4: The parts in my theater is the theater of my parts

November 6, 2014


In this course we have talked a lot about how the individual is being re-produced over and over again by the other. The thing/part is constituted by the reflection upon other things/parts and are intertwined in a larger matrix of bits and pieces. This relationship is something that I find interesting and is a possible connection between gender – technology theories and the work we do in studio #5



networks_agents

Cute fit

This relationship could be exemplified as a very straightforward architectural topic, the one of how things fit or don´t fit together. How one bit is connected to the other, physical – materialized, and what this connection or non-connection is doing to the individual bits. In my project, for example, we are dealing with a connection that we like to call cute fit. The cute fit could be described as a connection between to bits that are not completely accurate. The bits does´nt really fit into each other. There is small caps of inaccuracies generating spaces and figures. It is a connection that is trying to connect but not quite being able to in the stereotype/ accurate / tight fit. Perhaps it is possible to see this connection/ joint as the one that is doing the not aspected / wanted / It is the not so logically justifiable solution

This pieces / bits / parts / things / objects is being formulated by the larger network of information / bits / parts. The individual bits is effecting the other generating a kind of call & respons-matrix. One object mirroring / reflecting its characteristics upon the other. These bits are not really forming a hierarchy but more of a flat network where each individual part possesses the possibility of taking any position in the network. There is a fluidity that relate to the way identity is formulated today, as Judy Wajcman writes about post-traditional network society. Identity is formulated by our consumption rather that our social relations of work. The social networks are more elaborate and if we could talk about post-internet we see an individual being constituted in a non-physical environment where your avatar can adapt what characteristic you choses. I can choose to be man, transgender, woman, young, old, pink haired or blond and so on. The old binary system is being played out by a more fluid identity that has the possibility of endless change. Post-internet is offering a new way of understanding what the individual is. We could perhaps draw a paralell to how cultural expressions today appears to be more and more abstract. The old sub-cultures are replaced by a multiplicity of expressions combined in different ways, maybe we could talk about a kind of ”Allkonstverk” ”Gesamtkustwerk”

Perhaps we can use this ideas to challenge architecture on not only a theoretical level but also on a physical level.

What is the achtitect in this network, a recipe maker or a ‘world’ – representer? Maybe a carpenter or a machine operator.

How is the architecture materialized and what do the tools do in the network. If the pieces / parts / bits is in a flux the tools and method can just as easily as the thing being produced become the output architecture.

What is the physical response to post-traditional network society?

/Kristina Sundin

One Response to “4: The parts in my theater is the theater of my parts”

  1. eltejp Says:

    There is also the notion of limited imagination. I think that no post-internet society (as characterized above) will be able to come to if the realm of possibility isn’t also widened. To be given the opportunity is not enough, it will not be used to its fullest extent (if much at all). Maybe a step towards the answer lies there? The physical could maybe be used to broaden the realm of imagined possibility thus allowing people to use the freedom they have been given by the internet and disembodied direct communication.


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