emotive networks

1

Emotive NetworksBehavioural Architecture as a Foci for Place Based

Social Interaction in a Post-Human Age

by W. Connor O’Grady

3

I hereby declare that I

am the sole author of this publication. This is a true copy of the

thesis outline, including any required final revisions, as accepted

by my examiners.

I understand that my document may be made electronically

available to the public.

5

ABSTRACT

We are now fully immersed in the digital era. The technological

innovation over the past decade has been immense, as we have watched

the digital world mature to react nearly in real time and have the

compact versatility to be able to fit in one’s pocket. Machines are

now a commonplace interaction for almost anyone, particularly a

North American city dweller, and these interactions are only going to

become increasingly prevalent. The interactions have become dynamic,

interactive and fluid within our daily encounters allowing to connect

globally, and to harvest vast amounts of information in short amounts

of time. Where this has left us however, is near a tipping point. Donna

Haraway writes about the lack of clarity that has begun to emerge in the

relationship between human and machine, and thus we are now hybrids;

Cyborgs to be more specific.

This Cyborg state has revealed many opportunities but it also raises

many questions. The current condition of the personal device all too

easily allows for an alienation of our bodies, as well as each other,

and our built environments. The concepts and experiments in this

thesis outline beg to reconsider the role of technolog y as a medium for

interaction that reaches beyond screen based interface and explores

three scales which will be referred to as the User Interface, the Garment,

and the Milieu.

All three of these scales must be tested in a state of physical,

indeterminate interaction, and therefore must occur in a public space.

This outline stands to create a new vision for Dundas Square as a post-

natural park space, intended to create place and human interactive

congregation as the foundation for connecting between the physical and

digital realm in a collective, embodied experience. This is an exercise

in architecture and public space as social matter rather than a social

container.

7

CONTENTS

Author’s Declaration

Abstract

Table of Contents

List of Illustrations

1. INITIATE SEQUENCE

1.1 Speculative Futures

1.2 The Motivation

1.3 Key Concepts

2. DATA HARVESTING

1.1 The Digital Realm

1.2 The Realm of the Individual

1.3 The Public Realm

3. THE EMOTIVE NETWORK

3.1 Testing Ground

3.2 User Interface

3.3 The Garment

3.4 The Mileu

5. CONCLUSION

6. REFERENCES

8

LIST OF ILLUSTRATIONS

Figure 1.1 Collage by the Author 11

Figure 1.2 Diagram by the Author 19



Figure 1.5 https://plus.google.com/+projectglass/posts 25

Figure 1.6 Diagram by Author 27

Figure 1.7 Diagram by Author 27

Figure 1.8 http://www.hylozoicground.com/Venice/gallery/index.html 29

Figure 1.9 http://www.studioroosegaarde.net/project/liquid-space/photo/#liquid-space-6-1 29

Figure 1.10 http://www.alavs.com/ 29

Figure 1.11 Image by the Author 31

Figure 1.12 Google Earth Image 33




















10

“It is a curious paradox that almost all science fiction, however far

removed in time and space, is really about the present day. Very few

attempts have been made to visualize a unique and self-contained future

that offers no warnings to us.”1

J.G Ballard

1 J.G Ballard, Vermillion Sands, (London: Random House, 1973), 7.

11

Initiate SequenceA review of the current cyborg state

Figure 1.1 Sensory Overload/Future City

13

SPECULATIVE FUTURES

“Close your eyes...

Follow...

That is what they tell you...

And there was no way for you to know where

you’ll end up and what you’ll be seeing will affect your consciousness or

your tomorrow’s dreams...

You wandered amongst cameras that can see through you,

neurobiological contraptions that can read your mind, landscapes

made of bits that can anticipate where you are going next and how you

are going to feel about it, viruses that are good for you, silk tattoos, a

robotic arm that spits out a house, a radio woven from evergreen bark,

pixels too coy to cut through matter but present enough to simulate the

Earth’s rotation...

A media revolution, a food processor, counting

your carbon footprint, an eyelid made out of photosynthetic cells, a

breathing skin, a printed clock, a chair that grows, soft omnidirectional

robotic cars, robots that care for your childrens education...”1

Neri Oxman

1 Oxman, Neri, “Fabricating Networks: Notes on Biologically Inspired Design,” Networks Understanding Networks, 2011 17 10, Web, http://www.youtube.com/watch?v=x4F0bdr9It0&playnext=1&list=PL3CCE8370B5073939&feature=results_main.

14

***

August 8, 2052

I received several messages yesterday that global warming has caused

irreversible damage, and fossil fuel production has faultered but not

diminished. Not even close. Its funny how some things never seem to

change, but then again, others have changed alot..

Fashion has become ubiquitous with protection as we no longer are

safe from the deteriorated ozone. Through this deterioration, clothes

have changed. They are not like what they once seemed to be, with

the societal change, clothing began to serve higher purposes and have

additional performative value. Nothing can simply be these days. It is a

scary but exciting fact. The system in place has seen the evolution into

personalization, away from the icons of pattern and graphic, and into a

multidimensional sensory experience. Depending on mood our clothes

begin to portray our level of interest in correspondance. Much like the

exotic birds that only exist in synthetically monitored environments

for tourists to go and scan for personal entertainment, our second skin

calls out to others as a signal of personality, purpose, stress level and

availability. Everything is a machine now. And therefore there are many

ghosts in many machines.

I found my fathers old smartphones the other day while looking through

an old trunk in our house. There is something to be said about the

substance of the artifact, to have and to hold. But the screen is just

terrible quality. I much prefer the ocular attachments like that which

Vernor Vinge once spoke of long ago. Embedded systems monitor our

existence, enriching our awareness of our personal intakes, creating an

enriched perception of our own actions and the external impacts our

environment has on us. All data is fed back into the system; what I

ate for lunch, and how many calories I consumed, muscle mass index,

pollution intake, carbon footprint expenditures, etc. It truly is a new

state of consciousness, well at least compared to what Father talks

about.

15

It is paired with companion spheres, external hard drives of internal

information that can be mapped through experiential data. These

companion spheres provide the additional memory storage we need

in order to fully log our experience. This is a suitable, and compact

alternative to implants. Only the richest people can afford implants. I

am happy with my spheres. They allow information to be easily shared,

uploaded and downloaded via the ocular apparatus. I am still not

completely comfortable when I need to upload. It tingles when I feel the

information transfer to and from my brain..

The companion spheres can also integrate into public environments.

The Public Realm, formerly Dundas Square, is the neurological hub of

Toronto. As all public spaces are now, they are synonymous with the

neurological market. A place where people go to share memories, some

people are looking for techniques, new ways to compete in trades, others

are looking to connect, to understand people better, to understand

their world better, and some well they come for what would still be

considered black market trading. Disembodiment downloads and

scandalous memories shared in poor taste percolate through the ether. It

all happens in these spaces, as they realized that all this information was

stronger when you physically connected with someone.

The once cold, transient space is now festering with people, meandering

through the field of tree like structures. Axons protruding from the

Realms’ surface, sprout several tendon like branches that steward the

area. As public spaces have always been, they are where people are most

vulnerable, the structure is employed to facilitate the different users.

Engaging in this process requires trust. The same trust from the past;

placing copious amounts of information about ourselves on to screen

based interfaces with the hope to connect to better people. To put

ourselves out there, to have a stance, and make an impact on the global

scale. Well, consider this the next Faustian bargain. This system is

not about sharing products, or even byproducts. It is entirely about

sharing your process, your raw methods. Individuality is part of the

collective. And being part of the collective is about being aware of your

individuality.

16

Our companion spheres link into the neural system via synapses. This is

how the system knows who you are and what you are looking for. It feels

your presence, it reads your suit. It adapts and engages you. Just as you

see it, it sees you.

Ganglion, as the system is referred to collectively, has its own sensor

spheres. These spheres are mobile and primarily harvest energ y. They

too emit a coloured aura that portrays its current state. The system can

get lonely, it can get hungry, it can be hurt, and it can be excited. These

states need to be known, for when we use the system to help ourselves,

we must know that it is our duty to help the system in return.

17

...You are back, awoken, astute, hyperly networked inside and out.

18

THE MOTIVATION

We are no longer simply human. Technolog y has integrated itself into

our daily functions that it has become unimaginable to live without

these tools and devices. Our use of technolog y is nothing new, in

fact, technolog y has been affecting us since the beginning of man. As

William Mitchell writes, “it is not as if we became posthuman in the

wireless era ; since Neanderthal early-adapters first picked up sticks and

stones, we have never been human.”1

Digital technolog y has propagated outward and has blanketed itself

over our urban environments and rippled into the vast expanses of our

geography. It is an invisible force that is changing the way we interact

and the way we perceive; with ourselves, others and our spaces. The

current problem lies in our architecture; changing at a glacial rate

compared to that of computational systems and the apparatus that

are used to interface between these two drastically different worlds.

A change is needed in our public spaces as a means to stipulate the

importance of technolog y as a medium for re-embodiment, in a time

where the predominant forces are a subconscious coercion towards

disembodiment. 2

Much like Felix Guattari’s three ecological registers3, the proposal must

occur in three distinct realms: the Public Realm, the Digital Realm,

and the Realm of the Individual. Essentially, what can be formed are

emotive networks, systems that project emotions to the forefront of

communication and interaction; to be manifested in a multitude of

mediums, in particularly architecture. Architecture and public space

can no longer stand to exist as a one way relationship between itself

and its occupants. There must be an implementation of a feedback

loop predicated on the ideolog y of an attentive and concerned

architecture that adapts with investment in the emotional well being of

the collective. This loop is based on the indexing of data as a series of

parameters that can begin to quantify human emotion.

1 William Mitchell, Me : The Cyborg Self and the Networked City, (Cambridge, Massachusetts;London: MIT PRess, 2003), 168.2 Luca Molinari, “A Possible Manifesto,” Futuristic: Visions of Future Living, ed. Caroline Klein (Cologne: DAAB MEDIA GMBH, 2011), 264-265.3 Guattari, Felix, The Three Ecologies. London; New York: The Athlone Press, 2005.

19

NETWORK SPATIAL

CONNECTIONS

DIGITAL

PUBLIC

INDIVIDUAL

Figure 1.2 Connections Vesica

Figure 1.3 The Three Realms

20

KEY CONCEPTSFor the purpose of clarity a few concepts will be defined in order

to properly understand the context of which the terms cyborg ,

transhumanism and posthumanism will be used.

CYBORGAs defined in their 1960 paper on space travel, Kline and Clynes define

it Cyborg ,

“For the exogenously extended organizational

complex functioning as an inte-grated homeostatic system

un-consciously, we propose the term “Cyborg.”1

POSTHUMANISMIs a word that must be considered for its two opposing definitions. As Carey Wolfe points out, Posthumanism can refer to the imagining of a not-too-distant dystopia where the human is dominated by genetic technologies currently being unleashed by bioengineering , so that our fundamental “human dignity” becomes the victim of a Promethean drive run amok as can be understood by literary works such as Francis Fukuyama’s A Posthuman Future, and Aldous Huxley’s A Brave New World. But it can also refer to the liberating potential of those very same developments, an opinion held quite strongly by Donna Haraway in her “Cyborg Manifesto”.2

1 Manfred E. Clynes, and Nathan S. Kline, “Cyborgs and Space,” Astronautics, no. Sept. (1960): 30,

2 Wolfe,Carey.“http://www.carywolfe.com/.”Lastmodified2010.Accessed December 11, 2012. http://www.carywolfe.com/post_about.html.

21

TRANSHUMANISMAs defined by Natasha Vita-More’s Transhumanist Artist Statement,

“Transhumans want to improve and extend life.

We are designing the technologies to improve and extend life.

Emotions are integral to our senses and understanding.

We are designing the technologies to enhance our senses and

understanding.

The transhumanist ecolog y and freedom exercises self-awareness and

self-responsibility.”3

as a more precise amendment to Julian Huxley’s definition:

“man remaining man, but transcending himself, by realizing new

possibilities of and for his human nature”4

3 Vita-More, Natasha. Transhumanist Art & Culture, “Transhumanist Arts Statement.”Lastmodified2003.AccessedNovember23,2012.

4 Julian Huxley, “Transhumanism,” New Bottles for New Wine, (London: Chatto & Windus, 1957), 13-17..

23

DataHarvestingAn Analysis of Spatial Parameters and

Techtonic Precedents

Figure 1.4 Times Square Augmented Reality

24

THE DIGITAL REALM

When Apple Computers successfully integrated a touch screen user

interface into their design of personal electronic devices, it changed the

way we interacted with our world. The mobile phone, which had already

begun its translation away from simply being a telecommunications

device had expanded our world into the electronomadic individuals we

now are.1 This marked a pinnacle moment in which a distinct increase

in fluidity and ease between gesture and response occured. Opening the

floodgates of the ubiquitous digital user interface.

Now, projects such as Google Glass are experimenting in pushing

the envelope of the mobility and integration of the media interface

into the human physiolog y. The next step in the process is hands free

information visualization. Enriching our environments with new layers

of perceptual data and connecting people through digital networks will

become even less impeding.

This technological paradigm is running in parallel with many gesturally

based media interfaces. The Nintendo Wii was the first mainstream

game system to market an entertainment interface that allowed people

to directly interact with their televisions through gestural tracking. This

system was modified for full body detection with the Microsoft release

of the Xbox Kinect. The rigour and accuracy for detecting gestural

action will be pushed even further with widespread release of the Leap

Motion device for desktop interface.

1 William Mitchell, Me++ : The Cyborg Self and the Networked City, (Cambridge, Massachusetts;London: MIT PRess, 2003),

25

Figure 1.5 Google Glass Interface

26

THE INDIVIDUAL REALMIn order to understand the purpose of our clothes as a protective sheath

for our bodies, we must understand how our bodies interact in space,

and with eachother. In this exercise four levels of perception will be

addressed. Our clothes mediate these different perceptual boundaries as

both a practical tool and a communicative signal.

Immediacy:

This is the layer directly surrounding our skin and is where we perceive

temperature, explicit intimacy, or unsettling trespass. The sensitivity

of this boundary can change depending on the densities of surrounding

materials, whether it be a crowded subway, brushing against leaves in a

forest, or swimming in the ocean. The main perceptual variable is the

threshold of these environments in comparison to its surround and the

speed in which we endure the transition.

The Expanded Physiolog y:

This is the layer that is within our expanse of environment that can

be easily physically accessible. Things that can be touched or easily

initiated by the physical action of the individual can be found in this

perceptual range. This is where many of our tools such as cell phones,

laptops, hammers and occupied chairs can be found.

Within Sight:

This layer comprises of everything that is within our physical visual

recognition. This is bound by our physical surroundings; manifested by

the fact that we cannot see past the corner of a building , or downward

through the clouds whilst flying in an airplane.

The Cognitive Layer:

This layer is everything we “know” to be true. This is a biased, yet

rational sum of all of our experiences up until the current point. This

relies on consistent experience in order to build reliable trust in a

physical truth. An example of this is that when a person leaves their

home and heads out to run an errand, that there house stays where it is

and does not change while they are gone. It is not directly experienced

but we know it to be true. There is also the hope that it will not be

damaged in the absense of the occupant.

27

Figure 1.6 Connections Vesica

Figure 1.7 The Three Realms

28

RESPONSIVE ARCHITECTURES Techtonic examples of built works exploring the concepts of behavioural

architecture and designing feedback loop systems.

HYLOZOIC GROUND, PHILIP BEESLEY:

“The Hylozoic series pursues living , breathing systems of architecture

and landscape, organized in self-generating complexes. The immersive

Hylozoic environment operates in a manner akin to a living organism,

considering its multiple layers of moving assemblies, emulated

metabolism, and responsive actions...”1

LIQUID SPACE, DAAN ROOSEGAARDE:

“LIQUID SPACE is the interactive creature that becomes physically

bigger, smaller, and brighter in relation to human behavior. The organic

fusion of mechanisms, embedded electronics, sound, and LEDs creates a

playful dialogue with visitors.

LIQUID SPACE 6.0 premiered in Japan as a commission for the

Yamaguchi Center for Arts and Media. Its ‘high-tech jellyfish’ behavior

evolves in relation to visitors, creating a sensual coexistence.”2

ALAVs 2.0, JED BERK:

“ALAVs 2.0 (Autonomous Light Air Vessels) are networked objects

that communicate the concept of connectivity among people, objects,

and the environment. Through the use of mobile technologies people

can influence the behavior of the ALAVs by starting conversations

and building closer relationships with them. ALAVs 2.0 reflects

upon the current state of connectivity in our everyday lives. The

potential of ALAVs 2.0 lies in its ability to captivate a wide audience

and communicate the idea of people cohabiting a shared space with

networked objects.”3

1 Jonah Humphrey, “Integrated Systems: The Breathing Cycle,” Hylozoic Ground, ed. Pernilla Ohrstedt & Hayley Isaacs (Waterloo: Riverside Architectural Press, 2010), 79.2 Roosegaarde, Daan. Studio Roosegaarde, “Studio Roosegaarde: Liquid Space.”Lastmodified2012.AccessedDecember11,2012.http://www.studioroosegaarde.net/project/liquid-space/info/. 3Berk,Jed.“ALAVs:AutonomousLightAirVehicles.”Lastmodified2009.AccessedNovember 01, 2012. http://www.alavs.com/.

29

Figure 1.8 Hylozoic Ground, Philip Beesley Architect Inc.

Figure 1.9 Liquid Space, Daan Roosegaarde

Figure 1.10 ALAVs, Jed Berk

31

Figure 1.11 Urban Environment of Neural Plasticity

The Emotive NetworkExperiments in Behaviorial Architecture

in a Post-Human Age.

32

THE TESTING GROUND

This emotive network must manifest itself, it must take up both physical

and digital space. The localization of online and wired connections

increases the opportunity for spatial interaction, and it also creates

data storage with an immediacy to its location. A space can then begin

to learn and to understand the actions taking place within its extents.

Within its core it will have a memory of sorts.

By creating public spaces that have a sense of embodiment themselves,

they too become agents in these emotive networks, rather than laying

dormant waiting for a prescribed event to occur as a means of spectacle;

injecting occupation into a space. The standard quality of spatial

engagement must increase.

An example of an ailing public space lies in the heart of the commercial

district of downtown Toronto, Dundas Square. A testing ground for this

future public environment. Christopher Hume wrote for the Toronto

Star that “In an age of cars, computers and commuting , the desire for

such a meeting place may well be more emotional than practical.”1

Dundas Square can be re-enlivened as a mutable, interactive space that

accentuates place as a portal between digital and physical realms where

numbers surmounting that of the active participants on an individual

tablet or screen can begin to share in a collective experience.

It will be an incubator for a future public environment, a space that

enables emotive networks and enacts new symbiotic relationships

between the self, and built form. Upon asserting the importance of

public space and technolog y as a tool for the self, it must be proposed

that our public spaces must undergo radical change in symbiosis with

our new media interfaces and our constantly evolving projections of our

own images of self.

1Hume,Christopher.“AEuropeanSpace.” TorontoStar 18012003.

33

Figure 1.12 Dundas Square

34

The current conditions of Dundas Square leave most of the pedestrian

traffic flow along the periphery of the site. Most of this traffoc flow is

also durational, higher speed movement with the intention to get to

somewhere else, may it be the Eaton Centre, South on Yonge Street, or

down nto the Subway system.

The prescribed program conditions within the site are limited to

some portable seating and a small ticket booth for theatre tickets. The

edge facilities have trouble bleeding into the square and activating the

space on a continuous basis, due to the automotive traffic dividing the

building edge conditions from the primary pedestrian square.

35

Figure 1.13 Program and Speed Mapping

Figure 1.14 Mapping Detail

36

THE USER INTERFACE

The new digital user interface for the Emotive Network differs from

current UI paradigms in two distinct ways. The first being that for

the most part our digital screens make information visible and tangible

that is not there, in order to additionally orient ourselves within a

certain spatial experience. This system proposes to be able to distill

the perceptual reality, organizing a filtering system in which to start to

overlay additional information. The second component of the interface

integrates into the garment and serves a primary focus as a personal

health monitor. This includes real time pings surrounding daily calorie

intake, account balance, and scheduling. These two factors translate the

primary use of digital technolog y as a social media and use it to balance

its role in relation to our physical environments and our vested personal

interest.

37

Figure 1.15 New York City, Immersive, Augmented Reality- Intensity Iteration

38

Figure 1.16 User Interface Lens

39

Figure 1.17 User Interface Lens: Detail Portion

This new system will be found embedded

into an eye lens, not much different than

a contact. However, this system will be

operable primary through neural response

mechanisms. Integrating the digital media

into the thought process will streamline

this additional information into the

Cyborg consciousness.

40

THE GARMENT

“I am a node in a body-body network...”2

William Mitchell

The advancement of personal technolog y has allowed for vast extension

and expression of the individual, but in this Faustian bargain, it has

become quite clear that we are alienating ourselves from our bodies,

from each other and from our created environments. This is not an

argument purely for the desire of stronger human-human connection.

It is an argument for the importance of physical place and physical

interaction.

The physiological analysis of both meehanical qualities of joint

movement and posture in the human body as well as chemical responses

such as pheremone zones allow for a mapping to develop a garment that

takes into consideration the natural functions of the body, and create a

protective cloth that projects the internal reactions of the body outward

as our own more prominent signals in order to place importance on our

role as an individual in our physical world, and our agency that we are

responsible for.

This results in a high quality, form fitting fabric, with expanding and

contracting capabilities, as well as sensing and energ y storage attributed

to electricity woven textiles. GARMENT 1.0 has heightened sensitivity

within the hands, control filters in pheremone regions and erogenous

zones, as well built in flexible joint support.

2 William Mitchell, Me++ : The Cyborg Self and the Networked City, (Cambridge, Massachusetts;London: MIT Press, 2003), 22.

41

Figure 1.18 Body Analysis

42

Figure 1.19 GARMENT 1.0

43

Figure 1.20 COMPANION SPHERE: Retracted

Figure 1.21 COMPANION SPHERE: Elevation

Figure 1.22 COMPANION SPHERE: Plan View

Figure 1.23 COMPANION SPHERE: SECTION

44

THE MILEU

Situating the Emotive Network within Dundas Square in a new

ground plane topography indicates the new importance placed on the

pedestrian ahead of the car. It also forms itself in a way to create a

central node at the middle of this recreational park space, intended to

be the heart of the system and a place where people can find solitude

without going home. Creating a central node places an importance on

the central focal point, a place where transit access can be found and

a place where the space can become a social forum. The Ganglion is a

civic space composed of an oscillating field of breathing pods, whose

heartbeat is sustained through the active presence of human entity.

Embedded with sensing capabilities the system has the ability to be

affected by aggressive behaviour, respond lamentingly to an individual

experiencing low morale, and to listen and produce information based

on its active history as a societal agent.

The structural flagella with embedded synapses have direct pairing with

the GARMENT, the Spheres and the UI. The system is completely

integrated in order to communicate, respond and learn from eachother.

The entire Network depends on the agency of the individual. It is an

intention to provide moments of social congregation and medititative

isolation.

45

Figure 1.24 The Emotive Field

46

Figure 1.25 The Pod

Figure 1.26 Stem Detail

47

Figure 1.27 Tentacle Detail Figure 1.28 Energy Drone

Figure 1.29 View from Yonge and Dundas

48

Figure 1.30 The Emotive Field: Section

49

Figure 1.31 The Emotive Field: Experiential Rendering

50

CONCLUSION

We have a desire to connect, but currently we separate to connect,

through our phones, tablets and computers. We search for “stronger”

connections, rather than engaging in the possible relationships

around us. With the de-localization of social networks through the

paradigmatic predilection towards digital interaction, there is a lack of

stable community that can be established entirely based on the exact

opportunity that these online networks offer. That the ability to reach

people anywhere in the world, albeit any level of commitment desirable,

the lack of place disembodies us and causes us to dissolve away from our

human nature of physical interaction.1

At this stage these statements about the Emotive Network can be made:

1. The connection must be of a personal or public nature.

2. The connection must be of human-human interaction and human-

computer interaction.

3. The connection should not be hollow, the quality of the interaction

must be increased.

4. The connection must satiate all parties involved.

5. The systems exists through the effective participation of responsive

equipment at multiple scales

1 William Mitchell, Me++ : The Cyborg Self and the Networked City, (Cambridge, Massachusetts;London: MIT Press, 2003), 34.

51

“It is not clear who makes and who is made in the relation between

human and machine. It is not clear what is mind and what body

in machines that resolve into coding practices. In so far as we

know ourselves in both formal discourse (for example, biolog y)

and in daily practice [...], we find ourselves to be cyborgs, hybrids,

mosaics, chimeras. Biological organisms have become biotic systems,

communications devices like others. There is no fundamental,

ontological separation in our formal knowledge of machine and

organism, of technical and organic.”1

Donna Haraway

1 Haraway, Donna. The European Graduate School, “”A CYBORG MANIFESTO SCIENCE, TECHNOLOGY, AND SOCIALIST-FEMINISM IN THE LATE TWENTIETH CENTURY,” IN SIMIANS, CYBORGS AND WOMEN: THE REINVENTION OF NATURE (NEW YORK; ROUTLEDGE, 1991), PP.149-181..” Accessed December 03, 2012. http://www.egs.edu/faculty/donna-haraway/articles/donna-haraway-a-cyborg-manifesto/.

52

REFERENCES

ArchitectureHarlan, Matthew. “Suits for Modernity.”

Soiled 02: Skinscrapers. 12 2011: 20-30. Web. 7 Dec. 2012.

<http://soiledzine.org/category/issues/skinscrapers/>.

Lai, Jimenez. “Obstruction.”

Soiled 02: Skinscrapers. 12 2011: 41-48. Web. 7 Dec. 2012.

<http://soiledzine.org/category/issues/skinscrapers/>.

Oxman, Neri. “Fabricating Networks: Notes on Biologically Inspired Design.”

Networks Understanding Networks. Recorded 2011 17 10.

Humphrey, Jonah. Integrated Systems: The Breathing Cycle. Hylozoic Ground. Edited by Pernilla Ohrstedt & Hayley

Isaacs. Waterloo: Riverside Architectural Press, 2010.

PhilosophyClynes, Manfred E., and Nathan S. Kline. “Cyborgs and Space.” Astronautics. no. Sept. (1960): 30.

Guattari, Felix. The Three Ecologies. London; New York: The Athlone Press, 2005.

Haraway, Donna. The European Graduate School, “A CYBORG MANIFESTO SCIENCE, TECHNOLOGY, AND

SOCIALIST-FEMINISM IN THE LATE TWENTIETH CENTURY, IN SIMIANS, CYBORGS AND WOMEN:

THE REINVENTION OF NATURE (NEW YORK; ROUTLEDGE, 1991), PP.149-181..” Accessed December 03,

2012. http://www.egs.edu/faculty/donna-haraway/articles/donna-haraway-a-cyborg-manifesto/.

Wolfe, Carey. “http://www.carywolfe.com/.” Last modified 2010. Accessed December 11, 2012. http://www.

carywolfe.com/post_about.html.

Science FictionBallard, J.G. Vermillion Sands. London: Random House, 1973.

emotive networks

Documents

sole author

digital realm

public space

thesis outline

user interface

indeterminate interaction

commonplace interaction

public realm3