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DIVERGENT Architecture

coolness
by

jean-francois jacques

on 3 September 2012

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Transcript of DIVERGENT Architecture

of overall AGENCY. INCREASE V.S. Emergent HIERARCHIES
Disruptive

Dynamic

Content over Context

Collaborative Consumption How is affected by the power structures new technologies make possible?
Considering his background, where and how should the architect intervene? Vision MOVEMENT BUILDING threat HERO VILLAIN Narrative V.S. DOWN GROUND UP CLOUD ARCHITECTURAL NARRATIVE SPECTRUM CHANGE HOPE LOVE SPIRIT CONNECTION EXPRESSION COMMUNITY POLITICS ECONOMICS SUB COMMITIES PRESENT PAST VISIBILITY (the examples in Building Change) MEMORY PRESENCE MOVEMENT BUILDING ( SECONDARY AGENCY) ( POST SECONDARY AGENCY) PARRALEL CONTEXT OVER IDENTIFICATION the subversive spectrum DIVERGENT ARCHITECTURE DETOURNEMENT COUNTER CONTEXT PLAY VOLUNTARY FORGETFULNESS URBANISM AFTER FORM INTERPRETIVE NEGOTIATOR (A secondary agent's playbook.) ZEN-JOKE-ARCHITECTURE BUGGERY AGONISTIC ARCHITECTURE DISTURBING ARCHITECTURE SLOW ARCHITECTURE (Architectural Sarcasm, DUO project) RULES/LIMITS PLAY AGENT GAME = EVENTS WITH NEGOTIABLE CONSEQUENCES authenticity FICTION I'm interested in the generic edge, the boundary between what are
roughly called nonfiction and fiction. p65 CONTEXT art BORIS GROYS CONTEXT ARTIFICIAL object (Present) (Future) CONTENT OVER CONTEXT CONTEXT OVER CONTENT MULTIPLE AUTHORS SINGLE AUTHOR DRONE INTERFACE HERO OWNER SECONDARY AGENT TRADITIONAL ROLE The HERO as HEGEL would define him: An individual able to affect change. (For better or worse is irrelevant.) Although the owner owns capital, he does not
create or even edit content.(Majority Shareholder.) JEREMY TILL would define him as an "interpretive negotiator". These are ABSTRACT identities that define poles. No one is likely to be
pure owner, pure interface, pure drone or pure hero. The traditional role of the architect, rooted between designer/genius and draftsperson. A labourer, a cad monkey, one among many. Although he creates content he does own or direct it. The structure of a network, or the medium by which it is shaped. It is essentially authorless. COLLABORATIVE CONSUMPTION CRITICAL MASS



BELIEF IN THE COMMONS





TRUST BETWEEN STRANGERS



IDLING CAPACITY


POST OWNERSHIP Mentality






IS FAIR / NOT ANTI-CAPITALISTIC Enough mass and momentum to become a self-sustaining and self-perpetuating network. Belief that the the public can empower itself.
Renounces Top-Down Command. Embraces
peer to peer. Enable flat, decentralized and
hyper-transparent economies. Allowing "unprotected" transactions to take place, allowing
for the quick, easy, and efficient flow of goods. The good must allow seperation between the desired effect of the prodcut and the product itself. For instance, the car is the product, yet getting around is the intended result. This forces one to rethink the relationship between ownership and identity in consumer society. HERO VS OWNER Goods must have the potential to be "at rest". REQUIREMENTS Propensities AUSTERITY




WEB 2.0




HIGH YOUTH UNEMPLOYMENT




A FOCUS ON ECONOMIES OF SCALE (WHAT's yours is mine, and mine is yours...and his and hers...) Current technologies and interfaces make it easier than ever
to reach critical mass. LEAN START-ups. The bursting of the consumer bubble and increasing wealth disparity, lends itself to a rise in inferior goods, why not shared goods instead? These types of businesses are more likely to be adopted by youth who want to bypass the current middle-men, or break down certain power structures all together. Tech savy also comes into play. EXAMPLES CURRENT PROJECT
CO-OPING WORK

ZIP-CAR

LISTIA

DRESSWORKING

YARDSALE

GARDENSTORE

Shareable not EXAMPLES
OPEN-SOURCE

PEER TO PEER

FREE WARE

TORRENTS

NEWS SHARES A self-sustaining network does not eradicate value, but creates value where there was none before. It does not put the context(the network) ahead of the content (the goods).

While peer to peer initially creates a sustainable network, it tends to erode the value of the product (music, movies etc...) Creators are therefore hard pressed to sustain their work. The only thing that increases in value in such an ecology is advertising. Although critical mass is easier to reach with large economies of scale, it can also be done by focusing on niche markets which larger corporations would ignore, especially in the current consumer market. (Dressworking) POSSIBLE PROJECT
DRESSWORKING
CO-OP Architecture Many ontario architects work from home. Although they profit from little or not overhead, they doe not have the benefit of their shared knowledge/ideas/company/resources. Althoug these architects will likely compete for the same type of projects, I believe it would not only be feasible, but advantageous for them to work in the same space. of overall AGENCY. Decrease
STATIC



Context over Content




Power Disparity Conservative.Preserves the status-quo hierarchy. Too big to fail. Lock-In. Monopolistic. Information Cannibalism. Growing Importance of secondary and tertiary sources.(Punditry) Gatekeepers.
Aggregation. Movement Building, Subversion A continuous process. Fluid Hierarchy structure. REALITY
the setting
the set-up(joke)
a set of expectations
The Network
the object's/program's "primary identity"
Previous Design Choices CONTEXT The FOUNTAIN works on at least two contextual levels.

It refers back to the gallery setting in order to paradoxically emphasize and negate its impact. (Boris Groys)

It refers back to the object's "primary identity" in order to inform the meaning of its transformation. Every artistic movement from the begining of time is an attempt to figure out a way to smuggle more of what the artist thinks is reality into the work of art. p1

Every person in turn attempts to smuggle more of what they consider art into their reality. PERSONA aUTOBIOGRAPHY PERSON RELIES ON THE VIEWERS AWARENESS OF THE CREATOR'S SELF CONCSIOUS
(CURB YOUR ENTHUSIASM.) Artifice and Reality get so layered in self-reference that they begin too blur.
Is this blur ALWAYS advantageous, should it be restrained, is there a balance to be struck for optimum authenticity/meaning? I need say nothing, only exhibit. It must all be considered as if spoken by a character in a novel. (minus the novel) HAIL THE JOKE-FREE COMEDY. If my forgeries are hung long enough in the museum, they become real. p 34 BORIS GROYS Identity is a fragile phenomenon. (Then again, so is celebrity.) MARKETS VALUE/FAITH CAPITAL CAPTIAL IS THE GREATEST ARTIST OF OUR TIME. process Primary agent. Art "is one and the same with life" because "life is essentially pure activity with no final result" p54 Secondary agent Product FICTION CONTEXT CONTEXT ARTIFICIAL object = DOGMA Are fiction and non-fiction useless distinctions? Does reality take shape in memory alone? Is authenticity triggered by the lack of resolution between two concepts , the new pattern(essentially the new context) which emerges from their resolution or the proving false of the first pattern? Oprah = Contextualisation RULES AGENT = RECIPE Secondary agent AN Authentic Taxonomy a.k.a. Top-Down. Increasing wealth disparity. Centralised. Squeezed middle class. Death of the rhizomatic. Lord of the Interface. Divergent Guidelines
Focus on the everyday unpriveldged spaces.







play meta-architect Focus on forgotten-space, undesirable space, un-space, non-space, transient space, even nicknamed space/architecture.
Priveldged space has the distinct disadvantage of already being considred art. When the context is either too ambiguous or too feeble for it to be transformed, architects should charge it by whatever means necessary. (Deus-ex machina designer. ) " The world is a stage, yet subversion works better when idenfiable desires and expectations are at play." An autobiography is like the ultimate round of Balderdash. The incongruity/incongruity-resolution theory VS the computer theory of humour. Divergent Architecture Secondary Identity Divergence Primary Identity Initial meaning

Initial physical form

Implied divergent behavior

Initial denotation

Initial connotations

Initial program ALTERED MEANING

STRATEGICALLY ALTERED PHYSICAL FORM

Altered connotations

Layering of Denotation (keeps initial denotation evident.)

LAYERING OF PROGRAM (not anti-pragmatic, keeps initial program feasible) Recursion Differentiates divergence from a Gestalt shift or William Wegman's chair. Differentiates divergence from "detournement", "readymades" or "voluntary forgetfulness". Differentiates divergent architecture from "Disturbed Architecture". TRANFORMATION TRANFORMATION Tension Tension A successfull Divergence is... Opportunistic





Evident in retrospect







Implies a concise physical or spatial transformation




Concision


Relies on the layering, not the nullification of program, attributes and meaning, in order to generate new meaning.








Creates an Identifiable third entity One is able to connect the dots backwards. There are no loose ends -that is, every aspect of the narrative(transformation) is inseperable from the final meaning. Everything has a "rasion d'etre" and therefore, nothing is "interchangeable". This makes decisions, EVIDENT IN RETROSPECT. It capitalizes on the already present divergent behavior of users or the implied divergence of the form, connotations, program, as well as other attribritutes of the primary identity. So as not too make divergent objects the sum of ones perspective. When dealing with architecture for instance, a divergent stair, must still remain a stair. It's the tension, between the altered and unaltered object which characterizes the divergence. If the differentiation between the (initial)primary and secondary meaning, is too subtle, the divergence is likely to be weak. Yet the same will happen if the differentiation is so strong as to eclipse the primary identity entirely. Striking the right balance is perhaps subjective, yet the most successful divergence will likely be the one to create the greatest differentiation between secondary and primary identity while holding onto the object's intial primary identity. "a turning motion of the eyeballs, outwards in relation to each other." opthamological symptoms Divergent Thinking/Behavior Capacity to think Laterally

Refers to a different educational paradigm


Is a key ingredient for Creativity Results from a desire to innovation. We live in an age of divergent culture. Creativity being the process by which one comes up with relevant ideas. Divergent Thinking Convergent Thinking Traditional, industrial education model.
Asks all faculties to bear upon a single answer. Multiple Choice Tests Essay Design New paradigm. INNOVATOR TECHNICIAN BUSINESSMAN
Critically Driven
Practically driven Profit Driven THE ROLE OF THE ARCHITECT with regards to his proficiencies. Designer Professional
(creative)
(skillful)
(connected)
Entrepreneur
Commercial
Technician Professor Engineer Developer Cad/Draftsperson FRAME Architecture's evolving agency is the result of larger, more important changes, many of which affect all aspects of society. Let's qualify these changes in order to assess their impact on the architect and speculate upon the opportunities(or obstacles) they present. INNOVATOR TECHNICIAN BUSINESSMAN
Critically Driven
Practically driven Profit Driven Designer Professional
(creative)
(skillful)
(connected)
Entrepreneur
Commercial
Technician Professor Engineer Developer Cad/Draftsperson Narrator WHy an Architect? with regards to his agency.
Dealing with space.
Dealing with design.
Dealing with changing pograms. CONTENT OVER CONTEXT CONTEXT OVER CONTENT MULTIPLE AUTHORS SINGLE AUTHOR DRONE INTERFACE HERO OWNER SECONDARY AGENT TRADITIONAL ROLE The HERO as HEGEL would define him: An individual able to affect change. (For better or worse is irrelevant.) Although the owner owns capital, he does not
create or even edit content.(Majority Shareholder.) JEREMY TILL would define him as an "interpretive negotiator". These are ABSTRACT identities that define poles. No one is likely to be
pure owner, pure interface, pure drone or pure hero. The traditional role of the architect, rooted between designer/genius and draftsperson. A labourer, a cad monkey, one among many. Although he creates content he does own or direct it. The structure of a network, or the medium by which it is shaped. It is essentially authorless. I need say nothing, only exhibit. with regards to his agency. PAN-CAPITALISTIC ARCHITECTURE ARCHITECTURE AS A CONTAINER FOR LIVING (Secondary Agent, as defined by Jeremy Till) (Situationalists) (Team X) INNOVATOR TECHNICIAN BUSINESSMAN
Critically Driven
Practically driven Profit Driven Designer Professional
(creative)
(skillful)
(connected)
Entrepreneur
Commercial
Technician Professor Engineer Developer Cad/Draftsperson HOME ID CONTENT OVER CONTEXT CONTEXT OVER CONTENT MULTIPLE AUTHORS SINGLE AUTHOR DRONE INTERFACE HERO OWNER SECONDARY AGENT TRADITIONAL ROLE The HERO as HEGEL would define him: An individual able to affect change. (For better or worse is irrelevant.) Although the owner owns capital, he does not
create or even edit content.(Majority Shareholder.) JEREMY TILL would define him as an "interpretive negotiator". These are ABSTRACT identities that define poles. No one is likely to be
pure owner, pure interface, pure drone or pure hero. The traditional role of the architect, rooted between designer/genius and draftsperson. A labourer, a cad monkey, one among many. Although he creates content he does own or direct it. The structure of a network, or the medium by which it is shaped. It is essentially authorless. I need say nothing, only exhibit. with regards to his agency. V.S. LORD of the Interface
HOME ID

SLOW BIM

SuperSketch

BIM GAME

FAmilies + HOME ID Ordering a home via Website Designing a Home w an Architect Designing a home through a new participatory model. Little Relevant Customization. (although there are exceptions)


Is a Database

High Fashion knock-off.

Low eser participation. Highly Customizable




Likely No databse

High Fashion

Low-Medium user participation. Although representative of an individual's taste, it nonetheless conforms to a brand.

Database driven.

Populous

Low-High user participation. Architecture is eady to duplicate yet hard to adapt. While architecture's subjectvity can allow arbitrary results, plundered from vast libraries to be effective, it's success nontheless relies on a set of disparate contingencies, scales and other fractures, which the computer, cannot, as of yet, reconcile. INNOVATOR TECHNICIAN BUSINESSMAN
Critically Driven
Practically driven Profit Driven Designer Professional
(creative)
(skillful)
(connected)
Entrepreneur
Commercial
Technician Professor Engineer Developer Cad/Draftsperson BIM GAME CONTENT OVER CONTEXT CONTEXT OVER CONTENT MULTIPLE AUTHORS SINGLE AUTHOR DRONE INTERFACE HERO OWNER SECONDARY AGENT TRADITIONAL ROLE The HERO as HEGEL would define him: An individual able to affect change. (For better or worse is irrelevant.) Although the owner owns capital, he does not
create or even edit content.(Majority Shareholder.) JEREMY TILL would define him as an "interpretive negotiator". These are ABSTRACT identities that define poles. No one is likely to be
pure owner, pure interface, pure drone or pure hero. The traditional role of the architect, rooted between designer/genius and draftsperson. A labourer, a cad monkey, one among many. Although he creates content he does own or direct it. The structure of a network, or the medium by which it is shaped. It is essentially authorless. I need say nothing, only exhibit. with regards to his agency. BIM GAME PLAY SANDBOX minecraft BIM BIMGAME FICTIONAL NARRATIVE ADDICTION INNOVATOR TECHNICIAN BUSINESSMAN
Critically Driven
Practically driven Profit Driven Designer Professional
(creative)
(skillful)
(connected)
Entrepreneur
Commercial
Technician Professor Engineer Developer Cad/Draftsperson Digital Over-identification CONTENT OVER CONTEXT CONTEXT OVER CONTENT MULTIPLE AUTHORS SINGLE AUTHOR DRONE INTERFACE HERO OWNER SECONDARY AGENT TRADITIONAL ROLE The HERO as HEGEL would define him: An individual able to affect change. (For better or worse is irrelevant.) Although the owner owns capital, he does not
create or even edit content.(Majority Shareholder.) JEREMY TILL would define him as an "interpretive negotiator". These are ABSTRACT identities that define poles. No one is likely to be
pure owner, pure interface, pure drone or pure hero. The traditional role of the architect, rooted between designer/genius and draftsperson. A labourer, a cad monkey, one among many. Although he creates content he does own or direct it. The structure of a network, or the medium by which it is shaped. It is essentially authorless. I need say nothing, only exhibit. with regards to his agency. DIGITAL OVER-Identifiation HYPER DIGITAL HYPER PHYSICAL CREAte A 3d digital World.

Attach it to the company website. GAME CULTURE CONSUMER CULTURE Don't give away whose side you're on.
"POM Wonderfull presents, The greatest movie ever sold." WHY would the store do it? INNOVATOR TECHNICIAN BUSINESSMAN
Critically Driven
Practically driven Profit Driven Designer Professional
(creative)
(skillful)
(connected)
Entrepreneur
Commercial
Technician Professor Engineer Developer Cad/Draftsperson SLOW BIM CONTENT OVER CONTEXT CONTEXT OVER CONTENT MULTIPLE AUTHORS SINGLE AUTHOR DRONE INTERFACE HERO OWNER SECONDARY AGENT TRADITIONAL ROLE The HERO as HEGEL would define him: An individual able to affect change. (For better or worse is irrelevant.) Although the owner owns capital, he does not
create or even edit content.(Majority Shareholder.) JEREMY TILL would define him as an "interpretive negotiator". These are ABSTRACT identities that define poles. No one is likely to be
pure owner, pure interface, pure drone or pure hero. The traditional role of the architect, rooted between designer/genius and draftsperson. A labourer, a cad monkey, one among many. Although he creates content he does own or direct it. The structure of a network, or the medium by which it is shaped. It is essentially authorless. I need say nothing, only exhibit. with regards to his agency. SLOW-BIM SLow Food
Slow Architecture
Slow BIM WHY an Architect? EXAMPLE The marketing. (enhance their narrative)

The analytics.

Transparency

Better Customer Support WHY now? Artist Disruptive technologies are argued by some to be the only path
to economic growth. (as opposed to labour, finance etc...) INNOVATOR TECHNICIAN BUSINESSMAN
Critically Driven
Practically driven Profit Driven Designer Professional
(creative)
(skillful)
(connected)
Entrepreneur
Commercial
Technician Professor Engineer Developer Cad/Draftsperson CO-OP Architecture CONTENT OVER CONTEXT CONTEXT OVER CONTENT MULTIPLE AUTHORS SINGLE AUTHOR DRONE INTERFACE HERO OWNER SECONDARY AGENT TRADITIONAL ROLE The HERO as HEGEL would define him: An individual able to affect change. (For better or worse is irrelevant.) Although the owner owns capital, he does not
create or even edit content.(Majority Shareholder.) JEREMY TILL would define him as an "interpretive negotiator". These are ABSTRACT identities that define poles. No one is likely to be
pure owner, pure interface, pure drone or pure hero. The traditional role of the architect, rooted between designer/genius and draftsperson. A labourer, a cad monkey, one among many. Although he creates content he does own or direct it. The structure of a network, or the medium by which it is shaped. It is essentially authorless. I need say nothing, only exhibit. with regards to his agency.
What's likely to happen Most architects will not see this as beneficial.
Those that do will still need convincing.
There could likely already be co-op architecture "think tanks" in the region.
It would be a great way to meet the architects in the region. 3d online spaces have been around for a long time. Its been decades since people first suggested that people would spend a large part of their lives as avatars. Second life, World of Warcraft and many other websites and games have done so, this idea feels, yet its not yet ubiquitous considering all the advantages it could offer. Likely due to technology and bland 3d design. Both of which are no longer obstacles thanks to the cloud and the power of game engines. It's not revolutionary, just inevitable that thes web/wolrds will come to play a large role in defining brand identity. An opportunity to apply all the aptitude skills he learned in school and don't apply to the proffesion.

Already employs a transferable 3d skillset. IKEA It already feels cheap, but you're prejudiced by all the bad 3D productions that have proceeded it. Is it possible to go beyond the cheesy and the obvious?

Reconcile the Ikea narrative with the online narrative.

Ikea is maze...emphasize the fact.

Gain the ability to burst through walls.

Furniture can be used as shield in zombie mode.

The evil swede...commercial voice.

Ikea furniture construction challenges.

3d construction display (2d database already in existance.)

Pick a genre, horror, noire...?

Helpfull store clerk avatars.

Dismemberable store clerk avatars.

Furniture design area.

Online Cooking Classes.

All stores go through "buying seasons" (there are twelve depending on the store.) . Layer the narrative using these as new events.

It's not so much about the ideas, but about how well its executed. INNOVATOR TECHNICIAN BUSINESSMAN
Critically Driven
Practically driven Profit Driven Designer Professional
(creative)
(skillful)
(connected)
Entrepreneur
Commercial
Technician Professor Engineer Developer Cad/Draftsperson SLOW BIM CONTENT OVER CONTEXT CONTEXT OVER CONTENT MULTIPLE AUTHORS SINGLE AUTHOR DRONE INTERFACE HERO OWNER SECONDARY AGENT TRADITIONAL ROLE The HERO as HEGEL would define him: An individual able to affect change. (For better or worse is irrelevant.) Although the owner owns capital, he does not
create or even edit content.(Majority Shareholder.) JEREMY TILL would define him as an "interpretive negotiator". These are ABSTRACT identities that define poles. No one is likely to be
pure owner, pure interface, pure drone or pure hero. The traditional role of the architect, rooted between designer/genius and draftsperson. A labourer, a cad monkey, one among many. Although he creates content he does own or direct it. The structure of a network, or the medium by which it is shaped. It is essentially authorless. I need say nothing, only exhibit. with regards to his agency. Plan-Sketch Highway Road Generation
Building exterior morphology
Furniture optimisation
Automatic Plan generation CURATOR Automatic Plan Generation Squarified Treemaps + Furniture Opt The ability to quickly modify options and modify the nature of of these modification. uses new rhino IPAD app. A grasshopper prototype.

the ability to quickly drag rooms, and room groups across the screen.

The ability to modify how all the other rooms adapt to changes. Maximums, minimums, deviation curves etc...

The ability to modify the rooms as if they were a medium. Rouding them, squaring them, kinking them.

Changes can be made in plan, via the diagrammatic structure of the tree map or by changin room values. Or code relationships. (areas, boundary states etrc...) Generates multiple possibilites. Essentially the act of creating subgroups.

Changing things like ration tolerances, or agency groups/values changes the nature of the generation. "Life proper, as pure action, is simply inaccessible to product oriented arts such as architecture" p54 Is a dependant state, constrained by economics, bureaucracy and "those w actual power". Enact change from this position in order not to become "aesthetic" or marginalized. It is a way of lsoing decently. Secdondary Agency high visibility high content low content TYPE 2 I need say nothing, only exhibit. low visibility type 1 the text that draws you in
the title
the main points
the superficial layer the text you read after being hooked
the content
the depth type 2 text/poster all documents use type 1 and type 2 text
different types of documents use different combinationsof type 1 n 2 text type 1 advertisements TYPE 2 type 1 scientific paper TYPE 2 type 1 arch poster SIGNAGE TYPE INNOVATOR TECHNICIAN BUSINESSMAN
Critically Driven
Practically driven Profit Driven with regards to his proficiencies. Designer Professional
(creative)
(skillful)
(connected)
Entrepreneur
Commercial
Technician Professor Engineer Developer Cad/Draftsperson Artist MONSTERPIECES high visibility high content low content TYPE 2 I need say nothing, only exhibit. low visibility type 1 the text that draws you in
the title
the main points
the superficial layer the text you read after being hooked
the content
the depth type 2 text/poster all documents use type 1 and type 2 text
different types of documents use different combinationsof type 1 n 2 text type 1 advertisements TYPE 2 type 1 scientific paper TYPE 2 type 1 arch poster SIGNAGE TYPE HOLY GHOST Vision MOVEMENT BUILDING threat HERO VILLAIN Narrative V.S. DOWN GROUND UP CLOUD INNOVATOR TECHNICIAN BUSINESSMAN
Critically Driven
Practically driven Profit Driven Designer Professional
(creative)
(skillful)
(connected)
Entrepreneur
Commercial
Technician Professor Engineer Developer Cad/Draftsperson Narrator CONTENT OVER CONTEXT CONTEXT OVER CONTENT MULTIPLE AUTHORS SINGLE AUTHOR DRONE INTERFACE HERO OWNER SECONDARY AGENT TRADITIONAL ROLE The HERO as HEGEL would define him: An individual able to affect change. (For better or worse is irrelevant.) Although the owner owns capital, he does not
create or even edit content.(Majority Shareholder.) JEREMY TILL would define him as an "interpretive negotiator". These are ABSTRACT identities that define poles. No one is likely to be
pure owner, pure interface, pure drone or pure hero. The traditional role of the architect, rooted between designer/genius and draftsperson. A labourer, a cad monkey, one among many. Although he creates content he does own or direct it. The structure of a network, or the medium by which it is shaped. It is essentially authorless. I need say nothing, only exhibit. with regards to his agency. DIS-PROGRAM TRANS-PRORGAMS CROSS PORGRAMS TRANSLATIONS LITERALISATIONS
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