He is un-subscribing from various social networks, and perhaps my favourite quote in his article is:

“Even if I do know you, I don’t want to know or be known by the people you know.”

I think that a LOT of people have been feeling like there is too much activity on social networks. Our caveman ancestors perhaps lived in societys that only had around 50 to 100 people, so our brains are not quite so good at dealing with hundreds or even thousands of “friends”.

However, when you are connected to a massively interlinked community, all sorts of things can happen, good and bad, and what you really need to know is How Do I Survive in a HUGE Community?

The Bad

Embarrassment is amplified – If you make a small mistake in front of a few friends, hardly anyone will notice. If you make a small mistake on a large network everybody knows within seconds.

Attention is thin – You just cant give thousands and thousands of people “Personal attention” that they would deserve in the traditional model of friendship. You may have people listed as friends, but many are “e-acquaintances”. Both groups of people require the same interactions, but you may be more open with one group than another.

No Boundaries – In a connected world, its impossible to draw boundarys between different groups. Work friends become personal friends. You might offend your boss if you choose not to add him, because you want to avoid him seeing those drunken pictures of you at 3am.

The Good

All my people right here right now – Its amazingly fast to rally the troops. If you need something done quickly, a social group is one of the best places to put it.

Untapped resources are everywhere – Its incredible how that little boy you went to school with when you were 10 is now a CEO of a company you want to do business with. Many of the people you met years ago in your life have gained new skills and new positions, so it is well worth revising old friends to see if they can help you with projects.

You can work at creating new friendships – You can now be connected to people who you never thought possible. You can follow your idols and create new friendships with people who’s work you admire.

You can track everything – Gossip is dead! Digital gossip is so easy to track, you can follow who said what to whom and when. This is amazingly powerful to follow what people are saying about you, your work, or your products.

A long time ago, when I was about 20 years old, I learnt probably the most important lesson of my life. I learnt something so completely unexpected it changed my entire view of the world. Today, I’m going to share it with you. If you like it, please leave a message in the comments section and let me know what you think.

I was young, and I had so many questions, and wanted to learn so much, so I took a job as a junior interactive designer at an amazing little company just outside of Toronto in Canada.

It was the first time that I really thought that I could learn something from other people. Here I was, on the lowest rung of the ladder, everybody was above me.

I thought that I could learn everything from the amazing staff there, who, I believed, would have the answer to everything.

Throughout life, we always encounter those people who have the answer. They could be the person who is in charge of financing your next project, they could be your boss, they could be the company owner, or the guy who has worked at the company for 50 years and just seems to know everything.

There are people that you naturally gravitate towards because you assume that they know the answer. They know how much money they have to spend, they know if you can or can’t do something.

You can recognise these people, because they always have a string of other people behind them, constantly asking them “What should we do about this…..?”, “How are we going to solve that…..?”.

At first glance, these look like the “People In Charge” and for some strange reason we find ourselves constantly going to them, unable to make a decision without their say-so.

I spent a lot of time watching and observing these people, and I very quickly learnt their secret. And their secret became the greatest thing that I ever learnt:

They were making it up as they went along.

Once you realise that people who appear to know “the answer” do not actually know the answer but have the skill, confidence, conviction and ability to instantly generate an “answer” then it can act as a huge mental shift!

Over time, people do not learn to perfectly recall every fact and figure instantly from their brains. They learn to adapt, to improvise and to make it up as they go along.

What does this mean for you?

This means that YOU are equally as equipped to invent an answer as you are to ask for it from someone else.

What if it goes wrong?

Think how many times your boss has told you to do something stupid vs how many times he has told you to do something that made sense. That’s your stupid to success ratio. As long as you improve on that ratio you will be fine.

How can I test this theory?

Simple, go, now, and ask a “person in charge” face to face for an answer on a ridiculous question. Watch them make up an answer, and say it with conviction.

Now, you need to go out and make it up for yourself. Build your own answers. Do what YOU think is best, after all, the answer is inside you!

If you have enjoyed this post, please tell your friends, link to the site, share it on your social network, leave a comment or send me an e-mail.

I thought that today would be a good time to talk about the idea of working for free.

In the current economic climate with lots of people losing their jobs, and it being even harder to get into the creative industry, I’d like to share with you the unusual idea that if you really love what you do, you should try working for free.

In the traditional mindset, work is a terrible idea. No one would ever turn up to work. So, instead, we are paid to go to work. Wages are simply a compensation for the crap-ness of any particular task.

Question:

If you wern’t paid any more, would you turn up in your current job at 9am tomorrow morning?

If you’re like most people, there is no way you would consider slaving away for free.

But if you are lucky and love your job, you’d turn up just because you wanted to.

As I write this, I’m in the office on a Saturday, working because I love it. Some of my colleagues are here too.

If you are struggling to get into a creative career, I strongly urge you to see if you can work for free somewhere amazing. Even if its just for a few weeks. You will learn so much about yourself, and your industry, and you will free yourself from the idea of working because you have to, to working because you want to.

Give it a try and see how you get on.

I worked at several different companies for free, and often work on projects because I want to, rather than because they pay well. If you can cultivate this positive attitude in your life, it will really change the way you view your career.

Problems?

Firstly, working for free, in most economies, cant sustain itself for very long. You need to eat, you need a place to live, you need to travel to and from your work. However, there are thousands of people who manage to work for free in some capacity for years and years, in fact, you probably know someone who does so! Volunteering, or working unpaid for charities and other causes is a great start. It helps you build skills like leadership, management, human relations, and all sorts of other useful skills in your spare time.

In some situations you may even PAY someone to work. A good example of this would be taking on a training course, or a university course. You actually pay to complete tasks, knowing that one day you will be able to charge people for those tasks, and your investment will pay off.

In some situations you may invest a lot of your own time and energy into a hobby, that effectively becomes a second job. I have seen plenty of people who have converted their attics or basements into amazing places with elaborate train sets, or who have built a bar in their home to serve drinks to their friends, essentially “working” a couple of hours a week in their own “bar job”. Many peoples “Home offices” are better equipped than their regular offices!

Working for free, also, does not devalue your work. This is very important. People will say, “If I do this for free now, they will expect it for free next time” – but in many situations I have experienced, people respect you, and you are able to charge perhaps more, because you have “paid your dues”.

Dont forget, you are also earning intangible benefits by working for free. You are learning how to get inside an industry, you are learning how everything works, how things fit together. You are learning skills that will last you a lifetime. You are making connections and making friends, and these are worth far more than money.

That’s why this guy in Australia will work for you for free. That’s why this guy is encouraging photographers to work for free. That’s why Business Week is talking about working for free. Its why Wikipedia is written entirely by passionate volunteers who just LOVE their subject.

Changes

Not so long ago, you didn’t have a Job, or a Career,  you had an occupation. – Something that occupies your life, occupies your thoughts, passions, dreams and professional conduct. So, if I were to say to you “Don’t tell me what your job is, tell me your occupation…” What would you say?

Tanja Ahlin

“I’ve just read your post and I completely agree with you. An interesting thing happened to me when I first started my website Spletno pero (Web pen – it started as an online competition for short stories, than online literary workshops and literary evenings were added – I am working on something new at the moment). I knew absolutely no one from the literary scene at that time, so I went straight to the most competent people in their field and asked them to work with me – either as members of commission, workshop mentors or talk hosts in the chat room. And they accepted. And it paid off. Sometimes it really is all about knowing whom to ask for help ”

A lot of companies spend thousands, even millions of pounds on branding exercises. But, when you are starting out in a creative company, unless you are very lucky, you just cant afford the cash! Here is a quick way to save you all that money.

Leave your branding to fate! Let a web randomiser decide!

You can use a tool like the fun Makewords website to randomly generate you a company name. Simple as that.

But surely, would you really use a random name generator to title your company?
The answer of course is YES!

My friends and I spent an entire afternoon on several random name generator websites, when coming up with a name for our company that we called HMC Interactive. We went through thousands of names. The next day we settled on two possible outcomes. The first, was Pixel Kitten, cute, but not quite right. The second name was HARDCORE MONKEY CRASH!!

So, if you have ever wondered what the HMC in HMC interactive stands for, now you know. Its Hardcore Monkey Crash.

We like to keep the name a bit of a secret, but once you hear it you’ll never forget it!

So, there you go, I’ve just saved you £50,000 in marketing and branding consultation! Not bad for an afternoon!

Question:
If you could name your company any random name at all, what would you call it?

When you start out in your creative career everybody will be throwing advise at you left-right-and-centre so it will be hard to know who to listen to, and who to take with a pinch of salt.

However, once you have established yourself, and you need to grow, that’s when advice really comes in to play.

You may not know it yet, but you are probably already an expert in a very niche field. You may have one tiny idea, or one tiny way of doing things, that is so different to everybody else, and you are so passionate about carrying it through, then it is pretty straight forward to achieve your early ambitions.

It gets trickier when you have run to the end of your knowledge and understanding, and you need to branch out in new directions to pursue new opportunities. That’s when you need to seek out the best advise you can.

One of the things that I noticed when I was about 25 years old, was that people younger than me, perhaps my students, would ask for advise on all sorts of things, and I really tried to give them the best, most realistic feedback I could. When they followed my advice, they really succeeded. It made me realise just how much I could benefit from meeting other experts and getting them to help me.

I really love the idea that you don’t need a certain education, you don’t need a certain qualification and you don’t need years and years of experience. You just need to find someone who has!

I was reminded of this fact just a few days ago, when I got a call from an old friend from back home. He had started a fantastic theatre company with a group of talented friends, but their areas of expertise were in drama and performance, not technology. 5 years ago he asked for my advice on a website project, and I explained to him all the details, and explained that his team would be well served by a professional expert, but they didn’t come cheap!

He called me up, and he remembered all the advice I had given him, word for word, from 5 years ago. He and his theatre company had taken 5 years to come to the conclusion that what they really wanted to do was to do exactly what I said in the first place.

Although that might be a slow realisation process, I think its really great, as I know that his company will do really well in the future, and I am confident of their success.

Some people spend their entire lives trying to figure out every little detail along the way, but you have to be smart enough to ask for help, even if you don’t act on it right away.

Throughout life, you will often find people who will Do It For The Money, as in, people who will base all the decisions they make on a financial outcome. And there is nothing wrong with this at all. Its just alarming how many people base all of their decisions around money. Im not just talking about the big businessman who will go against their heart and their heads to just to make money, but you also get the little guy, who has been credit-crunched to within an inch of their life and wont spend a penny more than is necessary to survive.

I have seen my friends make decisions like these, where they would perhaps sell irreplaceable objects in the hope of making a few extra pounds. That might be good in the short term, but in the long term, you will have to work even harder to get those objects back. If you sold something that was dear to you, would you really be that much Richer?

All this reminded me of when I was 17 years old. I was studying my A-levels at Hind Leys College, and at the time everybody had to study 3 subjects. I decided to be different and take 4 subjects, because I was academically very smart, and I quite liked the challenge. Taking 4 A-levels instead of 3 would not give me any real advantage in life, it would not get me into a better university, it would just mean more homework and extra classes for me.

I took English, Communications, Business Studies and Performing Arts.

After a year, the extra workload was becoming too much for me, and the teachers advised me to drop one of the subjects. They told me I should drop Performing Arts. They said it was the least academically rigorous subject. They knew that I wanted to run a company one day, so I should drop Performing Arts and focus more on Business studies.

Naturally I ignored this advise completely.

I was so completely set on running my own company, becoming a millionaire and living the jet-set businessman lifestyle, that I just knew that I would make it. 100% with or without an A-level in Business studies.

So, in order to become a business man, I had to drop out of business studies.

In fact, I had no choice, because all I could imagine was what a great story it would be to tell in my autobiography, how the boy who dropped out of business studies became a successful business man.

I Did It For The Story.

And its so much fun to be able to tell my story now.

So, the next time you are faced with a dilemma, if you are really sure of yourself, and you really understand the power inside of you, then ask yourself what outcome will tell the best story……

The Problem
1) No matter how “Creative” you think you are, your boss, or those around you, just don’t get it.
2) Decision makers are uncomfortable with new ideas and would prefer to play it safe than take big risks.
3) You have the potential to be creative but no one recognises it.

The Solution
Create multiple Creativity Spikes and weave them into your day to day language.

What is a Creativity Spike?
A Creativity Spike is defined as a story that demonstrates an extremely unusual creative practise that sounds so ridiculous it could never be possible, yet it is told with such conviction that it could pass for a standard business practice.

What is it good for?
It gets people used to the idea of having extremely haphazard goings on within a relatively calm and safe atmosphere.

Some examples of Creativity Spikes I use:
“Smoke Machine Fridays”: Many companies have “Dress Down Fridays” in a terrible attempt to be cool. Go one step further by insisting on Smoke Machine Fridays. If anybody asks what it is, tell them that its exactly what it sounds like. Smoke Machines on Fridays. Don’t, under any circumstances actually fire off a smoke machine on a Friday. Just drop it in casually around the water cooler.

“Quidditch team sign up sheet”: Many companys have a 5-a-side football / soccer / hockey team or informal sporting events after work. Take things a step further and advertise for sign ups for the fictional sport of Quidditch. Place a few broomsticks in the bicycle rack for effect. Make sure that you regularly post results of the fictional matches, complete with team names, where everyone can see them. This is very effective at getting clients and staff to believe that anything is possible.

“Pornographic Screensaver policy”: Create a policy where all computers used for powerpoint presentations (perhaps in the boardroom) are installed with pornographic screensavers. The purpose being that if any presentation goes on too long, and a presenter dwells too long on a certain slide, they will be embarrassed with hardcore donkey/midget/grandma action in front of their clients. Don’t ever ACTUALLY install a porno screensaver, just tell everybody you did, and their presentations will be so much more snappy and to the point.

I will often start a presentation by telling the audience that there is a highly pornographic screensaver installed, so if I am on a point for longer than 2 minutes they are in for a shock. You’d be surprised by just how much extra attention I get!!!

Remember
The point of a Creativity Spike is to make those around you feel like they regularly engage with Dangerous and Challenging creative issues and Nothing Bad happens when they do.

It is not to lie, or pull a prank, or to create a negative environment.

If you need some inspiration look at classic fairy tales like The Elves and the Shoemaker they should give you a good staring point for how you can sow the seeds of imagination into the hearts and minds of those around you with a few magical ideas.

Welcome to the first in a collection of posts about The Montandon Method.

The first point that I want to make clear, and its really important to understand, is that if YOU don’t have a way of doing things, you will be forced to use someone else’s way of doing things.

This goes for absolutely everything in life.

Ever since we were children in school we were taught to follow rules. We were taught to arrive at school at a certain time, to do our work in a certain way, to eat our lunch at a certain time, to sit next to certain children. Everything within the classroom had a system, a way of doing things.

This prepares us for real life, where most people fall into the trap of accepting other peoples ways of doing things. You must go to work, you must pay your bills on time, you must do this thing this way and that’s it.

I have found that this is a very hollow way to live your life.

Just because someone else does something should never be a reason for you to do it.

Why should you change?
By having your own way of doing things, you can:
1) Live on your own terms instead of someone else’s.
2) Find more efficient, productive, effective and creative ways of doing things.
3) Have a greater belief that you can change “the system”.
4) Have a greater control over your reality.

How should I change?
1) Start with the small stuff, and work up to something big.
2) Believe that any system can be changed.
3) When you start to see results from your smaller changes it will give you the confidence to go for bigger challenges.

Here is a really nice example of how you can change a system.

There was a point in the life of HMC Interactive where we had to change the allocation of shares in the company, and divide it by the 3 directors of the company. That meant that each director owned 33.33333% of the company.

Our lawyers told us that we couldn’t have the remaining .33333% , one of us would hold on to the extra 1%, splitting it 33% 33% 34%. Normally one person was nominated to hold on to the extra 1%.

Well, that didnt seem like a very good system, to just randomly nominate someone to hold on to 1%!! No one wanted to let go of their precious .3333% so we decided to fight for it.

We set aside an entire afternoon to compete for the 1% in a DEATHMATCH. Solving our arguments in a virtual video game arena. An independent referee was chosen, and we fought it out in a multi player death match arena.

For a while, I was in the lead, and had picked a good position with the sniper rifle. But in the end Mike surprised me with a rocket launcher and at the last moment took the lead and won the 1%.

We called this idea “shooting for shares” and it was so unusual to have the lawyers preside over a deathmatch frag session that the story ended up making the careers section of The Times.

To be honest, it feels so much nicer to loose a share by staring down the barrel of a rocket launcher than on the pages of a legal document, and it really set a precedent that any kind of takeover or share deal in the future would in all likelihood be solved in the video game arena rather than the legal arena. Its just so much fun and so cool to do. It brought the whole team together.

To add a little bit of extra fun, we often challenge any member of the team at HMC Interactive to a video game face off to try and win back the extra 1%. My video game of choice is Dance Dance Revolution, and so far none of the team would dare to look so silly jumping up and down for shares, but the challenge always remains open!

This may seem like a silly example, but it really gave us confidence to do things our own way.

This is really important in large corporate culture. Just because there is a “normal” way doesn’t make it the best way.

So, we started finding our own ways to do everything. Like answering the phone first thing on a Monday morning and giving the first caller of the week a prize of strange Dutch chocolates.

Like finding ways to get clients on top of 8 foot high bouncy balls whilst in meetings.

Like finding new ways to promote ourselves, new ways to advertise ourselves, new ways to work in crazy situations.

Over the next few weeks I will be sharing with you some of the benefit of this first idea, so bookmark this site and check back in tomorrow for the next instalment.

You know, it might all sound a bit silly, but we got such a reputation for doing things our own way, I was asked to go to Westminster and talk to politicians, to help them make a system for funding creativity in the UK, and to go to Austria to talk to Europe’s leading multimedia producers to tell them how to smash the system and re-establish it for themselves.

So, if you ever find yourself saying “I cant change this system, its the law” maybe you should consider calling a few politicians and getting that law changed. Its all do-able, and its easier than you might think.

Go on then, get started.

See you tomorrow.

I run one of the most unique and creative companies in Europe, and people who see my work constantly ask a thousand questions about how I go about achieving amazing results through innovation, creativity and imagination.

And its not just one or two people who are interested, I have been asked to speak to literally THOUSANDS of people in 2008 about how they can completely re-invent the reality that they are presented with.

From presentations at LegoLand in Denmark, to TV documentaries the world over, lectures across Europe and North America, everybody is asking “How can I leap from reality to magic?”

At first, my methods might seem completely crazy, unworkable, unusual or startlingly simple, but the truth is, they all work. I’ve done it, first hand.

For the first time ever, here on this blog, I will be putting together EVERYTHING, a no-holds-barred account of how I turned a tiny 4 person company into one of the most exciting and creative places in Europe.

So, bookmark this page now, and feel free to leave questions and comments in the comments page of this blog, as I reveal for the first time The Montandon Method.

This is my story about coming to university

When I came to an open day at the University I saw one of the lecturers presenting some of the great games that final year students had created. When I saw them I thought, “I’d love to make something like that.” Four years later I was running my own software development company and winning countless awards.

After graduation I was very busy. I won the Submerge Award with three other students for creating an online game and, together, we worked really hard to build HMC Interactive, an award winning software development company. HMC Interactive creates interactive multimedia products for a wide range of industries from education to entertainment and beyond, turning fantasy into reality. It’s great fun building theme parks and attractions all over the world. It’s never boring and I love it!

For one of our American clients we created audio-reactive disability rooms for children with autism and cerebral palsy. It uses high-powered hidden microphones to turn children’s sounds into a world of colours and light. We worked with leading American speech therapists to create it and we are hoping to bring it to the UK soon.

Currently, I am working on the Space Gallery at the Royal Observatory in Greenwich, making huge digital rooms full of interactive starscapes from the Hubble telescope. We are also designing new interactive playspaces for the Cadbury World theme park in Birmingham. “Purple Planet” is a realm of mirrors, wall-sized screens, hidden cameras, motion detectors and interactive projections that react when you touch them or move your body. They form a series of mind-stretching virtual exhibits including such features as chocolate rain falling from the sky and a photo booth that moulds people into cyber chocolate sculptures.

“It’s great fun building theme parks and attractions all over the world. I love it!”

One of his questions was about the current “Credit Crunch” and how it might affect businesses. This got me thinking as to how creative companies respond to a credit crunch. I believe that creative companies will do very well out of an overall credit crunch, especially the smaller companies. Why? Because there can never be a crunch on creativity. You may not have as much money, but you CAN have as much creativity and innovation as you like. No bank can charge interest on that!

A credit crunch means that creative companies will have to extend their imaginative practices towards how they deal with their business. They will have to throw brainpower at a problem rather than money. They will have to think their way out of situations instead of paying their way out of them. Creativity can exist outside of capitalism completely. The stereotype of the poor starving artist endures throughout the ages. In fact, with less pressure from investors and financial backers, creative companys are free to do their own thing and create new and unusual business models.

The project I have created exists in outside the traditional domain of computer culture of physical installation. I have created a new sensation, a cyborgian extension of the human perception system residing in the brain of on student. Neil Harbisson.

I first met Neil at Dartington College of Arts whilst I was giving a talk on practical cyborg techniques and applications. Neil was especially interested in my earlier MyBorg project work that allowed me to extend my sensory system with 16 additional digital nerves including 4 light sensors on my back that allowed me to “see behind me” or to follow the cliché more closely “have eyes in the back of my head”. Neil became very excited about this idea.

He explained to me that he had a rare condition of achromatopsia (a rare hereditary vision disorder which affects 1 person in 33,000). One of the effects to achromatopsia is monocharmatism, the inability to perceive colour. To him the world was black and white. He explained to me how, in his paintings he had only ever used black and white paints, and when shopping for clothes he would only where black, white or grey. “Why should I wear something that I cannot see?” He explained. Ironically, because everything in his world was black and white, he never went shopping alone, requiring a friend to point out the black jeans as opposed to the blue jeans.

“I never used colours to paint because I feel completely distant to them.
Colours create a mysterious reaction to people that I still don’t quite understand.”

Neil had become aware of the existence of colours since his childhood, but he had been completely unable to distinguish red from green from blue. Even names of colours where useless even purely as labels to identify one shade from another. He described colours to me as “being an energy that I can’t see because it moves too quickly. I’ve imagined colours as fast moving energies.” Neil became curious as to the possibilities of a cyborg-like extension of his sensory system. A new input based prosthesis.

Several months beforehand I attended a lecture by Professor Kevin Warrick from Reading University, who described a project that enabled him to approximate proximity to moving objects whilst blindfolded. By using ultrasound sensors connected to an implant on his arm, he was able to feel a tingling sensation in is arm whenever something moved towards him. However, he noted that his brain quickly adapted away from providing a “tingly feeling” in his arm to being “the feeling that something is coming towards” him. In short, his project demonstrated that the brain can quickly re-map existing parts of the nervous system to new senses.

I decided that using Neil’s existing senses as a host for new artificial senses would be an effective approach. I gave Neil the difficult decision of deciding how he would like to perceive colour, since he could never “see” colour in the traditional way, I was curious as to how he would like to receive colour signals through his existing senses. Neil chose to use sound, as he felt that it would give him a good approximation of colour as he has very good pitch perception as he is a keen musician. I was confident that shifting colour into sound would be an appropriate and effective way of re-mapping Neil’s brain, as the natural occurrence of synesthesia seems to suggest that the visual and auditory senses can in some case become overlapping.

The case of how to convert colours into sounds was a difficult one. At first I experimented with the idea of playing different musical elements for different colours, for example Drums for red, Violins for Blue, piano for green and so on. This abstract approach however would only “label” colours with sound. Much like having a voice that whispered in your ear “red, red, red, green, green, green” for everything you looked at. After much consideration and collaboration with Eduardo Miranda it became apparent that I would have to create an audio experience that, like the light spectrum, would transcend labels. I used a physical model of transposing light into sound. After all, both light and sound are waves. Although light waves are far too high to hear, it is possible to mathematically transpose them down until they sit within the audible wavelength.

Clearly the lowest colour in the spectrum (Dark red) becomes the lowest note in the scale. I created colour to sound conversion software that would dynamically scale the colours from a miniature camera (A “spy” type camera) into audible frequencies. The audio output was not limited to the scale above. Instead of having one note per colour I wanted Neil to be able to hear subtle differences in colour, just as the human eye can distinguish between many different kinds of blue, I wanted Neil to be able to do the same.

I created software in collaboration that takes an average colour sampling from a selected area. This average RGB value (additive Red Green Blue, the signal most commonly used by computers) was then instantly converted into HSB (Hue, Saturation and Brightness). The software focuses purely on Hue. There are 360 different hues, one for each degree on the colour wheel. Each hue was assigned an audible frequency. This approach allows us to disregard brighter and darker variations (due to lighting conditions) and also to disregard colour saturation (The camera may over or under saturate colours depending on the environment) and instead gives us pure Hue perception.

Neil was able to run the software on a small laptop that he mounted in a backpack. The laptop was modified to run the software even when the lid was closed, allowing him to comfortably wear it in “sleep” mode. This meant that the battery time lasted for long enough periods for him to go through the whole school day without a re-charge.

Surprisingly, within 15 minutes of Neil using the system he was able to instantly recognise similarities and differences between hues, something he had never previously been able to do. Conclusively, this project exists not in the software, or domain of so called “virtual” reality, but in the reality of Neil’s perception of the world, unveiling, quite literally, an invisible architecture of energy.

The culmination of this project is the following statement:
“Neil Harbisson’s favourite colour is Red.”

One thing we find works well is to make sure that you have a high level of people-traffic going through the space where your project is. People will more likely interact in crowds or groups than alone. They can learn how to operate unusual interfaces from other people.

Also, allow the information about how to play be discovered organically. What I mean is, don’t give clear instructions, give a story or a challenge. That allows people to discover how it works for themselves, and pass on the info to others.

We often find that the kids are more hands on, and try it out first, and then delight at showing their parents what they discovered.

I am constantly surprised to see just how many large creative companies enforce dress code on their employees. They see it as a way to communicate a corporate identity. How your staff dress can go a long way to how you are perceived in the outside world. Dressing smartly and appropriately for work is seen as very important by a lot of people, and many people in large organisations find that certain clothes like hats are completely banned.

A business suit never goes out of fashion, and if we look at images of businessmen they barely change throughout the decades.

However, in a creative company, fashions often change faster than the HR department can update their codes. If you are a cutting edge company you need to be ableto quickly respond to small changes. Having staff display a little bit of cool every now and then can help clients identify with them. If your clients want the latest and greatest services, the staff should be free to express that in their dress code.

Individual expression through dress increases in importance as the size of the company increases. People need to be recognised and stand out from the rest of the pack. By encouraging this, staff are more likely to express their individuality in their work, and bring in additional creativity and personal flair.

You might think that this would lead to a colourful hap-hazard mishmash of styles in the workplace, but in reality dress codes are an emergent phenomenon. If any one can wear anything the staff will ingeneral harmonise their dress codes as they take their cues from their workmates. Peer pressure and the need to fit inin the workplace means that the majority of people will wear roughly the same sort of dress. However the mavericks of the team have the flexibility to try something new. If it is successful it will be adopted by the rest of the team.

A good example is to look back at some of the trends seen at HMC Interactive, who have never had a dress code. The first development was the jeans-and-t-shirt combo, a classic choice. But the T-shirts quickly moved away from the big name brands and towards Threadless, a democratic internet driven design brand. The t-shirts were so creative, unusual and quirky, we would often get compliments on them, and they were a lot more unusual than a standard white T.

As the company got bigger, and the clients got more serious, HMC were able to adapt their dress to become more formal, getting smarter and smarter as the years went on. One nice touch was that each member of the team often wore a small splash of purple, in a stripe on a shirt or a pattern on a tie. What emerged was a completely harmonious team sense of belonging through an unwritten code that everyone had created together. We wear purple not because we have to but because we want to. Our colleagues are often surprised at how we maintain strong individuality whilst maintaining a coordinated look.

Architecture for a culture without boundaries.

Adam Montandon

May 2003

This paper is provided for academic and educational use only.

If you have any comments, suggestions, or would like to use this paper please e-mail: adam@hmc.uk.net

Abstract

As access to global communications technologies such as the internet increases, so too does speculation about life inside of electronic volume. Free from the constraints and boundaries of physicality, many provisional attempts have been made to create spaces without boundaries. However the entanglement of the mind within the body has created a culture that has chiefly experienced only partial immersion in virtual reality, the mind goes where the body cannot follow. This in turn leads to a new architectural sensibility based on reducing physicality in architecture, in order to give the body the same freedom in physical space as the mind has enjoyed in virtual space.

A new architecture of the physical is born from experience in the electronic. An architecture that encompasses a digital, networked, global, transient and virtual mindset. It appears that we are not, as one may expect, building virtual architecture inside computers, but instead are creating cyberspace on earth. This new architecture is the inverse of Postmodernism. This is Supermodern.

Introduction

The discipline of architecture is constantly influenced by the surrounding culture of the times and in turn has itself influenced that culture. As information and communication technologies expand across Western culture the impact that digital technologies have on architectural form cannot be denied. Digital technologies are no longer merely a tool used by the architect to create form; they now fundamentally impact the forms and environments that architects create. Research into digital technologies within architecture is largely focused on the tools and methods used to create, design and visualise form. This dissertation addresses the current gap in research into the feedback loop between new technology, cultural experience and architecture.

This dissertation will focus on the oscillating feedback loop between physical volume and electronic volume. Physical volume can be described as a space or area that has the capacity to be bound by the laws of physics. Our everyday world that we inhabit can be described as physical volume. Electronic volume can be described as space perceived as such by an observer but generated or existing within an electronic system (such as a computer) and having no existence outside of electricity. A number of examples that come to mind include Stephen Perrella’s ‘media space’ (2002), Marcos Novak’s ‘liquid architecture’ (2001) O.B. Hardison’s ‘horizon of invisibility’ (2001), Bill Viola’s ‘data space’ (2001) and William Gibson’s ‘cyberspace’ (2001) these could all potentially be realised within electronic volume.

These two volumes have been considered by many to run in parallel, acting as each other’s counterpart, but never truly intersect. Engeli solidly describes these separations as ‘boundaries’ (2001:117) and Perrella claims there is ‘a dangerous gap’ (2002) between the physical and the electronic. This dissertation will form a conceptual bridge between the solid architecture of physical volume and the transient architecture of the electronic, seeking to argue that this bridge is an intriguing new architecture that is emerging to fill the void between physical volume and electronic volume, an architecture that can no longer be understood in terms of Postmodernism.

Discourse surrounding this interdisciplinary void is considered of paramount importance by architects and digital practitioners alike. Architect Hani Rashid comments;

Today the field is undoubtedly in a state of radical flux…I fear that the architect is becoming a strange, almost pathetic character unable to grasp the changes that are taking place.

(2003:90)

Kathy Rea Huffman writes in a paper published by Ars Electronica that;

Unrestricted exploration of multimedia artists is of real value to… architects who are socially concerned with the numerous electronic augmentations and configurations of natural space.

(1999:136)

The first chapter will establish architecture and its relationship to the body throughout history. This dissertation will discuss issues surrounding the intertwining but diverse realms of architecture of the real and architecture of the virtual. It will present definitions and explorations of the terms used to define real and virtual architecture. The chapter will focus on issues of the body as physicality, as truth in geometry and the body’s restrictive nature in direct contrast to the freedom and lack of physicality experienced through virtual architecture.

The second chapter will examine the effect that digital technologies have on the creation of new architecture and the re-configuration of existing architecture. This chapter will establish the phenomena of increased momentum of modernity through architecture, and will argue that digital technologies act as a catalyst for the reduction of Postmodern architecture.

CHAPTER 1

1.1 Defining Architecture: Real and Virtual

Deleuze tells us that impossible ideas from one medium often translate to another (1992:628-633). This is certainly true for the mediums (if they can be described as such) of Architecture of the real and architecture of the virtual. Architecture can be defined as both the art and the science of designing or constructing. Because of its very nature architecture can provide a common ground ideal for exploration into the diverse realms of real and virtual.

It can be problematical to draw a distinction between real and virtual, but it is nevertheless crucial. As Hardison beautifully articulates;

A horizon of invisibility cuts across the geography of modern culture. Those who have passed through it cannot put their experience into familiar words and images because the languages they have inherited are inadequate to the new worlds they inhabit. They therefore express themselves in metaphors, paradoxes contradictions, and abstractions rather than languages that "mean" in the traditional way.

(2001:121)

Whilst many publications (Fawcett-Tang and Owen, 2002; Engeli, 2001; Burry, 2001) do note a difference between the real and virtual, the extent of this separation is a highly contested idea. Ideas surrounding what we may call ‘real’ or ‘virtual’ are constantly in a state of flux. Clarification of definitions of reality can be established by turning to scientific efforts, in particular those described by quantum reality theory. For the purpose of this dissertation I will adopt the notion presented through quantum reality theory that presents the world in two ways, not one; that the world is in some sense not real except during an act of measurement[1] (Herbert, 1990). This view has proved highly popular in the practice of science, but is not without its contesters. Einstein, Schrödinger and De Broglie initially felt that ‘giving up reality was too high a price to pay for a mere theory’ (Herbert, 1990:101). However quantum theory later proved itself by addressing the problems of elementary particles[2] which many physicists believed to be the world’s ultimate constituents (Herbert, 1990).

For the purpose of this dissertation, Architecture of the real can be defined in the sense of architecture having an observed physical existence throu
gh construction. Architecture of the real has a solid existence. Real architecture is always at one particular place at one particular time, with precisely measurable attributes such as spin, velocity and position.

Architecture of the virtual can be defined as architecture that, for whatever reason, is not under observation. The object becomes represented as a wave of probability. Instead of defined values for attributes such as position, velocity and spin, each of the object's attributes takes on, mathematically at least, a wide range of possible values that oscillate in a wavelike manner at a variety of different frequencies. Virtual architecture is not an actual happening but a collection of possibilities. It is a potentiality of architecture existing outside of the observed world.

1.2 Body and Architecture: the Search for Geometric Truth

The relatively recent proliferation of architecture that has its beginnings in the virtual, the unreal, the unobserved, have largely had unsatisfactory projections into real space. One of the key arguments relates to the way we conceive of the body in relation to the space it inhabits. I will first discuss the relationship between the body and the architectural body. I will then discuss the shifting regard for the body in a disembodied cyberspace.

Marcus Vitruvius Pollio, the 1st century BCE Roman architect, is regarded by many to be the world’s first engineer. In his third book of De Architectura Libri Decem[3] he describes the proportions of the human body as a model for the architectonic body. Vitruvius’s work contained no images, but interpretations of his notions of body as a blueprint was a major source of inspiration for Renaissance treatises. The relationship between body and the constructed environment is considered especially important to communities; ‘…in many ancient cultures, the city on earth was supposed to represent a celestial model which it was extremely important to reproduce accurately.’ (Kostof, 1999:34). An accurate reproduction of the heavens meant an accurate reproduction of the proportions of the body. This can be seen throughout history to create an intertwining relationship between collections of human bodies and collections of architectural bodies ‘You are yourselves the town, wherever you choose to settle…it is the men that make the city, not the walls and ships without them’ (Nicias, cited in Kostof, 1999:36-37)

Figure 1.1 Vitruvian Figure. Da Vinci. (Palumbo, 2000:9)

Many centuries later Leonardo da Vinci’s (1452-1519) interpretation of the Vitruvian figure, shown in figure 1.1, shows the proportions of geometry coinciding exactly with the space common to the two figures, thereby reinforcing the dynamic balance of the whole. The drawing no longer solely illustrates the harmonious proportions of the body, but also the search for a higher level of harmony that could perhaps solve the contradiction between two opposites: the objectivity of number, law and measurement and the subjectivity of the body. His illustration becomes a proof of harmony that resolves the clash between the individual dimension of conscience and the collective dimension of reason and science. Leonardo’s work demonstrates that the harmony between body and geometric truth is not only a model of work as Vitruvius proposes, but a guarantee for the principals of using the body as a system of measurement to be applied.

1.3 The Uncertain Body

However, during the 16^th and 17^th centuries the journeys of exploration and colonisation, the division of the church and the Copernican revolution led to the disintegration of the harmonious Renaissance world. This prompted a completely new vision of the world and of man. The body as a visual machine was turned into a sensory machine. As Palumbo describes: ‘The idea of the body as a model of formal measurement was replaced by the idea of the body as a system of perception' (2000:12). This was followed by the belief that architecture should be designed in accordance with the human senses rather than the proportions of the human body.

Figure 1.2 Study of Human Stature. Le Corbusier. (1961:65)

Contrasting this, Le Corbusier's ‘The Modulor' (1961) represents a recent attempt to stop the collapse of the Vitruvian figure as an element of certainty, an objective and unchanging measurement on which to base a legitimate and univocal criterion of design, see figure 1.2. Now, in the 21^st century the body has become the measurement of a continuous drive to overstep the limits, a constant tension to surpass all measures. From being the centre of a proportional system with all things, it has become an anthropological measurement of the deconstruction of every presumed principal of reality. As we add new technologies to the physical body we extend our senses and our physicality. The body's total world availability via global communications generates extreme possibilities of dislocation in time and space, resulting in the explosion of the body and in turn, the explosion of our relationship with geometric form.

1.4 A Summary

It is clearly evident that the physical nature of the human body has shaped our understanding of form, geometry and architecture. This intertwined relationship between body and form has been used in practice for centuries. However, our recent interaction with new technologies has seen a shift in mans ways of thinking, transforming from a physical-centric body towards a non-physical consciousness. I will now seek to argue that instead of leaping effortlessly out of our physical bodies and into mental spaces, we have been existing in the gap between the two. Never quite in one plane of reality or another. As a result, this has a remarkable effect on architecture.

1.5 Bodies Without Limits

Roy Ascott optimistically expected that ‘the passage from real to virtual will probably be seamless’ (1990:314), yet despite advances in technology the most likely experience of Western man’s interaction with electronic volume is what Stephen Perrella describes as the ‘tele-spectators’(2002) model. Participants, who leave their body behind the screen and step into a media world with their mind’s eye, not their feet, believe themselves to be transported into pure data[4]. Nothing is real, especially not us; ‘the machine eliminates human performance, which amounts to paralysis’ (Weibel, 1990:209).

Figure 1.3 Third Hand. Stelarc. (Brown)

One key reaction to this paralysis is the birth of the Cyborg, or cybernetic organism[5]. In the cyborg era the notion that ‘biology is no longer limited by the genetic codes of evolution’ (Mann, 2001:2) permits experiments into the extended, modified or unlimited body. Experiments such as Stelarc’s Third Hand Project (1976-81), Steve Mann’s WearComp (1980 to present) and Kevin Warwick’s Project Cyborg 2 (2002) diffused the notion of the body and its proportions as a unit of certainty. Where Da Vinci portrayed a geometric harmony between body and architectural body, cyborg experimentation dissolves this relationship entirely. This has, in turn, informed the design and creation of architecture for virtual spaces. As we extend our bodies into the digital domains of dataspaces, new forms of architecture are generated. We are presented with an infinite variety of ever changing architectures in which to house our
digital dreams, thoughts, interactions and activities.

1.6 Friction of Physicality

However, the extension of the body in physical volume such as Stelarc's Third Hand project (1976-81), as shown in figure 1.3, could arguably be seen as a hindrance to entry into electronic volume. In order to transgress into a virtual reality the physical volume must minimise the friction between itself and the interface to electronic volume. Adding to or extending physicality as cyborgs increases the number of physical atoms even further. To truly transcend into electronic volume we must search to reduce our atoms to zero, and become represented instead as bits. In electronic volume there can be no physicality, only binary.

Figure 1.4 Broadcast Architecture. Rashid. (2003:102)

Contrasting Weibel's view, it is crucially important to acknowledge the presence of the body, and the fact that it is not yet paralysed, as we have not fully transcended into electronic volume. This is illustrated in the work of Hani Rashid's ‘Broadcast architecture' (Lynn and Rashid, 2003:102), see figure 1.4, an experiment in reducing friction between physical body and digital signal. By tracing a gymnast's physical movements into digital data, and then broadcasting that data back into physical space in the form of a static structural frame complimented with digital projections, Rashid creates a fusion between the body and its implicit geometrical form and displacement of physicality through electronic broadcast over the internet. By utilising notions such as replay, rewind and multiple points of view, the architecture exists without space or time, but still employs a body as a generator of form. However, the potential of this as architecture is severely limited, as the body becomes a grounding factor tying the architecture to the physical world.

1.7 Non-physical Possibility

Human physicality is a key barrier that prevents cybernauts[6] from entering electronic volume in a totally immersive capacity. We must be reminded at this point that pure binary existence is already enjoyed by artificial life or A-life creatures, intelligent agents, automated avatars, computer viruses and many other forms of electronic data. Whilst neither alive nor dead, existing or illusory, these datasets are able to travel through pure electricity, yet unlike the cybernaut, they leave nothing physical behind. Therefore the ultimate reduction of physicality becomes the theoretical resolution to atomless existence in electronic volume.

However in practice this reductionist ideology is not currently a practical solution, as Maurice Merleau-Ponty a philosopher of consciousness says, ‘to be a body is to be tied to a certain world’ (cited in Lechte, 1994). We cannot currently convert ourselves to pure electricity; instead we must interface with it. As we leave our body behind the glass screen, or any other device we may use as a crossing point into dataspace, we increasingly become enticed to explore the notion of existing outside of physical constraints. This leads to new designs of system that have no need to regard aspects that have plagued embodied entities forever. Aspects like gravity, physics, location, space, time, gender, identity and even death no longer play a part in electronic volume. Paul Virilio explains of the erosion of physicality when dealing with virtual worlds;

Deprived of objective limits, the architectonic elements begins to drift, to float in an electronic ether devoid of spatial dimensions yet inscribed in the single temporality of an instantaneous diffusion. From this moment on, no one can be considered as separated by physical obstacles or by significant time differences… ‘elsewhere’ begins here and visa versa.(1994:276)

As a consequence of this erosion, almost every familiar concept to the embodied entity does not apply to the disembodied entity. They navigate spaces in different ways, not just flying instead of walking, but being blessed with the ability to be everywhere whilst really being nowhere, to be inside the system whilst actually being the system, becoming pure data in a space for data.

1.8 The Aesthetic of an Unrestricted Culture

Figure 1.5 Example of rebellious architecture.(Woods)

Some architects, artists and designers have conceived constructions that could be considered more likely in virtual worlds than physical worlds. Free from physical constraints architects can push the boundaries like the physically rebellious work of Lebbeus Woods who uses architecture as a battle against power, gravity, and time, as seen in figure 1.5. His architecture becomes a claim for liberation from all determinations of form and substance. It is important to acknowledge the sheer volume of work presented by artists that deals with issues that are not possible in physical reality. By outlining these works, insight is gained into a cultural and mental shift away from the physical, away from the local and away from the referential.

Figure 1.6 Cloud Cover. Lalvani. (Burry, 2001:37)

Dr Haresh Lalvani's architecture study ‘Cloud Cover' is a complex virtual reality model based on higher-dimensional geometries. ‘Cloud Cover' is appropriately visualised in electronic volume and then converted from its 27 virtual dimensions to be projected into traditional 3 dimensional plans for construction in physical volume. The studies are described as ‘context free' (Burry, 2001:36) and are frequently used for transient applications such as industry exhibits, performances and temporary events. The surface can be constructed modularly, combining expressionless glass surface with light sensitive panels that allows the surface to be re-assembled to portray varying transparency. The temporariness of electronic volume here can be understood as a way to generate architectural form.

Figure 1.7 The Boolean House. Dunlop and Burry. (Burry, 2001:21)

Use of technology has become fundamental in the modelling of architectural blueprints and in the creation of new surfaces that may not have previously existed due not to imaginational limitations but to limitations of the tools available. New virtual tools allow, for example, the creation of ‘The Boolean House' (Burry, 2001:20) designed by Grandt Dunlop and Mark Burry as a theoretical house for the mathematician George Boole (1815-1864), that was created using the logical operations named after him. Using architecture software that offers Boolean methods of carving out spaces within an otherwise arbitrary architectural solid results in a fusion of mathematics and space.

1.9 Boundaries Touching

Figure 1.8 TRANS-PORT. (Burry, 2001:191)

Some architecture is designed to create a linking between physical and electronic volume. Oosterhuis.nl’s ‘TRANS-PORT’ (2001), shown in figure 1.8, is an electronic/rubber interior/exterior skin placed on a controlled hydraulic space frame. This allows a distributed network that facilitates the communication between real people in the local environment and virtu
al people in the virtual environment. This creates an augmented reality of physical being and virtual avatar presence. The content of the TRANS-PORT is a real time ‘game’ of evolution that generates data and changes the physical and virtual make up. The intent of dualist environment systems like this is to explore the possibility of seamlessly walking off the street and into virtual reality, allowing the participants to appear on the other side of the physical or virtual world in an instant.

Figure 1.9 Waveknot. Lalvani. (Burry, 2001:200)

Another example of architecture designed to bridge the void between the electronic and physical is Dr Haresh Lalvani’s ‘Waveknot’ (Burry, 2001:200), an architectural system that uses computer algorithms for morphologic columns in the form of knots, creating a connection tie as the knot winds from one location to another. This transitional architecture could theoretically be used to link real and virtual worlds together; however, it has found little support as a practical application. We are currently unable to transcend in entirety, body and mind, through the physical to the electronic and back again. Despite all these attempts at smoothing our passage through worlds, we find ourselves at the locked glass door of the interface. We can peer through our screens, our virtual reality goggles, and see the worlds behind the door, we can touch the data with our keyboards, mice and datagloves, but we cannot penetrate the barrier of the interface, the door that signals our way into electronic spaces yet will not let us through.

1.10 Un-escapable Physicality

One of the fundamental reasons for the lack of success of our transgression into dataspaces is that despite VR simulations presenting us with an existence free from the body, vital parts of our selves are trapped within the body, as physical humans we cannot feasibly become pure data as our body becomes prohibitive.

Jean Baudrillard writes prolifically on the subject of humans constructing simulations of reality (including virtual reality or fiction) in order to make reality seem more real[7]. The physical limitations of the body in reality are heightened as the mind steps forward into virtual reality. As Baudrillard explains;

With the screen… one has to be inside; it is possible to play with it but only if one is on the other side, and immerses oneself in it. That scares me a little, and Cyberspace is not of great use to me personally. (Thibaut, 1996)

Marcos Novak addresses this issue through the creation of his term ‘dis/embodiment’. He proposes that there is no actual state of disembodiment, there are only alternative states of embodiment within media (Mork, 1995).

Even if the media turns out to be entirely informational, they [participants] would still constitute a form of embodiment, since there would still be the invariance of the relational structure that we are made of. (Mork, 1995)

Stephen Perrella describes the current dualist culture of living between reality and virtual reality as a ‘schizophrenic culture’ (2002). He encourages experimentation within this culture that he sees as inevitable; ‘we must accept it, the best we can do is become productive schizophrenics’ (2002).

1.11 Reconfiguring the Atoms that Remain

Figure 1.10 TV watcher. Sandelin. (Ridderstrale and Nordstrom, 2000:72)

One of the distinguishing outcomes of increased experimentation with architecture in electronic volume is that all forms can be created with equal ease. No one form is more or less intricate, demanding or challenging than another. Therefore architecture in electronic volume has fantastic potential to generate forms that are preferred by their designer; and where the designer is human, these forms must appeal to both mind and body. Novac, in his experimentation with those experiencing virtual architecture, explains that ‘the mind was much more particular than the body’ (2001). However, with the increasing presence of virtual spaces creeping into our everyday lives, our minds have become perfectly trained to step into and out of imagined realms. The television, with its hundreds of channels allows us to flip in seconds through multiple media spaces. The mind adapts and absorbs instantly, it is the body that must be re-configured within physical space, located with a good view of the screen, eyes facing the box. As Perrella strongly states ‘Without the TV, how would you know where to put your couch?’ (2002) He illustrates that the virtual media worlds have grown so powerful that we are constantly re-adjusting our physical atoms to become further immersed in electronic volume. What may be called the ‘living room’ of many Western homes, traditionally used as a space for living, has now become a space for interfacing. With the addition of an interface to electronic volume such as a television, the entire physical area is re-configured; furniture is moved so that the best possible interface experience is available to us[8]. When electricity is fired through the television screen and combined with data signals to produce picture and sound, it has the potential to dominate the room and its viewers by allowing their bodies to exist in physical volume but their minds to exist only in the electronic.

1.12 Summary

This chapter has established the awkward experience of a culture oscillating between the real and virtual, the physical and electronic. Through the empowerment of new technologies this culture is increasingly experimenting with alternative systems of existence. As such, it is important to acknowledge the compelling potential for architects to create paradoxical physical representations of electronic spaces, and to create new interpretations of physicality and virtuality through architecture.

CHAPTER 2

2.1 The Influence of the Imaginative Experience

This chapter explores the reflection in architecture of a culture engaging with connected technologies. This chapter will argue the emergence of a superlative Modernist sensibility in architecture as a direct result of the influence of new technologies, and will explain how a transient and connectivist culture erodes many of the conventions of Postmodernism, as ideals shift from environmental harmony towards to a deterioration of place.

With the abundance of the availability of new technology in the West, countless artists, technologists, designers and companies have worked towards creating immersion within electronic space. They see simulations of how life could be as pure electronic data through the screens of their computers, through their TV sets, through their telephones. This may not currently provide a wholly immersive experience, yet the human imagination is flexible enough to fill in many of the gaps, so it is possible for participants to imagine an existence wholly as data, without the body, whilst still existing within a body. This becomes evident in the experience of non-physical worlds created in the imagination though information such as books, films, radio, television, and story-telling. The Deleuzian view that there is no distinction between production and product (Krauss 1993:315) is an attractive area for exploitation by those wishing to create new architectures; through imagination, participants become both physical and virtual simultaneously.

Joel Garreau’s ‘Edge City’ presented the concept that;

Cities are always created around whatever the state-of-the-art trans
portation device is at the time. If the state of the art is sandal leather and donkeys, you get Jerusalem. (cited in Johnson 2002:90).

Now, mentally at least, we are travelling by data, instead of by donkeys. In this chapter I will discuss how this seemingly dichotic existence of real and virtual fuses concepts together to impact recent architecture and our experience of it.

I will argue that there is a provisional and temporary movement in architecture that is emerging, not from direct influence with electronic space, but from the growing need to accommodate a culture that has had its perceptions, attitudes and ideas changed and shaped by limited interaction with electronic space. As our imaginations become more accustomed to existing in a state of ‘dis/embodiment’ new architecture will naturally be influenced by this, and will rise to meet new and changing demands placed upon it by those who no longer perceive themselves as having a wholly physical existence. It is important to establish a connection between various communication technologies and how they re-shape mentality that in turn re-shapes architecture.

2.2 Non-places

The swift proliferation in recent years of global technologies such as the internet, and satellite communications and the increasing mobility, especially in the affluent northern hemisphere, creates a new mentality. A mentality that a larger portion of the world now one way or another is familiar, seems familiar, or is assumed to be familiar by individuals. This allows our personal radius of action[9] to expand. This supersized radius of action allows space to be reduced to an interval in a continuous moment, interrupted at most for a brief stopover. Our global transience becomes a catalyst for what Marc Augé calls ‘Non-places’ (1995). Supermarkets, airports, hotels and motorway stops generate a recognizable form acquiring a degree of familiarity. These non places are seen as typical expressions of the age of globalisation; however, these are not the only examples. There is a remarkable slippage of concepts that branch from experience in electronic volume into physical volume architecture.

One trait that slips into the physical world perfectly from our experience with architecture in electronic volume is a characteristic lack of place or location. For example, coded software that runs on a computer in England could just as easily be running in Japan without anyone telling the difference. The potential for useful data to be everywhere and simultaneously be nowhere is extremely appealing to a mind encased within a body; so that wherever the body goes in physical volume, the data is there.

Figure 2.1 Geskin and Bazanski, New York, New York Hotel and Casino, Las Vegas, USA.(Ibelings 2002:74) illustrates that location and relation to place is dissolved through simulation.

The understanding that theoretically everything architectural can also stand everywhere, undermines the Postmodern dogma that architecture must always have a unique, authentic relationship with the context. This became particularly apparent in the ‘VDS: Multiplying Time, Place2wait Project’ (1997) that existed nowhere, but was accessed at the University of Hong Kong, the University of Washington, Seattle and ETH Zurich. Existing only in electronic volume, students from the three institutions collaborated on a single project during normal working hours for their time zone. They then passed on the data files to the next time zone, thus creating a 24 hour working environment that existed across the world. The project brief, being truly indicative of the globalisation of culture, was to create a building for a Chinese painter and a Swiss writer off the coast of Seattle. Each university’s local styles were passed on to the next, and after the designs had travelled the world several times, being modified at every turn, any sense of localised style was eroded to become a ‘global style’.

2.3 New Global Territory

A common trend in working in this way is the need for re-establishing territory, not as a physical boundary but as a mental state. Traditionally place was something that, from a human geography perspective, could be measured the distance to and to other points, a location in space, a geographic property. Human geographer Kathrin Horschelmann sees evidence of society changing as we experience the impact of electronic volume in our physical lives. There is no longer a case of separate, segregated identities that have traditionally formed territory. Territory is replaced with a ‘sense of multiplicity of places and spaces’ that stems from the wider range of things we consume and our ‘media experience’ (Horschelmann 2002). Horschelmann believes physical humans are no-longer from anywhere, as they encounter differentiation and fragmentation of cultures on a daily basis; cultures become overlapping and are no longer distinct.

This constant mixing and re-configuration of spaces, places and identities is a side effect of the new global village[10], its communicative and potentially homogenising powers are hard to avoid. Even the most anti-globalisation polemicist Naomi Klein paradoxically travels the globe promoting an anti-global message worldwide.

2.4 Internationality

Personal experience of and interaction with a global style is gaining momentum as international travel and worldwide communication are no longer the reserve of the aptly named ‘jet set’[11] but increasingly become everyday phenomena for millions of people around the globe. Internationality, which was seen as an essential element of Modernity, has expanded through technology to such an extent that national borders and time zones, mentally at least, are no longer a barrier to any kind of interchange. In this respect the 1990′s can be seen as the superlative of the Modernist 1950′s and 60′s, representing amplification in modernisation and internationalisation. Modernism is consciously international. The first clear example of internationalisation in architecture is the creation of grand hotels. These provide international travellers a degree of uniformity and familiar refuge from the different environment outside. This raises the concept of international style, that an architectural style or approach should be internationally applicable, that is given a new significance in this technological era. Although it is this international quality that Postmodernists strongly objected to from the beginnings of Postmodernism, in recent years Postmodern architecture paradoxically contains a certain international quality of its own (Ibelings, 2002).

2.5 Supermodernity

After the explicitly defined spatiality of Postmodernism and Deconstructivism, it appears that the ideal of boundless and undefined space, inspired in part by the physically liberating and globally connected experiences brought about by networked technologies, is set to become the main leitbild[12] for architects. This view is shared by Augé who provides a provisional framework for this new phenomenon. Augé uses the concept of what he calls ‘Supermodernity’ to describe the logic of excessive information and excessive space.

The three figures of excess which we have employed to characterize the situation of Supermodernity – overabundance of events, spatial overabundance, the individualisation of references – make it possible to grasp the idea of Supermodernity without ignoring its complexities and contradictions. (Augé 1995:40)

Supermodernity inspires a new architectural sensibility that can be characterised by its sensitivity to the neutral, the undefined, the implicit; qualities that are not confined to architectural substan
ce but also find powerful expression in a new spatial sensibility. Augé disentangles anthropology from history, to such an extent that he describes Supermodernity as ‘The face of a coin whose obverse represents Postmodernity: the positive of a negative.’ (Augé 1995:30). Augé creates an important distinction between ‘place’ encrusted with history, and ‘non-place’ that exists without history, without time, without location. This is in contrast to Baudelairean Modernity, where the old and the new are interwoven. Supermodernity is self-contained in supermarkets, airports, hotels, on motorways, in front of televisions, computers and cinema screens. It is most interesting that Supermodernism is not only an amplification of Modernism, but describes a theoretical encapsulation of many of the human experiences of electronic volume. Supermodernism’s extreme polar nature to Postmodernism brings to mind many of the attitudes, values and beliefs of those interacting with networked technologies today.

2.6 Technological Reflections in Supermodernism

It is important to establish that Supermodernism is not only an antithesis to Postmodernism, as Augé describes, but it also encapsulates the cultural phenomena resulting from a lifestyle integrated with digital technologies.

2.6.1 Regard for the Surroundings

One of the original hallmarks of Postmodernist architecture is the regard for the surroundings, its context within an environment, regional idiosyncrasies and respect for the concept of ‘local’. The architecture of the Supermodern has no regard for its surroundings, it is global, neutral, generic, non-symbolic and above all, commonplace. Just as Internet dataspaces attempt to remove themselves from all locality. Many websites, for example, erode the concept of locality by having chunks of data in a variety of places. Even at the simplest level websites may show text written on a German computer describing images on an American computer hosted on a French computer. An extremity of this example is the popular technology of mirror sites, where an exact duplicate of the data from a computer in one geographic place is stored on multiple computers a variety of geographic places. The data has presence everywhere, globally, yet nowhere physically. The users interact with the data, not the place, removing any concept of locality. Here, lack of dependence to a physical location can be considered a survival strategy. If for some reason a particular location is damaged or destroyed, perhaps due to war or extreme acts of nature, the data flow is not disrupted, its users are invisibly re-routed to any number of other locations. In this respect, Supermodernism is considered to be in keeping with the time, not the surroundings.

However, one crucial argument for Postmodern locality in architecture is that it aids the notion that the built environment is an essential point of reference in daily life. That buildings, spaces, neighbourhoods, cities, and monuments function as prompts for individuals and communities. This view was articulated by Aldo Rossi in 1966 in his work ‘The Architecture of the City’ (1984) regarded as one of the theoretical foundations of Postmodernism, Rossi defined ‘aide mémoire’ as an analogue city that exists in everyone’s imaginations, a personal version of the city consisting of buildings, streets, and parks that become associated with particular individual memories. Now, as society becomes increasingly transient in both lifestyle and culture, there may be no memory to attach to place, or no point of reference in the local environment. Instead focus turns to homogenous, global associations. The same products and services are available to us no matter what our location and they are delivered to us in the same way. In the identical aisles of supermarkets, in the universal language of the logo, in the familiar glow of the television screen that allows us to receive the same broadcast from a multitude of places, in the mobile phone that never lets you lose contact. This in turn homogenises architecture. This is illustrated in the writing of Tom Wolfe who claims that ‘every child goes to school in a building that looks like a duplicating-machine replacement-parts wholesale distribution warehouse’ (cited in Farrar et al., 2001). Wolfe illustrates how social and intellectual trends have determined aesthetic form, and how architects have clearly abandoned personal vision and originality in favour of the Modernist coherent world architecture.

2.6.2 Referencing, Labelling and Allusion

Postmodernist architecture created illusions through representation, infused with allusion, referencing the surroundings and the past. Practitioners would express the buildings purpose, either by following the conventions of building typology or by adding symbolic pointers. Postmodern architecture was seen partially as a communicative system to the point of creating what could be considered as ‘building linguistics'. The architecture was completely overloaded with references to architecture and architecture history, the context of the building or its internal activity. This became problematic as Hans Ibelings points out; ‘increasingly buildings started to function as vehicles for ideas that had nothing at all to do with architecture' (2002:18). Allusion, especially to context, was the most frequently used means of legitimising Postmodern architecture, that in turn filled the world with what Perrella describes as ‘streams of representations…continually pushing through our lives' (2002). Neutrality can be seen as a reaction to the Postmodernist and Deconstructivist tendency to design everything from the building to the doorknob, from the furniture to the coffee pot.

Supermodernism presents an alternative approach where objects are sufficient in themselves and are not required to convey anything.

Architecture that refers to nothing outside of itself and makes no appeal to the intellect can instead prioritise direct sensory experience of space. This gives Supermodernism as an architectural style special significance for integration with electronic volume, as it shows a move away from a body-centric system towards a system of experience. Architecture based on radical reduction is used to conjure up an exceptionally strong impression that refuses to transmit a literal message. Instead it creates an emotional exchange, an atmosphere.

The atmosphere and emotion of architecture takes on a fresh importance in an environment where people frequently engage in electronic exchange. Huffman claims that ‘the encountering of electronic memory as reality has become commonplace' (1999:136), and if this is indeed true, then architecture must create a sensation, rather than a dialogue. As Ibelings believes; ‘the immediate sensation of space, form and light, of transparency and weightlessness is more important than the communication of any message' (2002:43). We see a breakdown of Postmodernism in favour of the desire to bring to fruition the lightness of our cyberspace experience. Conclusively the removal of Postmodern signs has becomes the search for the absolute zero of physicality.

2.6.3 Clean Slate: the New Start

One of the traits of modernism that is mirrored most clearly in a society experiencing constant technological advancement is the freedom to demolish the past and begin with a clean slate. The Modernist viewpoint is that the past can largely be considered as dead weight, with the exception of the particular line in history from which Modernity claimed descent[13]. The clean slate mentality was somewhat revived during the ‘dot com boom’ of the 1990′s, as an entirely new sector of business emerged around a new technological innovation, the Internet. This allowed small companies in humble locations[14] with very little capi
tal compete for business on a global scale that was normally reserved for giant multi-national corporations. This drastically and rapidly changed the usage of architecture. What once was a bedroom was now a global headquarters, what once was a garage was now a worldwide distribution depot. In the minds of people empowered by a presence in electronic volume, rather than in physical volume, the Postmodern adage that the pre-existing is beautiful, valuable and morally superior to a clean start, was quickly worn away. The past was no longer seen as a natural starting point for new constructions. Instead, new architecture was created with the expectation that its usage would be varied, and its occupants would be transient. A Supermodern view took over, and presented buildings that look as if they could be anything, an office, a school, a hospital, a hotel or apartments.

2.6.4 Experiential Construction

Access to connected technologies, digital production networks and remote participation in projects has given architects themselves the ability to remove all physicality from the involvement of construction. On inspection this seemingly paradoxical situation is far more common than one may first think. Architect and designer Isozaki never saw his ‘Team Disney’ building at Epcot Florida with his eyes, only his minds eye. (New York Times cited in Fletcher, 2001:166). By encoding his imagination into data such as blueprints, and transmitting it remotely, he was never present at the site of construction. This allowed the creation of the architecture of experience, rather than the architecture of physicality. What is unique about this process however is that Isozaki’s interaction with his building would have been identical even if his design was never physically constructed at all.

Figure 2.2 Parasite Las Palmas, Rotterdam, Korteknie and Stuhlmacher (authors image, 2003)

Architects Korteknie and Stuhlmacher have taken this a step further with their creation of ‘Parasite Las Palmas', Rotterdam (2001). The Parasite is currently on-top of the Las Palmas warehouse in Rotterdam, but it could be anywhere, or nowhere, is a statement about flexible, temporary construction in the built environment. The Parasite is designed to be constructed on any top of existing buildings, and utilities such as power and water are taken from the host of the Parasite. This imposed multifunctionality distorts the original decisions made by the host's original architect. This is a new kind of connectivism for architecture, it is an imposed prosthesis. Just as the cyborg supplements its body with new technology, so too can architecture. The Parasite represents a symbiotic system that subverts the original intentions of both the Parasite's architect and its host, generating a mutual sense of re-purposing. This is a transformation of architecture towards a sensory machine as it becomes a wave of probability. The Parasite indicates that there is no solid measurement of architecture; instead it becomes a wave of probability. There is no way to define what a particular building is; only a speculation on the many things it could be.

2.7 The Rise of the Glass Box

Figure 2.3 Building for the Ministry of the Interior, Madrid, Spain. Inaki Abelos and Juan Herreros. (Ibelings 2002:91)

We are now noticing a trend in construction of what can rather simply be described as the ‘glass box', architecture that is light, rectangular volume, architecture that is almost not there, architecture that expects to be changed. Smooth glass surfaces are utilised to evoke a sense of insubstantial superficiality. The simplicity of the glass box is not just a reaction to the aesthetic of visual excess. In essence, the new abstraction is an expression of the fundamentally different attitude to architecture which it sees less and less as significant and filled with symbolic meaning, and more and more as a neutral object, open to interactions both physical and electronic.

Figure 2.4 Twin Tower. Massimiliano Fuksas. Wienerberger Ziegelindustrie. (Architekturtage.at 2003)

The glass box is Supermodern in its independence from specific conditions. The ephemeral appearance is rarely, if ever, the product of formal considerations. It is characterised by sensitivity to the neutral, the undefined, the implicit, qualities that are not confined to architectural substance but also find powerful expression in a new spatial sensibility. The undefined space within is not a void but a multipurpose container.

Figure 2.5 Videopavillion Erotics , Groningen, The Netherlands. Bernard Tschumi. (Lava.ds, 2003)

Bernard Tschumi's Videopavillion Erotics in Groningen, the Netherlands, constructed in 1990, shown in figure 2.5, is designed with the expectation of multiplicity of purpose. It currently houses video media and is used as a library, but it has been used for many other changing functions depending on the needs of those who use it. It is designed as if it is almost non-existent, and as a result the usage of the building projects outwardly rather than imposing meaning, place or rule onto the inhabitants.

Figure 2.6 Mediatheque, Sendai, Japan. Toyo Ito. (Designboom, 2003)

Toyo Ito's beautiful Mediatheque in Sendai Japan constructed in 1994, shown in figure 2.6, is characterised by coolness, smoothness and abstraction from Postmodern meaning. The rising frequency of the occurrence of the glass box around the world shows that events are taking place more or less simultaneously across the world. There is a conviction that people everywhere belong to the same global community thanks to networked communication technology. It has become almost effortless to take an active part in a global society.

Figure 2.7 ¿Cuantos? (How much?), Madrid, Spain, 1991. Wodiczko. (Artangel)

Largely as a reaction to the imposed meaning of Postmodern architecture, visual artist Krzysztof Wodiczko projects large video images onto buildings in order to offer a critique of the powers within dominant architectural institutions. He describes his work as ‘a symbol-attack’ (Vallen, 1999) removing, altering or subverting the allusions broadcast by architecture. Unlike the Parasite that re-contextualises meaning through physicality, Wodiczko’s work adds a data dimension to architecture, as shown in figure 2.7. This data dimension is a crucial consideration for new architecture, as technology improves we may find ourselves residing in spaces where data is not projected onto an existing physical space, but the physical space hardly exists at all, if only to serve as a display for data. There may be a strong case for ‘inscribing’ Supermodern buildings with an editable, temporary text or image to reappropriate an intrinsically expressionless form. Eventually the physical volume will drop out of significance in architecture and it will be replaced by electronic volume, as bits replace bricks. This is clearly seen in the work of Ra
fael Lozano-Hernmer a Mexican-Canadian artist who expands on Wodiczko’s work[15] through new technology like the Internet and robotics used to intervene with the interpretation of architecture. He calls this ‘relational architecture’ (Canogar, 2002); an act of transforming the narratives of a particular architecture by adding and removing audiovisual elements to re-contextualize or de-contextualise it. Relational architecture becomes laced with physical hyperlinks activated by spatiotemporal signals, thus merging physical volume with electronic volume. This emphasizes the relationship between urban and personal scale. Instead of dematerialising the body, it dematerialises the environment. It is improvisational space without rules.

CONCLUSION

By modifying the architecture, rather than the body, humans can interact simultaneously with two volumes as if they were one, blurring any possible distinction between the two. This permits a fluidity of experience, an alteration of reality, an exciting exchange of interaction. Whilst it must be recognised that this is perhaps a digital utopian view, it must also be recognised that it is a very real possibility.

It is clear that the impact of digital technologies on global culture is represented through architecture. Digital technologies do not only give us new ways to perceive architecture and new ways to render architectural form, but also empowers human thought with a connected consciousness that is expressed in our everyday interactions.

It is imperative to understand that our future experience with electronic volume may not come directly from screens, data goggles or online communication, but from the very physical architecture we inhabit each day. As the physicality of architecture becomes reduced closer to zero, there will no longer be perceivable boundaries between real and virtual, physical and electronic. Cities will become worlds full of windows, a concentration of invisibility. Bodies will move through physicality as our minds move through virtuality. Cyberspace is already becoming undeniably real. Although Ito claims he has ‘not yet found a space that reflects the idea of living in the age of electronics’. (cited in Puglisi, 1999:22), he has contributed to the realisation of community space for the digitally connected mindset. As no single architecture alone can create a virtual reality, as that architect has the measurement of every detail of their creation, a mass of decentralised artists, architects, designers and other practitioners all influenced in their own unique way by interaction with electronic volume, will ultimately create a virtual reality though a wave of probability.

FOOTNOTES:

[1] This can also be described as an act of observation.

[2] Quarks, gluons and leptons.

[3] The Ten Books on Architecture.

[4] Perhaps the only pseudo-physical attributes we possess are that of our avatar, a digital representative of the body, but even these avatars are not bodies but additional data-architectures moving around a dataspace.

[5] Defined by Steve Mann as a ‘person whose physiological functioning is aided by or dependent upon a mechanical or electronic device’ (2001:1).

[6] Cybernauts can be defined as those travelling into and out of cyberspaces. ‘An electronic astronaut. Avid internet users are often called cybernauts; however, anyone deeply involved in communications networks, online services, and computers in general can assume this title’ (TechEncyclopedia 2003).

[7] A fascinating example of this is Baudrillard’s story of confusion and unease when reality and artificiality are juxtaposed :

In the 18th century, at the dawn of the machine revolution, a strange story took place. A magician, an extremely adept watchmaker, had constructed an automaton. He had executed this machine to such perfection, its movement so smooth and natural, that the public could not distinguish them, once both appeared on stage. To put a point to the spectacle the master felt compelled to mechanise his own movements, even his complete bearing, lest the spectators in their increasing unease as to who or what was a real should actually take the man for the machine, and vice versa. (1974, cited in Weibel 1990).

[8] Commonly the television is placed in a location that maximises visibility, at eye level, in the corner of the room so as to maximise the number of chairs and seats pointing towards it. With the recent popularity of DVD player technology and digital surround sound, we now have the possibility to interface with the ‘home theatre’. By placing audio speakers around the room the physical home space is altered into the virtual, electronically enabled, sensual, theatre space.

[9] The personal commonly encountered area of interactivity and participation.

[10] A term coined by Marshall McLuhan who envisioned the world interconnected via electronic communications. (2001)

[11] Defined as ‘an international social set made up of wealthy people who travel from one fashionable place to another’ (Dictionary.com 2003).

[12] Leitbild is a German word meaning ‘model’ or ‘example’.

[13] Andrea Palladio, Karl Friedrich Schinkel and Claude-Nicholas Ledoux.

[14] Michael Dell, for example, began selling computers from his dormitory room when he was 19. Dell Computers is now one of the worlds leading computer providers. (Ridderstrale and Nordstrom, 2000:208)

[15] It should be noted that Wodiczko is not Hernmer’s sole inspiration. Other artists in this area include Archigram, Toyo Ito, Gordon Matta-Clark, Jenny Holzer, the Situationists, Christian Moeller, Christo, Peter Greenaway, Vito Acconci, Dennis Adams, Knowbotic Research, Dan Graham, Richard Serra and Rachel Whiteread.

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Lectures:

Engeli, M. (6. December 2002) Bits and Spaces. Babbage building: University of Plymouth

Horschelmann, K. (4. December 2002) Human Geography. Scott building: University of Plymouth

Perrella, S. (28. November 2002) Hypersurface Architecture: Existence Within Planes of Immanence. Robbins Lecture Theatre: University of Plymouth

Warwick, K (18. February 2003) I, Cyborg. Robbins Lecture Theatre: University of Plymouth

Adam Montandon

MSC Digital Futures

Institute of Digital Arts and Technologies.

University of Plymouth

ABSTRACT

This thesis presents a new conceptual model for the practice, performance and evolution of the sensory enhancements of cybernetic organisms. In this thesis the cybernetic organism is examined as a system within the compound term Cyborg; describing a dichotomous fusion of distinct, individual parts.

This conceptual model is based on the idea of a continually evolving complex system which can be considered as a singular holistic entity, a system that looks outside of itself and finds only itself. This model is exemplified by several systems I have developed over the past two years throughout both my academic and professional practice, dealing chiefly with the absorption[1] of digital sensory capabilities by organic systems and the evolutionary process that follows. The projects I will discuss are Lacuna for Arch-OS, a sensory system fused with architecture, MyBorg, a wearable, networkable, digital sensory suit, the EyeBorg, a collaborative synesthesia[2] device and the Butterfly Garden, an art installation and sensory extension for plants. These projects are connected both through their use and application of digital sensory stimuli and as part of an evolutionary chain, more appropriately described as descent with modification.

The principles, patterns and challenges which evolved from this practice are extracted and discussed with a particular emphasis on the potential to grasp a reality compatible with new perception tools.

This work was supported by I-DAT, HMC Entertainment Systems LLP, Submerge, Dartington College of Arts, Neil Harbisson and Zoë Kennard. 

1. INTRODUCTION

“The human as a concept has been succeeded by its evolutionary heir.”(Hayles 1995:321)

“They lied to us.

This was supposed to be the future.

Where is my jetpack?

Where is my robotic companion?

Where is my dinner in pill form?

Where is my hydrogen fuelled automobile?

Where is my nuclear powered levitating house?

Where is my cure for this disease?”

(Slabyk 2003)

“As a general rule, if you take an organism to pieces you do not end up with pieces of an organism.”(Grand 2000:139)

1. 1 MOTIVATION

This thesis is written as a report on my practice in the field of Digital Futures and is informed by my continued experimentation, observation and interest in the continued modification of perceptors, specifically the absorption of digital sensory capabilities[3] into existing organisms. The use of digital sensors to open up closed, or partially closed systems has been a common theme throughout my work over the past 3 years. It is my intention to illustrate through practical examples the interconnected nature of these systems and their environments.

It is the purpose of this thesis to present a useful conceptual model for dealing with an effective level of observation that has emerged through my practice. A model that aims to aid the understanding of whole systems that is not possible by observing its component parts, by exemplifying relationships emerging between interconnected parts rather than the parts themselves in a serial chain. Several of the interlinked concepts that create this model are presented in this thesis in parallel in order to demonstrate the non-linear thought process underpinning my work.

1.2 DESCENT WITH MODIFICATION

This thesis comes at an important stage in the human evolutionary chain (Hayles 1995). In Darwin’s book Origin of Species he describes what is today commonly referred to as evolution as descent with modification (1998)[4]. Today there is an apparent culture of technologically augmented evolution, or “techo-darwinism” (Hill 2000) where evolution takes place in realtime. The evolution of computer technology is now interwoven into the evolution of human culture. Just as it has been shaped by fire, the wheel, the printing press, and nuclear power, human culture is being affected by digital technology. This culture emerges as technology has shifted down from the realms of high-cost, low availability and specialist domain towards a cheaper, more accessible platform. This is the dawn of an interesting era when almost anyone in the western word, should they wish, has access to technology which is readily available in order to change their lives in some way.

2.1 THE CYBRID IN PRACTICE

Whilst studying at the University of Plymouth’s Portland Square building I have been fortunate enough to have a very privileged access to the Cybrid system, one of the first in the UK. The Cybrid is described by Peter Anders as a “situation where data and concrete objects work together to create new spatial entities… A Cybrid is a hybrid of physical and electronic spaces” (2001). In practical terms a Cybrid is, in the case of Portland Square, much like any other building in the concrete sense. What separates it from other buildings however, is a layer of digital apparatus embedded between the layers of concrete. In the case of Portland Square, the digital apparatus is primarily a sensory system designed for building management. Temperature, water usage, electricity usage, light and sound fluctuations[5] are just some of the many stimuli that the Cybrid can turn into digital data via an operating systems for buildings entitled Arch-OS. During my degree I paid particular attention to the theory surrounding the Cybrid system and having the chance to experiment with one in the practical sense gave me new insight into how the system could evolve in the future.

2.2 LACUNA

My first project written to use the Cybrid data, titled Lacuna, is a practical example of software written from a purely theoretical model. The physical building had not yet been created, so the software was written for something that did not exist outside the conceptual sense of the architect’s plans and the dreams of those who would later put the building to use. Lacuna, therefore, followed closely to Novak’s ideas of creating “Liquid architectures in cyberspace” (1991), allowing for a freedom from physical constraints, as detailed in my dissertation Supermodernism, Architecture for a culture without boundaries (2003).

Lacuna operates in the conceptual gap between the physical dimension of bricks and steel and the virtual dimensions of data and cyberspace. Lacuna created a freeform, constantly evolving, digital counterpart architecture to the physical structure of Portland Square. However, in practice, one of the biggest deviations from the freeform dream of an electronic architecture was the sheer physicality of the Portland Square Cybrid (Montandon 2003). Instead of infusing electricity and data into the fabric of a building “which transforms the architect’s drawings, the brick, steel, glass and fiber-optic infrastructure into a living-breathing environment.” (Arch-OS Readme 2003) the production process essentially poured ton after ton of solid immobilising concrete over an immaterial flexible digital nonspace. Instead of a dynamic and fluid techno-architecture, the end result – from the published material – reads “Arch-OS uses embedded[6] technologies” (Arch-OS Readme 2003).

The current Cybrid is a system with the brains of the universe and the body of a brick.

2.3 THE CYBRID (R)EVOLUTION

“The Portland building is the first building I know of to have employed the concept
of cybrid. However to be precise about the term the project would have co-existed as a virtual / physical entity from the start. The cyberspaces would have been accounted for prior to their implementation as a part of the designed composition. As the Plymouth project happened, however, the building was built first with all the electrical / data systems in place….This is a matter of process more than product: the building / cyberspaces are somewhat co-dependent and may be further integrated in the future. However, the design principles that I articulate in my thesis have yet to be fully implemented in an actual project. That requires a client / architect understanding of cybrids’ potential – one that is still in the making” (Anders 2004)

The current problem with the Cybrid can be traced to its status as a first, a one of a kind, a prototype. It is possible to predict that successive evolutions of the system will teach us more about the connectivity between systems and digital sensors. One of the qualities that technological developments have that architectonic developments do not is sheer speed. The faster Cybrids lifecycle, the faster it becomes to observe the evolution of the Cybrid as a species. This evolution can only take place in the fitness landscape[7] of the wild[8].

“Through competition for limited resources only the fittest will survive and through the extension of this competition, generations of a species will transform or adapt itself with those qualities” (Jones 1952:192)

This kind of evolution could potentially lead to:

• An improved adaptability and appropriation of a Cybrid to its environmental and social surroundings.
• An increased display of fitness for purpose.
• An improvement in stability and resistance to interference (such as virus attacks, fire, etc) through selective reproduction.
• A new flexibility of application, as Anders describes “I see Cybrids applying to arts, sciences, environments, objects, people. Anything where the unity of material and symbolic are manifest.” (2004).
• Emergence of higher level behaviours such as awareness, consciousness etc.

2.4 EVOLUTION NOT INSTITUTION

I believe that the speed at which any species (The Portland Square Cybrid can be considered to be the first of a species) can go through an evolutionary cycle is paramount to its adaptability to both the real and virtual world. This evolution is especially important in situations where technology becomes augmented with a subject. As Bill Hill explains in Techno-Darwinism: Artificial Selection in the Electronic Age:

“The traits once considered to be assets for survival are now obstacles. As technology further augments the ‘natural’ with the artificial the more the ‘weaker’ traits of the species will prevail, further perpetuating the reliance on the artificial for increased productivity. The tools the human species make in turn makes them. So the notion of a ‘natural selection’ process touted by Darwin and his followers seems to be increasingly transforming itself into an artificial process driven by a social collective which seeks survival through technology.” (2000:19)

In cases such as these, where weaker traits prevail through generations, compensation must be achieved through technology. A weaker genetic species should, according to Darwin (1998), die out, but that species can survive if it becomes stronger through the application of technology. To take this Techno-Darwinist approach is to accept that the technology will evolve. The question is when will it evolve[9]?

One of the leading theorists of change rate in buildings is Frank Duffy from the design firm DEGW. He dissects the building into four separate layers of change (1990:12), rather than as distinct physical space. He describes the four layers as Shell, Services, Scenery and Set. A brief description of each layer follows below and most importantly the approximate speed of evolution for each layer is described, starting with the most permanent outer layers and moving inwards towards a faster, more flexible, more adaptable innards. This data is useful as a tool to identify the time when modification is likely to occur, illustrating the approximate speed of evolution of the building as a system. This information is presented in parallel with information detailing the layers of the Cybrid system, as they are embedded within the Portland Square building, as the physical dimension to the building alters over time, so too can the digital dimension. Interestingly, nested within the layers of the physical building are digital segments of the Cybrid, all of which are moving at different rates of permanence and therefore different rates of evolution.

2.4.1.A SHELL The outermost layer of the building. This is the permanent structure. Shell is the building. The shell has the slowest rate of change, commonly the shell is never changed in a building. If change is desired at the shell layer, normally the entire building must be demolished and a new one constructed.	2.4.1.B INTERFACE The sensory input layer that tracks the changes within the building. This layer is deeply embedded into the service layer of the building (it is, in fact, a service) and is therefore the slowest and most difficult part of the Cybrid to be modified.
2.4.2.A SERVICES Services is the layer inside the shell containing cables, plumbing, sprinklers, heating, lifts, electrics and other services. Most notably the digital Cybrid info-structure resides in this layer in the current arcos model. This layer changes approximately every 15 years, as pieces wear out or new services are added.	2.4.2.B EXTENSIONS This layer represents the extensible ports of the Cybrid that can accept external video, audio or data feeds. This layer is more accessible than the interface layer, but still has a slow rate of modification due to the physical nature of the attached extensions.
2.4.3.A SCENERY The Scenery is the inner layer of the building concerning the layout of the internal rooms. Partitions, dropped ceilings and other features change approximately every five to seven years.	2.4.3.B CORE The core level is the dedicated computing layer that interprets the data from the interface and extensions and converts it into web-ready XML, Video, 3D images, Sonic models etc.
2.4.4.A SET The set is the architectural layer with the fastest rate of change. The set is the furniture, chairs, tables, and desks etc that move every few minutes. The set is the furniture level; in fact the word furniture is called mobilia in Italian, illustrating just how fast it moves.	2.4.4.B PROJECTS Various projects are the end result, the artistic or technical expression of the data from the core. This layer changes rapidly, and the Cybrid may see several new projects emerging each year.

2.5 UNIT OF SPEED

Interestingly, the set level, or furniture level is designed to be just one level removed from the fastest changing element of the building, the occupants. This d
iagram below shows the building as a unit of speed, and the relationships between the speeds of neighbouring layers.

These layers of change can be applied to the human inhabitants. The shell level becomes the body, the services the nervous system, digestive system etc. The scenery is the overall consciousness or method of thinking. The set is the individual neurons constantly firing and strengthening connections as they are stimulated. In order to speed up the evolution of the Cybrid system I developed a re-creation at a much faster level, the level of the body.

3.1 MYBORG

I set out to explore and experiment with digital sensory perceptors by linking my body to its surrounding environment. Environment is defined as being the set of the world’s dimensions to which an organism can be sensitive. What we traditionally understand is not part of reality, but it is the reality that is compatible with our sensory tools of perception. Any changes to our sensory system can bring about large and unpredictable changes in our perception of reality.

I created a custom hardware system that extended my body’s nervous system by adding 16 new digital nerves that allowed me to sense changes in my internal body and my external environment. I wired sensors for temperature, light, tilt, and vibration into the fabric of a jacket, placing the sensors in strategic places on my upper body. This jacket became known as the MyBorg, a wearable, portable, digital uniform. As I navigated through my environment the MyBorg’s digital nerves sensed every interaction; vibration sensors on my chest allowed my breathing to be recorded, tilt sensors on my shoulders recognized which direction I was facing, light sensors allowed me to judge proximity to objects, and light sensors on my back enabled me to ascertain if someone was walking up behind me. All this information wired across my body was then converted into MIDI data via a custom chipboard mounted inside my jacket pocket. The MIDI data could then be passed to a wider number of computer applications for processing.

By far the most intuitive use for the MyBorg is navigating 3D spaces. Using the MyBorg with immersive 3D environments, it is possible to spin, rotate, tilt, dip, and fly through a virtual architecture as if you were in it yourself. Because of the ability to completely control a 3D scene, I could alter any aspect in real time with the movements of my body and my surroundings. It quickly became possible to relate changes in the real-world architecture, such as lights and sounds, to directly manipulate the virtual 3D architecture.

4.1 TRANSITIONS

The Myborg represents a transition from the architecture of the Cybrid to the architecture of the Cyborg.

I have been looking for a term that describes the transition in my work from smart rooms to smart uniforms. Currently I have been using the phrase tangled in the machine as the only accurate account of my location during my practice. However this phrase is unsatisfactory because it relies strongly on a sense of place. Notice how the word Cyborg is spelt with a capital C in this thesis intentionally, to demonstrate the concept of Cyborg as a place. Initially my work was centred around a specific site, weather it be the architecture of a room, the architecture of the virtual or the architecture of the body. I find that my most recent projects are without place and in fact exist in what could be described as the connected environment. They deal with the connected / interconnected phenomena that emerge as a by-product of Cyborg praxis. In order to clarify my position, the following chapter outlines the current context of the Cyborg.

4.2 HYPHE-NATION

“Keeping the insides in but not all of the outsides out is an important trick, and an essential step in the evolution of life.” (Grand 2000:52)

The term Cyborg means simultaneously both cybernetic and organism. It is a duality. In practical terms, the word Cyborg is actually a recipe. Simply take one part cybernetic, from the Greek word kubernetes, meaning steersman. The word is based on the 1830’s French term cybernétique meaning literally the art of governing. Combine this with one part organism. The term organism stems from the Medieval Latin organizare, taken from the Latin organum. The word Organisation is originally in the sense act of organising, from the Medieval Latin organizationem (nom. organizatio), from organizare; meaning the condition of being organised is first attested in 1790; that of action of organising parts into a whole is in 1816; that of system, establishment is in 1873. Organization Man as one who subverts his individuality to the organization that employs him is from the title of W.H. Whyte’s 1956 book. (Harper 2001).

These initial definitions are so intentionally loose that they suggest that by arranging these two parts in practically any configuration it is possible to create a Cyborg.

The term Cyborg was first used by Manfred E. Clynes who co-authored “Cyborgs and Space” in 1960 with Nathan S. Kline (1960:29), as a concept for human / machine integration for survival in outer space. More recently though, the term Cyborg, as a compound of cybernetic and organism has found new diversity through the recombination of multiple ideas, products or services. Ridderstrale and Nordström explain what they call the hyphenated society. “Welcome to hyphe-nation – a cut and past culture … edu-tainment, caffe-late, corporate-university, info-tainment, distance-learning, visual-ergonomic, TV-dinners, info-com, psyco-linguistics, bio-tech, e-mail, gin-tonic and so on.” (2000:119). This re-mixing of ingredients makes for ‘new’ recipes that in turn become their own ingredients folded in to a new concoction.

Despite, or perhaps because of, the inherent diversity in the field, there is a strong need to classify or at least map distinctions between various approaches to Cyborg practice. Gray et al. attempted this in 1995, broadly defining 4 separate kinds of Cyborg, the Restorative, the Normalizing, the Reconfiguring and the Enhancing.

“Cyborg technologies can be restorative, in that they restore lost functions and replace lost organs and limbs; they can be normalizlng, in that they restore some creature to indistinguishable normality; they can be ambiguously reconfiguring, creating posthuman creatures equal to but different from humans, like what one is now when interacting with other creatures in cyberspace or, in the future, the type of modifications proto-humans will undergo to live in space or under the sea having given up the comforts of terrestrial existence; and they can be enhancing, the aim of most military and industrial research, and what those with cyborg envy or even cyborgphilia fantasize. The latter category seeks to construct everything from factories controlled by a handful of “worker-pilots” and infantrymen in mind-controlled exoskeletons to the dream many computer scientists have-downloading their consciousness into immortal computers.” (Gray et al. 1995:3)

These definitions, whilst still largely valid, are almost a decade old, and the Cyborg has seen many evolutions – or perhaps descent with modification (Darwin 1998) – that constantly modify the radius of classification for the Cyborg. In order to elucidate upon the evolution of the Cyborg, we must also have an evolution in our understanding of the term Cyborg.

4.3 TRAPPED WITHOUT A BORDER

“An important question that you might ask is: humans w
ere using technologies all along. Were they Cyborgs? the answer is no, because there were no Cyborgs back then…meaning that the term emerged out of a cultural dynamic, understanding, and practice that simply did not exist at any other time. Gray, Mentor and Figueroa-Sarriera state in the introduction of the Cyborg Handbook that to call a pre-historic person a Cyborg because she was using tools is to apply current cultural setting onto the past. Sure you can do it but it will not explain you any more what it is to be a Cyborg today.”

(Berger 1997)

I intend to add to the list of Cyborg possibility, written by Gray et al. (1995), in part 4.2 in order for Cyborg classifications to be seen not as a ridged set of concepts, but as a free-flowing and constantly evolving reference. The intent of the below classifications is to open up the dialog of what a Cyborg can possibly be, as it evolves.

One key issue with the notion of Cyborg is the multiplicity of ways it can be interpreted. The practice of being a Cyborg does not have the clear cut luxury of having a unique serial number by which we may identify ourselves. There are many broad and subjective groups of what we may consider Cyborg and these groups are broken down further into subsets. These distinctions serve the purpose, not to segregate between differences in Cyborg practice, but to highlight the similarities and multiplicities of a diverse practice.

It must be acknowledged at this point that these following categorisations must be considered as a non-exclusive list, as the constant evolution of the Cyborg constantly blurs the boundaries of categorisation. However the following categories prove useful for this thesis as both definitions of some of the existing Cyborg activity today and as an illustration of the impracticality of calling a wide range of practices by one name. The following definitions are based around my practical experience over the past two years, and I fully expect it to grow, not in the style of a family tree or genus, but more towards a software revisions list. If the below are to be considered Cyborg, I intend to develop the justification of the creation of what may considered Cyborg 2.0.

4.4.1 THE PRACTICAL CYBORG

The practical Cyborg can be defined as any entity that is traditionally called organic (non-Cyborg) who actively engages in the practice of becoming networked. We are increasingly seeing a rise in individuals actively seeking to be engaged in Cyborg practices. This category also includes the sub-type of Cyborg, the illusionary Cyborg. This type of Cyborg can be considered a fake, a hoax, an illusion, not a Cyborg at all, but having the appearance of one – such as movie stars (Goldberg 1995:233) – and those that perhaps believe they are a Cyborg but are not networked in any way.

4.4.2 THE CYBORG NARCISSUS

The Cyborg Narcissus wants to reproduce the feelings and imagination that exist in the mind. The behaviour of the Cyborg Narcissus is to fall in love with unbodied hope. This is achieved by technology that allows a participant to find substance in what is only shadow. To the observer, the Cyborg Narcissus interaction seems to be as immaterial as a shadow or reflection, lacking any substance. To the participant, this immateriality is the experience.

In the practical sense the Cyborg Narcissus was initially seen (from a digital perspective) with the advent of Virtual Reality headsets and software, such as Char Davis’ Osmose (1995) and Nintendo’s Virtual boy (2004). Today the effect is still popular, but not through the head mounted screens. A good example of a Cyborg Narcissus experience is one achieved with the Sony Eyetoy (2003), a device for the Playstation 2 home video game console that allows the participants reflections to become part of an immersive digital environment.

4.4.3 THE CYBORG ICARUS

The Cyborg Icarus intends to overcome his own limits to increase freedom. The Cyborg Icarus typically uses a prosthesis of some kind to overcome a perceived limitation in an attempt to move toward a subjective freedom or ideal state. The Cyborg Icarus commonly uses technology as a substitute for evolution. When traditional genetic evolution is not fast enough, or if a metamorphosis is not practically possible the Cyborg Icarus will artificially extend, improve or modify himself. “biology is no longer limited by the genetic codes of evolution” (Mann 2001:2) This commonly happens within modern healthcare, such as the use of glasses, false teeth or artificial limbs. It also includes the use of technology to extend the body, such as the act of driving a car, using a telephone or a calculator.

4.4.4 THE CYBORG SIREN

The Cyborg Siren utilises technology to enable or increase the genetic evolutionary cycle. The Cyborg Siren typically uses technologies to appear more attractive to a potential mate in order to aid the traditional genetic evolutionary cycle. A good example of this would be the application of a wide variety of cosmetics in order to attract a mate. By temporarily modifying for example ones appearance (makeup), smell (perfume), or physicality (high-heeled shoes, breast implants, penis extensions) a Cyborg Siren can constantly re-evolve its outer shell. Whilst this may seem initially superficial, this practice can act as a catalyst for reproduction and therefore becomes a key strategy in the evolutionary process. The Cyborg Siren does not adhere to the notion of survival of the fittest[10], but instead, survival of the appearance of fitness. Through reproduction the Cyborg Siren is able to contribute more of their genetic character to the species as a whole.

4.4.5 THE ACCIDENTAL CYBORG

This is the definition for those that display traditional Cyborg characteristics but do not consider themselves to be a Cyborg, or do not intentionally become a Cyborg. An example of this is taken from Grandmother Margarethe Koller’s response to Ars Electronica’s resident artists in an “Interview with an 86 year old Cyborg” in 1997.

Q. “Would you call yourself a Cyborg then?”

A. “I am starting to like this word: Cyborg. I suppose if I was going to live another 50 years, I’d have to learn terms like this and yes, maybe I would call myself a Cyborg, unless I discover that it is something dirty.” (Berger 1997)

In the most extreme case I believe that a person being shot with a bullet can be defined as an Accidental Cyborg. The person being shot has his body momentarily augmented with technology (the bullet) to perform the function of stopping both the human and the bullet’s functions. An individual whilst being shot would become an Accidental Cyborg, never intending for the augmentation to take place. This is counter to the classic definition that a Cyborg is “a person whose physiological functioning is aided by, or dependant on a mechanical or electronic device” (Webster’s New Unabridged Dictionary 1997) instead the Accidental Cyborg’s functioning may be severely hindered or in fact cease due to the interruption from technology.

4.5 ARE WE ALL CYBORGS?

Though the sciences gave birth to the term Cyborg they quickly lost definitional control of its meaning. Both Mary Shelley’s Frankenstein (1998) written in 1818 and Fritz Lang’s 1927 film Metropolis illustrate that the aesthetic idea of the Cyborg existed long before the term was introduced; therefore, it was perhaps not coincidental that the pragmatic, scientific use of the Cyborg was rapidly joined by its use as a metaphor of cultural semiotics. 

The term Cyborg has found itself used as a tool for discussing everything from fict
ion to feminism, in its uses from Hollywood to Haraway, because of its multi-layered narrative, either as a scientific term or as a metaphorical idea. Haraway explains in the foreword to The Cyborg Handbook: “I used the Cyborg as a blasphemous anti-racist feminist figure reshaped for science-studies analyses and feminist theory alike” (Gray 1995)

Examples of Cyborg blasphemy, similar to these described by Haraway, have caused problems in the scientific community. On the one extreme is Professor Kevin Warwick who uses the term Cyborg complete with its Hollywood baggage of man-machines to introduce his research. A good example of this is his essay The Matrix, our future?(1999) where he describes his scientific work within the context of the popular 1999 Wachowski brothers film The Matrix. On the other extreme is Professor Steve Mann, author of Cyborg, Digital Destiny and Human Possibility in the Age of the Wearable Computer, who is reluctant to call himself a Cyborg, preferring the more accurate and specific terminology of Wearable Computing to describe his work (2001).

The multi-utility of the term can become problematic in the scientific discourse of the Cyborg. This became apparent in my practice as my work was underpinned by a fragile language; the Cyborg no longer has a singular meaning, definition, semiotic or story, but instead inherited a multi-narrative. Language is the process of fragmenting reality, conceptually breaking it down into distinct things that are referred to with words. We see the world in the way that we describe it, as a fragmented collection of things rather than as a continuous whole.

If “We are all Cyborgs” (1989:66), as Haraway suggests, then these terms apply to every one of us. This all encompassing description is inappropriate in, as why have a definition to differentiate when we are all the same. The Cyborg as a definition loses its utility within a homogenous usage context. To be a useful definition, the Cyborg must always exist in comparison to something else: We are not all Cyborgs. The term Cyborg seems loose enough to encompass all people, yet simultaneously excludes individuality due to the dualistic nature of the cybernetic organism.

During my practice I have struggled with the Cyborg’s homogenous implications, as my work has explored the individualistic and highly personal nature of the cybernetic organism. For example, the Myborg device was created as a one-of-a-kind, unique system, centred around the individual body of the creator. Instructions were placed on the internet for other people to create their own unique versions. It was my intention to create a diversity and variety in future generations of Cyborg, so that the Cyborg as a species can be strengthened by a constant adaptation to both the participants and the environment. Through this approach the Cyborg can become as individual as we are. Even though Cyborgs can be built around the same hardware, no two are ever truly the same. We can always expect mutations and variations, even when running the same instruction set. Through this diversification, we can expect to see the emergence of a higher-level behaviour.

5. TOWARDS A HIGHER LEVEL

“The contribution of conventional technology makes the artificial not only able to reproduce the natural performances of the exemplar but also to generate side performances which are almost always unforeseeable a priori. This explains why, as a paradoxical rule, the more an artificial device advances, the more it tends to move away from the exemplar and from its essential performance.

The artificial, in conclusion, is conceived and present in the first phases of its existence as a natroid, and object achieved by man and oriented to some natroid, exemplar as it is seen at a given observation level. However, it soon becomes, or reveals itself to be, a technoid, that is to say, it becomes an object that exhibits characteristics which exceed those of the exemplar and either strengthens, reduces or somehow transfigures some of these, as if it had to redraw the exemplar not as it is but as it should be.” (Negrotti 1999:47)

Emergence can occur when a system comprising of relatively simple elements works together to form an adaptive, higher level of behaviour. This is detailed by Steven Johnson in Emergence, The connected lives of Ants, Brains, Cities, and Software (2000) and Steve Grand in Creation, Life and how to make it (2000). The higher level of behaviour sits above the physical platform from which it was created. It is possible to observe and identify this higher level behaviour and separate it as an abstract concept from the components that cause it. For example it is possible to identify the “separation or segregation of the flight from the bird…in this case of a function (fight) by distinct and otherwise unrelated material structures (bird and airplane).” (Rosen 1993:7).

It becomes apparent that the materials of a system or its physical architecture are ultimately replaceable and interchangeable; it is the relationship between the parts that creates the higher level behaviour. For example, The Tinkertoy Computer (Dewdney 1993) proved that a computer can be made of wood and string and still work. Processes such as intelligence – as argued by Johnson (2000) – and life – as described by Grand (2000)- can be considered completely independent from the platform on which they are implemented. All information systems or processes are indefinitely replicable without depending, within certain limits at least, on material structures.

As Grand elegantly describes: “You are not the stuff of which you are made.” (2000:30).

I believe that one higher level behaviour that may emerge from successive evolutions of Cyborgs / Cybrids is that of consciousness. I believe that the (extra)-sensory nature of these systems lend themselves well to the emergence of an awareness of surroundings, as defined in 3.1, that is important in the creation of consciousness. This belief is based on the first 4 points of Robert Pepperell’s 10 point guide to the Posthuman Conception of Consciousness (2000:12). They are:

1. Consciousness is not restricted to the brain.

2. The human body is not separate from its environment.

3. Consciousness, body and environment are all continuous.

4. Consciousness emerges from specific conditions.

Pepperell convincingly describes consciousness as an emergent function of the organism, not the organ, the system, not the component parts. Consciousness is constructed not solely in the brain, but in the environment it connects to via the body. The consciousness doesn’t have a particular seat, place or local point at which it is possible to say that consciousness exists, rather it is distributed throughout the entire sensory system. Consciousness is also not practical in isolation. If we imagine a box that is said to be conscious, there is no way we can test this claim, we must interface with the box of consciousness via an input / output device, whether this is a keyboard and monitor or the body of a human. It is possible to view what may be seen as peripheral to consciousness (e.g. limbs, sensors etc) as an integral part of the system, therefore the very computer chips, sensory systems and artificial body parts that make up a Cyborg all work towards extending the distribution of consciousness throughout the body network. There is no longer an interior / exterior split between mind and body, body and nature. The boundaries can be so fuzzy they are identifiable but not definable. The Cyborg condition underlines the notion that we are without limits.

6.1 THE UNDIVIDUAL

“I
combine words and occupy places that are the consequences of those words. Every medium has its own words, every mixture of words has a potential for meaning… now [in digital space] I can mix the words of different media and watch the meaning become navigable, enter it, watch magic and music merge…” (Novak 1991:257)

After establishing many of the problems with the term Cyborg in reference to my practice and establishing that the phrase tangled in the machine is no longer appropriate as the emerging higher level phenomena are not restricted to the platform of the machine on which it is created, I propose a new term as a tool for presenting and clarifying my ideas and practice in this field. The term is not intended to replace the term Cyborg, but to clarify my specific area of interest and to create a consistent contextual framework for my current and future practice. It is appropriate to mention the Czech playwright Daniela Fischerova’s insight that “Every new word is a new reality.” (2000).

6.2 “LOCKED IN, NOT LOGGED ON” ABSORPTION NOT FUSION.

Through the etymological approach, I shall introduce the term undividual to describe a single unity as opposed to the dichotomy of the cy-borg. This term is useful because it signifies not the fusing together of two objects but the emergent singularity of a system as a whole.

The first part of the term stems from the Old English un-, disputing the right to form the negation of certain words. Un is a prefix of reversal (e.g. unhand). The second part of the term comes from the Latin divisibilis or dividere meaning to force apart, cleave, distribute, which in turn is from the Proto-Indo-European base widh- meaning to separate, for example as used in widow. The mathematical usage of the term divide is from c.1425. The architectural term divider meaning partition or screen, especially in a room, is from 1959 (Harper 2001).

The term undividual differs from the word individual. Whereas individual is used to describe a single object or thing, and has the colloquial sense of person attested from 1742, the undividual is a reversal or negation of a division (Harper 2001). Where the individual has a sense of single, separate or intended for one person the undividual has a sense of infinite connectivity.

The undividual describes any system that looks outside of itself and finds only itself[11]

The undividual is a conceptual holistic singularity that cannot be broken down into smaller parts. Whereas the Cyborg suggests that the whole may be greater than the sum of its parts, with the undividual the whole is the whole. To elaborate on this idea further, the undividual does not subscribe to the dichotomous split of interior / exterior, but rather exists as a unity with all it encounters. Therefore the undividual can describe the universal reality of a theoretically encapsulated system. Before the undividual there is lack of clarity about the edges of open systems; there is talk of blurred boundaries of horizons of invisibility of interfaces of fusion. The undividual wipes away the lines in the sand. The undividual is locked in, not logged on.

In order to clarify this I present a table of comparison highlighting the key differences in approach between the Cyborg and the undividual.

Customisation as the Antidote to Mass Deception.

The recent popularity of digital technologies in the western world is having previously unforeseen effects on the consumption of mass culture. Digital technologies accelerate the pace at which the masses can now both consume and produce culture, becoming a catalyst for what Adorno and Horkheimer call “mass deception”, in their 1944 paper The Culture Industry: Enlightenment as Mass Deception. However Digital technologies bring about new personalised control that was not previously possible with traditional media such as film, photography or print, and it is these personalised controls that allow the masses to subvert mass deception. The main purpose of this essay, therefore, is to investigate the uses of customisation through digital technology to counter the effects of mass deception.

The world in which Adorno and Horkheimer outlined in The Culture Industry: Enlightenment as Mass Deception is far removed from the context we experience today in western developed society. Culture was being produced with almost Ford-like mass production techniques, audiences were assaulted with a barrage of sameness and repetitively produced culture. The masses were taught how to consume this formulaic, standardised culture, feeding the industry and embracing its circular nature of “manipulation and retroactive need” (Adorno and Horkheimer, 1944).

Adorno and Horkheimer’s view of the media was bleak. Organised systems were in place to reinforce the masses view of culture, “It turns all participants into listeners and authoritatively subjects them to broadcast programs which are all exactly the same.” (Adorno and Horkheimer, 1944). There was no diversity, only formulaic mass production of mass culture. Culture was created with production line efficiency, as it moved from art to “just business”. (Adorno and Horkheimer, 1944).

Alvin Toffler, an American, who believed in a future of diversity and choice warned:

“Most writers predict … a dark vision of the future, in which people appear as mindless consumer-creatures, surrounded by standardised goods, educated in standardised schools, fed a diet of standardised mass culture and forced to adopt standardised styles of life” (Toffler, 1974:263).

He claimed that those with views similar to Adorno and Horkheimer “spawned a generation of future-haters and technophobes” (Toffler, 1974:263) who believed that man would become acted upon rather than active in response to the culture industry’s mass deception of the public.

However, developments in the use of digital technologies, especially in the areas of customisation and personalisation, form a position that counters Adorno and Horkheimer’s view of mass deception. In this essay I will outline how the digital customisation of personal data and the digital customisation of our experience of the culture industry break down the traditional concepts of mass deception. I will also discuss how the shift of power of the culture industry away from the top down organisations that Adorno and Horkheimer describe, and into the hands of the digitally empowered individual.

In this digital age, humans are increasingly becoming more diverse and segmented in their market tastes, to a degree never seen before. Adorno and Horkheimer first perceived that “once his particular brand of deviation from the norm has been noted by the industry, he belongs to it” (Adorno and Horkheimer, 1944) however they could not have foreseen the extreme number of deviations from the norm we have in society today. In the face of mass culture, humans move to micro-culture; moving away from classic stereotypes to true individuals. “There is no longer a single, uniform, mass consumer market, but an aggregation of transient mini-markets.” (Ridderstrale and Nordstrom, 2001:168)

Digital technologies have brought about paradigm shifts that have drastically affected the world of business, and therefore have also drastically changed the business of the culture industry. One key reason for the changes is how consumers are understood in the digital age.

Adorno and Horkheimer’s concept of creating mass produced goods for targeted mass consumption is subject to great changes through digital technology.

“The public is catered for with a hierarchical range of mass-produced products of varying quality, thus advancing the rule for complete quantification. Everybody must behave ( as if spontaneously) in accordance with his previously determined and indexed level, and choose the category of mass product turned out for his type. Consumers appear as statistics on research organisation charts, and are divided by income groups into red, green and blue areas.” (Adorno and Horkheimer, 1944).

However, now we see digital technologies helping to increase the variety of statistics on research charts. Digital technology allows us to be clearly defined to such an extent that we may become individuals, instead of masses. In 1944 it was possible to group people by large groups, such as gender, income level, race, age, or geography, wide groups of colours on the research chart. Now, with digital data collection technologies we can specify so much more about us. White people that live as black [Figure 1], black people that live as white [Figure 2], males that live as females, and old that live as young. Digital preferences, options and customisations widen the degree to which we develop our own trajectory along lines of abstraction from anything resembling a mass market. We become increasingly fragmented as digital technologies break down concepts such as geography, gender, identity or group. As a result industries are discovering wide variations in consumer wants and are adapting their production lines to accommodate them. Instead of Adorno and Horkheimer’s homogenised view of the industry, we are now seeing overchoice, a different product for everyone.

If there is no mass consumer there can be no mass production.

The view presented by Alvin Toffler emphasises this: “We are moving swiftly toward fragmentation and diversity not only in material production, but in art, education and mass culture as well.” (Toffler, 1974:270). This is represented in the overchoice of products and culture we consume. In Norway, with a population of 4.5 million, you can choose from 200 different newspapers, 100 weekly magazines and 20 TV channels (Geelmuyden & Kiese Internal research material, 1997). The popular children’s toy and cultural icon ‘Barbie’ now comes with 15,000 combinations (The Times, 1998).

The reason for this overchoice is clear; due to digital technologies diversity costs no more than uniformity. “Anything you can digitise you can customise” says Joseph Pine, author of Mass Customization (Fortune, 1998).

The world in which “No independent thinking must be expected from the audience”(Adorno and Horkheimer, 1944) is long gone. In the face of so much variety, consumers find refuge in building their own personality profiles, becoming their own unique dot on the research statistics graph to make sure they receive only the products they desire. By far the most advanced example of this is the current trend in customisable websites. ‘My Yahoo’ [Figure 3] allows each user to choose the colour, layout and content of a website to meet the user’s needs. Features include unique calendars, e-mail, news from subjects the user is interested in, the user’s favourite comic strip, personal horoscope, sports news about their favourite team. All of a sudden we are receiving OUR media, not mass media. We have created our own newspaper, our own world view.

Some of the most popular uses for digital technologies are those that transform traditional ‘push’ techniques (a ‘push’ technique is used to force or push a message towards the audience, rather like
a loudspeaker, so that none can easily avoid its message) that Adorno and Horkheimer describe as “Nothing that the experts have devised as a stimulant must escape the weary eye.” (Adorno and Horkheimer, 1944) into ‘pull’ techniques (a ‘pull’ technique is used to describe a message that a user requests, such as searching for data on the web). Instead of having culture forced upon us, we now ask for our own culture. We demand what we want, when we want it, and nothing of what we don’t want. “We are moving towards increasingly perfected markets. The result is total competition. In the surplus society the customer is more than a king: the customer is the mother of all dictators.”(Ridderstrale and Nordstrom, 2001:81). In the customisable digital world the consumer calls the shots. Digital technologies have removed mass consumption from the equation.

One of the most striking examples of this is the website www.Hotmail.com [Figure 4]. Hotmail is a unique customised newspaper, masquerading as a web based e-mail client. Users of hotmail are given a unique address to which other people can send information. Logging on to hotmail then presents us with a unique newspaper where the reports are not written by journalists, but by our friends and family, our business associates, and by people we trust. No two hotmail experiences are the same. Everybody receives their own unique news from their own unique sources, and also has the opportunity to reply to their news by e-mailing others, in turn, building up other users personal news pages.

Recently, the hotmail phenomenon has been injured by attempts to re-introduce mass culture and mass markets to its users. Through ‘spam’ (unwanted and unsolicited e-mail news that is often distributed to millions of people simultaneously) users are re-introduced to the experience of being treated as a mass audience, rather than an individual. The reaction to this is to create ‘invite only’ systems to the individuals hotmail account, so that only those who the individual approves may have their news placed on their site. Here we see the stark contrast between Adorno and Horkheimer’s view that “The whole world is made to pass through the filter of the culture industry” (Adorno and Horkheimer, 1944). Now, the culture industry must pass through our own filters. Due to the flexibility of digital filtering technology we can quickly change our minds about what we want or do not want. We can become black one day and white the next; seamlessly moving through an infinite number of diverse groups and sub-groups; making our own choices and sub-choices about the things we consume.

In Adorno’s The Culture Industry Reconsidered, Adorno outlines his concern for minimal change within the culture industry: “Eternal sameness; everywhere the changes mask a skeleton which has changed just as little.” (Adorno, 1991). Digital technologies are increasingly giving us the power to entirely re-build the skeleton framework behind our own personal culture industry. Recently, web based technologies such as Blogger (www.Blogger.com) a free, easy to use web publishing service, allows any person from any internet enabled device (not just computers, but mobile phones, PDAs and other devices) to instantly publish their thoughts, ideas or news [Figure 5]. A recent example of this was web-logs like Blogger empowering women in Iran to speak publicly about social and political issues that may have been considered taboo in their country (Hermida, 2002). By creating their own unique media these women are challenging the authority of traditional culture and media views of them. This represents an important change in Iranian society’s culture industry; by subverting the stranglehold of mass culture and mass deception, these women have used digital technologies to work towards gaining recognition for themselves as unique individuals despite the power of Islamic mass culture.

This goes strongly against the view that:
“The culture industry must be distinguished in the extreme. The culture industry fuses the old and familiar into a new quality. In all its branches, products which are tailored for consumption by masses, and which to a great extent determine the nature of that consumption, are manufactured more or less according to plan.“ (Adorno, 1991).

Instead of succumbing to mass production, we each have the ability to create unique culture by ourselves, targeted at ourselves. In fact, one of the key uses of Blogger is creating diaries. Diaries are traditionally intrapersonal communication, communication with the self, often deeply personal and intended never to be read by anyone other than the author. Published on the web for the entire world to consume at their own will, the web-log diary may be viewed by hundreds of other visitors (if they so chose), or perhaps only by the author. We can now see a community of individuals that create individual media and cultural experiences for themselves, rather than Adorno and Horkheimer’s perceptions:
“One might think that an omnipresent authority had sifted the material and drawn up an official catalogue of cultural commodities to provide a smooth supply of available mass-produced lines” (Adorno and Horkheimer, 1944).
Digital technology really has shifted the one-to-many distribution technique and fragmented it into a series of one-to-one communications.

Adorno and Horkheimer do raise an important point that becomes even more relevant in the digital society that “consumption may serve to express a deep awareness of the damage that capitalism is inflicting upon consumers” (Adorno and Horkheimer, 1944). So in response to this, many consumers are developing strategies to turn the system on its head, editing in real-time their experience of culture consumption by the customised preferences we make. A current leading digital technology that is allowing individuals to control their experience is what is knows as “ad-blocking” software, such as AdFree. This software automatically and transparently removes parts of information from web pages that the individual pre-defines through customisation of the software. The most common use for this is the removal of any kind of advertising that may appear on a website, giving an entirely different experience compared to the commercial version the website designers may have planned. Now the individual takes it on themselves to decide what they shall or shall not see, what they shall or shall not do, and what sophisticated strategies they should take to further customise their experience. This software has become so popular that it has spread to other mass media such as television. The use of a computerised hard-disk based digital video recorder allows the user to create (again via customised preferences) their own experience of television, rather than the experience provided by the broadcasters. One such system is called Tivo (www.tivo.com). One key feature of Tivo is the option to remove all adverts from the experience, so an hour long television program with adverts (as intended by the broadcasters) becomes a 45 minute program without adverts (as intended by the individual). Because of the digital nature of this new experience, the individual can even set their own unique schedule, watching the programs when they choose, rather than when the broadcaster dictates. This allows individuals to encounter traditional mass communication in an unconventional way, and it illustrates a power shift away from the broadcaster towards the user’s unique experience.

Digital technology has even helped us customise the Hollywood film experience that Adorno and Horkheimer hold as strong examples of mass deception that “Leaves no room for imagination or reflection.” (Adorno and Horkheimer, 1944). Recent advances in digital video technology, namely DVD players, allow individuals to customise the mass media of film digitally in their own home. Now the individual can choose from a variety of languages, subtitles and soundtracks, can change the camera angle of any scene, can
choose alternate plot points, and can even edit in real-time their movie viewing experience. This moves the power away from the traditional Hollywood producer “There is nothing left for the consumer to classify. Producers have done it for him” (Adorno and Horkheimer, 1944) and into the hands of the individual. We now see technology empowering the audience who was previously “unable to respond within the structure of the film.” (Adorno and Horkheimer, 1944).

As technology improves in areas of media production, most notably film, the ‘trickle down’ rate of new technology from Hollywood studio to the home has increased at an alarming rate. Apple Computers have recently championed the fact that for a little over £2000 it is possible to use a digital computer and a digital video camera to film, create and edit your own film productions and create unique DVDs with the same digital precision as a Hollywood studio (www.apple.com/imovie). Now digital technologies give us the opportunity to enact on our own dissatisfaction with the culture industry and begin creating our own productions, free from the formulaic entrapment of the culture industry. No longer can it be said that “The machine rotates on the same spot.” (Adorno and Horkheimer, 1944) as variation and diversity bring about a new species of prosumers consumers who consume their own productions.

To conclude, it is highly evident in western society that digital technologies are empowering the masses with the choice of customisation, thus displacing them from the status of a “resistant public” (Adorno and Horkheimer, 1944) to become interactive participants. They can, if they so wish, mediate their own experiences, building on their personal beliefs and preferences, rather than succumbing to a mass deception. Although Adorno and Horkheimer recognise the culture industry’s classification of sub-groups of the public, they could not have anticipated the vast number of ways in which an individual can classify himself, thus shifting the culture industry’s concept of mass audiences towards audiences of one. We now receive our personalised and unique individual view of enlightenment, and whilst we still may be prone to deception it is on a micro-level, and is reduced to a tiny ripple in an ocean of mass perception.

Illustrations:
[Figure 1]

Picture from http://news.bbc.co.uk/1/hi/entertainment/tv_and_radio/1949098.stm

[Figure 2]

Picture from http://news.bbc.co.uk/1/hi/entertainment/2481467.stm

[Figure 3]

Example of a fully customised news page on http://my.yahoo.com (Screenshot taken on 11 December 2002)

[Figure 4]

Example of a unique page available to an exclusive user on www.hotmail.com (Screenshot taken on 11 December 2002)

[Figure 5]

An example of a web log from www.blogger.com showing personal customised web pages edited by the user. (Screenshot taken on 10 December 2002)

References and Bibliography

Books:
Toffler, A. (1974) Future Shock. New York: Random House.

Ridderstrale, J., Nordstrom K. (2001) Funky Business London: Bookhouse.

Publications:

Geelmuyden & Kiese Internal research material. (1997) [no publication details given]

The Times, 11 November 1998

Fortune, 28 September 1998.

Websites:

Adorno, T. and Horkheimer, M. The Culture Industry: Enlightenment as Mass Deception from Dialectic of Enlightenment.
[on-line] (1944), http://www.marxists.org/reference/subject/philosophy/works/ge/adorno.htm
Date accessed: 11. December 2002.

My Yahoo. [on-line] http://my.yahoo.com/ Date accessed: 11 December 2002.

Adorno, T. Culture Industry Reconsidered. [on-line] (1991), http://hamp.hampshire.edu/~cmnF93/culture_reconsidered.txt Date accessed: 11 October 2002.

Hotmail. [on-line] http://www.hotmail.com Date accessed: 11 December 2002.

Blogger. [on-line] http://www.blogger.com Date accessed: 11 December 2002

Hermida, A. Web gives a voice to Iranian women. [on-line] (2002), http://news.bbc.co.uk/1/hi/sci/tech/2044802.stm date accessed: 11 December 2002

Foley, M. AdFree3.1. [on-line] (2002), http://lucille.dhs.org/adfree.html Date accessed: 18 November 2002.

Tivo. [On-line] (2002), http://www.tivo.com Date Accessed: 18 November 2002

Apple Computer Inc, iMovie2 [on-line] (2002), http://www.apple.com/imovie/ Date accessed: 18 November 2002.

Other reading:

Friesen, N. Computers and the Self: a Dialectic of Enlightenment? [on-line] (1999), http://www.atl.ualberta.ca/articles/disted/adornotech.cfm Date accessed: 13 October 2002

Meulen, S. Adorno’ legacy [on-line] (1998), http://www.thing.net/eyebeam/msg00408.html Date accessed: 13 October 2002

Information on Adorno & Horkheimer [on-line]
http://fac-staff.seattleu.edu/lotzc/teaching/seattle/classes/adorno_horkheimer.html Date accessed: 13 October 2002

Adorno, T. Negative Dialectics [on-line] (1966), http://www.marxists.org/reference/subject/philosophy/works/ge/adorno1.htm Date accessed: 25 November 2002

Notes on Horkheimer, M. and Adorno, T. [on-line] http://www.arasite.org/adhkdofe.htm Date accessed: 25 November 2002

Hi, My name is Adam Montandon and I am an expert in Digital Futures, and it really is the most interesting job in the world. As a specialist in new technology its my job to make amazing interactive projects that go beyond anything you may have seen before. In 2004 I co-founded the digital production agency HMC Interactive, and have worked on really unusual stuff.
How interesting is Adam Montandon’s job?

As part of my job I get to create the recipe for digital chocolate, design cyborgs, make stars twinkle in the daytime, rescue penguins from oil slicks, look inside peoples bodies and even change the shape of clouds in the sky. And that’s just for starters. You’ll be able to follow my adventures in Digital Futures here on this website, and you’ll find out why I have the most interesting job in the world. You can read more about it in Adam Montandon’s blog.
How did you get the most interesting job in the world?

The short answer, I created it myself. My friends and I were bored of seeing dull uses of technology. We thought it could be exciting, surprising, and magical. Together we created amazing software projects for huge brands from Aardman to Xbox. The long story is in 2003 I graduated from the University of Plymouth’s cutting edge MediaLab Arts course with a First class Honours degree. I then studied at the UK’s Institute of Digital Arts and Technology and was awarded a Master of Science with distinction in the field of Digital Futures in December 2004. At the same time as studying my Masters I worked my heart out with friends from university to create the coolest stuff we possibly could. My friends and I won a Submerge award, and that helped us get started, and we have been kicking ass ever since. The team behind it all are Mike Cobb, Korash Sanjideh and Adam Montandon.
How are you taking this further?

In 2005 I founded the HMC MediaLab Organisation, a future focused digital arts community. In just 2 years HMC Interactive was named as one of the top ten showcase technology companies with the Best of British award. The HMC MediaLab has presented digital artwork at top London gallery Tate Britain and the exclusive Port Elliot literature festival. I have also lectured with HMC MediaLab at numerous universities and colleges across the UK including the prestigious Royal Institute of Science, and internationally at MipTV in Cannes and Transmedial in Berlin. I am also launching Adam Montandon’s blog as a new way to share my ideas. I am also working on a new TV show coming very soon to BBC3.
How much of an expert is Adam Montandon?

Well, my unusual projects have won First Prize at Submerge 3 years in a row. In 2004 my Cyborg project won the prestigious Europrix award, Europe’s biggest digital media award. I also received the Being Digital award for academic achievement in 2003. A TV documentary on my work called “Cyborgs and Stem Cells” won Most Popular Story in the broadcast category for Research TV.

HMC Interactive was also awarded 3 Media Innovation Awards in 2007, and also won Best Overall award. In 2008 HMC have also been nominated for 4 Media Innovation awards including Outstanding Contribution to Innovation. My work has been featured in magazines, newspapers, radio and TV programs around the world including documentaries for Discovery Channel and Research TV.

In 2008 Adam Montandon, Mike Cobb and Korash Sanjideh won Outstanding Contribution to Innovation award at the Media Innovation awards. Adam Montandon was also nominated for Best installation 2008.
What is this website for?

I want to share with you my enthusiasm and passion for interactivity, creativity and innovation. I want to inspire you to create awesome stuff. I also want to keep you updated on all the unusual things I am doing.

E-mail Adam Montandon Adam [AT] HMCinteractive.co.uk

Please feel free to link to this site Adammontandon.com