: Drukkerij Mart.Spruijt, 2014.Reiter, Wellington. Vessels and Fields. New York: Princeton Architectural Press, 1999.Sacks, Oliver. The River of Consciousness. London: Picador, 2018. Spiller, Neil. Drawing Architecture. London: Architectural Design, 2013.Sorkin, Michael. Twenty Minutes in Manhattan. New York: North Point Press, 2013.Uenguer, Erdem. “Theory for the Sake of the Theory: ARCHTHEO ‘11.” In ResearchGate. Istanbul, 2011. https://www.researchgate.net/publica-tion/321155578_Space_The_undefinable_space_of_architecture.Vaughn-James, Martin. The Cage. Toronto: Coach House Press, 1975.Zevi, Bruno. Architecture as Space. New York, New York: Horizon Press, 1974. - 91 - - 92 -vii.appendixBut thisis not the End.There is a world of eraser droppings and graphite dust, living on her desk. And on desks all across the world. Different desks, same tunnels, same caves. The Tunnels and Caves of Abandoned Ideas     1Gillet, J. A., and W. J. Rolfe. Astronomy for the Use of Schools and Acade-mies. New York, New York: Potter, Knight, Ainsworth, 1888.- 93 - - 94 -Minute bodies. An Unknown Know     2Gillet, J. A., and W. J. Rolfe. Astronomy for the Use of Schools and Academies. New York, New York: Potter, Knight, Ainsworth, 1888.Becoming Aware of Being Unaware     3Gaston Bachelard. The Poetics of Space. New York: Penguin Books, 2014. “Moreover, our houses are no longer aware of the storms of the outside universe.” (48)She sits in her desk, completely unaware of the clamarous sea that is the space which surrounds her. And in a distant place, another young man sits at his desk, equally as unaware. Further south still, the scene repeats. Unending.The question that then arises is: how wide is the blanket of the unaware? If There Should Be Any Reality At All     4Italo Calvino and William Weaver. If on a Winter’s Night a Travel-ler. London: Vintage, 2015. “Perhaps the mistake lies in establishing that at the beginning I and a telephone are in a finite space such as my house would be, whereas what I must communicate is my situation with regard to nu-merous telephones that ring; these telephones are perhaps not calling me, have no relation to me, but the mere fact that I can be called to a telephone suffices to make it possible or at least conceivable that I may be called by all telephones. For exam-ple, when a telephone rings in a house near mine, for a moment I wonder if it is ringing in my house - a suspicion that immediately proves unfounded but which still leaves a wake, since it is possible that the call might really be for me and through a wrong number or crossed wires it has gone to my neighbour, and this is all the more possible since in that house there is nobody to answer and the tele-phone keeps ringing, and then in the irrational log-ic that ringing never fails to provoke in me, I think: Perhaps it is indeed for me, perhaps my neighbour is at home but does not answer because he knows, perhaps also the person calling knows he is calling a wrong number but does so deliberately to keep me in this state, knowing I cannot answer but know that I should answer.”  (133 - 134)At this point, she does start to argue back and forth, an argument that is pointless, as every argument with yourself is. And yet she contin-ues, spiralling further, into the blackness, into the vastness. Forever inching further away from what is real. Or perhaps unreal.- 95 - - 96 -The Seed         5Harold Edgerton. Atomic Bomb Explosion Through a Rapatronic Camera. 1987. Photograph. Massachusetts Institute of Technol-ogy. She had read about this, long ago. Heard stories from her grandparents, about the testing and the dust. 0.016 milliseconds into a detonation and there is a fleeting space. It will never be repeated, it can never be put together again. And yet, perhaps, if we could stretch out time, this could be space. It was a fruitless task, she knew that much. But it was this that had started it all. And it was 0.016 (or, 00.16, she wasn’t quite sure anymore) which would remain. A Dichotomy for Two     6Italo Calvino and William Weaver. Invisible Cities. London: Vin-tage Digital, 2010. “From one part to the  other, the city seems to continue, in perspective, multiplying its repertory of images: but instead it has no thickness, it consists only of a face and an obverse, like a sheet of paper, with a figure on either side, which can neither be sepa-rated nor look at each other.” (105) Interrupting one of these beings in his thoughts, we come to learn that at some point in his past he was gently playing in the canals of Venice, splashing up against the wooden piles that were meant to keep the city dry. They are the real rulers of the city, al-though they let some others think that’s not the case. An Infinite Crawling Web     8Christine M. Boyer. CyberCities: Visual Perception in the Age of Electronic Communication. New York: Princenton Architectural Press, 1996. “Every city is over-exposed and its physi-cal sense of space decomposed as our eyes are constantly bombarded with ephemeral and interchangeable images, visions that move along the constant space of flows called the informational city.” (138)There was no way to crawl out of this web, just like there was no way to climb higher up. The web was there, just as the guards stood watch. And as the time passed, there was more web, stronger web, just as there were more guards, and stronger barri-cades. Without Us There is no Them     7Michel Foucault. Discipline and Punish. New York: Vintage Books, 1978.“In the ceremonies of the public execution, the main character was the people, whose real and immediate presence was required for the performance.” (57)It had always been clear to them all that there could never be space without a col-lection, like not having flour for a cake. However, they never really did like cake.- 97 - - 98 -A Duality (Plus Three)     9Henri Lefebvre. State, Space, World: Selected Essays. Minneapo-lis: University of Minnesota Press, 2009. “The spatial therefore has formal prop-erties. There are special techniques that permit a certain amount of programming, notably calculus, or forecasting. And then there are also the contents. What does this prove? We already know that the science of space, being divided into several levels, is not a unified and comprehensive science, that it does not have a logistics of space as its culmination.” (172)A loud shout erupts down below. There is intense commotion. But up here, so high above, the loudest shouts sound like mere echoes of a world so far removed. All comfy and tucked away, he ignored the shrieks and cries. After all, he was up here and that was down below. Two different worlds, eternities apart. Glass Architecture of Fear     10Michael Sorkin. Twenty Minutes in Manhattan. New York: North Point Press, 2013.“This architecture sees the environment as pathogenic and gaskets itseld away from it. The glass house next to the tunnel extract fan is metaphorically precise. Windows should not be opened for fear of filling the room with carbon monoxide (or the avian flu, or sarin gas). Yet the activities within remain visible. If safety is identified with panoptic transparency, self-exposure is a medium for reducing risk. More and more of daily life is governed by the manage-ment and manipulation of feal. [...] Public service announcements caution us to be on the lookout for people who dress unusually, which covers just about everyone around here. The result is a shrink-wrapped city, designed for the pleasures of danger.” (227) She stroked her latest seizure: the tiniest of brown thread, not quite straight, not quite curly. She’d add it to the left of her middle, the order needed to be kept. And besides, she had to be conscious of her size. If she got too big, she could get noticed.There was no room for error here. The Others     11Bruno Zevi. Architecture as Space. New York, New York: Horizon Press, 1974. “We cannot, however, lay down fixed pro-portions of space as architecturally right. Space value in architecture is affected first and foremost, no doubt, by actual dimensions; but it is affected by a hundred considerations besides. It is affected by lighting and the position of shadows: the source of light attracts the eye and sets up an independent suggested movement of its own. It is affected by colour: a dark floor and a light roof give a totally different space sensation to that created by a dark roof and a light floor. It is affected by our own expectancy: by the space we have immediately left.” (218)They always had to be accounted for - one could never be quite sure. Did someone eat someone else, or did the vacuum come and suck someone away? And then there were the trivial matters, like marriages, births and deaths, and random items for sale. They could all be found at the community bulletin. New ones everyday. A Rebirth, A Death, A Rebirth, Repeat     12Oliver Sacks. The River of Consciousness. London: Picador, 2018. “Looking back through my old notebooks, I find that many of the thoughts sketched in them are forgotten for years, and then revived and reworked as new. I suspect that such forgettings occur for everyone, and they may be especially common in those who write or paint or compose, for creativity may require such forgettings, in order that one’s memories and ideas can be born again and seen in new contexts and perspectives.” (108)It felt a little bit like a bad Christmas. Waiting all year for the time to come, to open up your present. And then when  the wrapping came off and the present revealed... socks. Again. Now, if he could learn and remember, he would know to ask for something better next time around.But therein lay the problem: nobody could learn. It was just the same process again and again. It would be socks every year, for eternity.There is No End     13Michel Foucault. The Birth of the Clinic: an Archeology of Medi-cal Perception. London: Routledge, 2008. “Consciousness lives because it can be altered, maimed, divertede from its course, paralysed; societies live because there are sick, declining societies and healthy, ex-panding ones; the race is a living being that one can see degenerating; and civilizations, whose deaths have so often been remarked on, are also, therefore, living beings.” (35 - 36)He zoomed past the baker on the street, the crumbs laid out, a cinnamon smell wafting through the air. There is better up ahead. He pushed on. Past the plum pit, sold for higher than market value. It was winter after all, these items were rare this time of year. But still, bigger prizes lay ahead. He scrambled over the boulders, over the shiny step randomly laid out on the street. City planning had never been their strength, he thought. An Antenna of Gossip     14Keller Easterling. Extrastatecraft. Madrid: Mairea Libros, 2015. “In the extrastatecraft of infrastructure space, tuning a multiplier is like crafting rumor or gossip. Designers can alter the repertoire of a technology to be more suit-ed to certain populations just as the con-struction of suburban homes was designed as an assembly-line process. Similarly, a new spatial protocol will be more powerful if it finds a carrier that multiplies it. Infra-structure space is thick with technologies that are potential multipliers: populations of suburban houses, skyscrapers, vehicles, spatial products, zones, mobile phones, or global standards.” (217)There was going to be a competition in school today: The Best Receptor Award. He had trained for months leading up to this, racing up and down his avenue, trying to cut down his detecting time. Indeed, if looking down at him from a perch on a branch above, all that would have been seen would be his little black body, a blur racing up and down the street. Bump here, bump there, target. 5.201 seconds. Too slow.- 99 - - 100 -Hyperobject     15Timothy Morton. Hyperobjects: Philosophy and Ecology after the End of the World. Minneapolis: University of Minnesota Press, 2017.  “The more I struggle to understand hyper-objects, the more I discover that I am stuck to them. They are all over me. They are me. [...] Hyperobjects are agents. They are indeed more than a little demonic, in the sense that they appear to straddle worlds and times, like fiber optic cables or elec-tromagnetic fields. And they are demonic in that through them causalities flow like electricity.” (29)Looking back, she remembers the time when the empire was so small, the Queen sitting on a tiny throne. It had, back then, seemed forlorn; they’d never be able to build an empire to sustain. But that was then, and this is now.A Hair, One, Out of Place     16Jorge Luis Borges. Ficciones. Barcelona: Lumen, 2019.   “Lost in these imaginary illusions I forgot my destiny - that of the hunted. For an un-determined period of time I felt myself cut off from the world, an abstract spectator. The hazy and murmuring countryside, the moon, the decline of the evening, stirreed within me. Going down the gently sloping road I could not feel fatigue. The evening was at once intimate and infinite.” (94)She had been one of the daring ones. She didn’t mean to break the rules (she pre-ferred the term “bending”), it just sort of came to be that way. She loved the extra crunch, the extra squish. The clean crackle, the determined snap. With every movement there came life, exhiliration. She couldn’t imagine spending her life along the same route as everyone else.Not One Without the Another     17Henri Lefebvre. The Production of Space. John Wiley and Sons, 1991.   “The living organism has neither meaning nor existence when considered in isolation from its extensions, from the space that it reaches and produces (i.e. its ‘milieu’ - to use a fashionable term that tends to reduce activity to the level of mere passive inser-tion into a natural material realm). Every such organism is reflected and refracted in the changes that it wreaks in its ‘milieu’ or ‘environment’ - in other words, in its space.” (196)It was raining, not that it would kill him. But he didn’t like it. His sister kept saying he was a whimp, but he didn’t think that was true. He just hated the whole process of having to wait to dry out before being able to do anything again. What a waste of a day. It was better off staying dry.Stay Open (Closed)     18Soririos Kotoulas. Space Out. Wien: Springer, 2005. “The reason we do not know where cy-berspace is, or when we are in it, or how it looks and feels when we are is because our conceptual and perceptual faculties are stuck in older ideas of space. We are hemmed in by our present assumptions and by our inability to visualize, and thus physically experience, space that we can-not measure by means we already know.” (10)He was zooming, at inextricable speeds, back and forth, forth and back. And as he raced he thought only about one thing: the homemade soup hanging in the bag on the hook in the coat room in the lunch room in the staff lounge in the drab grey building across from the bus stop that also existed, almost identically, across from his house. A Theory on Time     19Erdem Uenguer. “Theory for the Sake of the Theory: ARCHTHEO ‘11.” In ResearchGate. Istanbul, 2011.“While place is the positioning of objects to each other; space is the experience of them. In other words, in relation to place, space is like the word when it is spoken: reading action is a kind of space, growing out of the experience of a written text (a place established with signs). Stories thus carry out a labor that constantly trans-forms places into spaces or spaces into places.” (6)It was just that he would get lost. He wasn’t supposed to, nobody else ever did, but then there he was. Lost. And everytime that happened, he’d have to race around once more, pick up more zeroes and more ones, just enough to spell out ERROR 404. And then that gave him a few minutes of peace.But it didn’t much help his skills in naviga-tion.- 101 - - 102 -Making of Instrument 001     20Grant Lio, and Kim Luttich. Vancouver: 432, 2021.Making of Instrument 002     21Peter Apier, Kim Luttich, and Frida Oot. Vancouver: 432, 2021.- 103 - - 104 -Procedure for Creation of Instrument 003     24Peter Apier, Kim Luttich,, and Ralph Quabge. Vancouver: 432, 2021.- red cabbage- water- blender- coffee filter- paper (see Procedure for Creation of Instrument 006)- foam brush- canola oil (optional)i.  Cut red cabbage into small piecesii.  Add to blender and cover with wateriii. Blend until cabbage is broken downiv. Pour mixture into coffee filter and let drip into a    bowlv.  Litmus juice is ready once all pulp is removed and    only pure liquid remainsvi. Using a clean foam brush, apply juice to papervii. Let dry overnight, ensuring to keep paper away    from moistureviii. Hang and expose to moisture where Instrument is    to be testediv. Once dry, apply canola oil (as in Procedure for     Creation of Instrument 001)- paper (see Procedure for Creation of Instrument 006)- canola oil- glue- wooden doweli.  Follow Procedure for Creation of Instrument 006 and   Procedure for Creation of Instrument 001 to prepare   materialsii. Cut paper into strips (1.5” width, length can be variable)iii. Using wooden dowel, lay strips along length of dowel,   slightly anglediv. Apply glue to top corner where paper is overlaidv. Wrap paper around dowelvi. Apply glue to midpoint and again to the end flapvii. Pull dowel out and let glue dryviii. Snip ends of straws off to create flat edgesProcedure for Creation of Instrument 004     25 Peter Apier, and Kim Luttich. Vancouver: 432, 2021.Procedure for Creation of Instrument 001     22Grant Lio, and Kim Luttich. Vancouver: 432, 2021.- canola oil- foam brushi.   Dip brush into oilii.  Apply liberally to paper until saturation occursiii. Let sit overnightiv. Wipe off remaining oil with toilet paperv.  Let dry overnightvi. Placing paper between two pieces of cloth, iron   on no-steam setting until all remaining oil has been   removed and paper is no longer greasy- carbon copy paper- stapler- staples- heavyweight paperi.  Staple copy paper, carbon side down, to heavyweight   paperii. Number the right side of the paperiii. Lay down so that sides of heavyweight paper are  touchingiv.  Use masking tape to secure to floorv. Leave in place for a period of time (a week in the case  of this rendition)vi. Remove from floor and use remover to separate copy   paper from heavyweight paperProcedure for Creation of Instrument 002     23Peter Apier, Kim Luttich, and Frida Oot. Vancouver: 432, 2021.- 105 - - 106 -Making of Instrument 004     27 Peter Apier, and Kim Luttich. Vancouver: 432, 2021.Making of Instrument 003     26Peter Apier, Kim Luttich,, and Ralph Quabge. Vancouver: 432, 2021.- 107 - - 108 -Making of Instrument 005     28Georgia Laetin and Kim Luttich. Vancouver: 432, 2021.Making of Instrument 006     29Peter Apier, Kim Luttich, and Frida Oot. Vancouver: 432, 2021.- 109 - - 110 -Procedure for Creation of Instrument 005     30Georgia Laetin and Kim Luttich. Vancouver: 432, 2021.- powdered gelatin- water- pot- silicone sheetsFor mould: - Tape silicone sheets together until desired dimensions are      reached - Along border, place “wall” of playdough to create mould i.   Add 3 tbsp water per packet of gelatin to a potii.  Slowly heat over low heat, stirring constantlyiii. Once gelatin has melted, remove from heativ. Skim foam off of the top, discardv.  Quickly pour gelatin into pre-prepared mouldvi. Use spatula to disperse gelatin, working quicklyvii. Let dry overnightNote: the thicker the gelatin is layer, the more it will warp- fibrous material (old paper, egg cartons, packaging, plants, etc.)- water (1/4 tub full)- tub- liquid starch- blender- deckle and mould (picture frame with wire mesh)- sponge- rubber rolleri.  Tear fibrous material into small piecesii.  Let pieces soak overnight in wateriii.  Blend mixture until material is completely broken down.iv. Add to tub (filled with water)v.  Repeat at least 4 timesvi.  Add 4 tbsp starch per 1/4 tub filled with pulpvii.  Submerge deckle and mould and lightly shakeviii.  Lift deckle and mould out once satisfied with pulp   amount/patterningix. Wipe sponge on back (wire side) of deckle and remove   excess liquidx. Place onto board and use rubber roller to remove any   remaining waterxi. Lift deckle off slowlyxii. Let dryProcedure for Creation of Instrument 006     31 Peter Apier, Kim Luttich, and Frida Oot. Vancouver: 432, 2021.Another Dimension, A Video of Apartment 432     32Author. Vancouver: 432, 2021.- 111 - - 112 -Apartment 432 and Its Beings All Jumbled, In a Fisheye, Then Turned Around And FlattenedAuthor. Vancouver: 432, 2020.this is just the beginning. or end. depends on how you look at it.- 113 -Imagine if this single apartment could be stretched into a form wholly unknown

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