MATERIAL FABRICATION - THE SKIN AS AN ORGANISM - ENCOUNTER THE CITY

Excerpt from Gamrot A. Floating in Ease and White Noise Sameness.
Or how to reclaim ones right to sensory transit.
A Speculation.

MA Contemporary Art Theory. Goldsmiths. London. 09.2017

Full thesis accessible here

[underground drifts] Gamrot A. 2017

[underground drifts]
Gamrot A. 2017

MATERIAL FABRICATION

It is a research around a collective artificial intelligence – self-assembling new patterns of behavioral processes. The constant reconfiguration of little capsules and their spatiality and matter, over time leads toward the reorganization of the overall bod, dependent on the material behavior and characteristics of its outer layer – the skin. So, to construct constant changes of its form, due to the comprising forces – a “void introduction” – that triggers the interchange within it physical matter, as well as, the presence as it establishes itself within the urban – the outer space. [Lefebvre, 1996, pp.133-138] “These environments allow rick exchanges between participant and system, participant and participant and/ or system with other system. [Spyropoulos, 2016, pp.36-34]

The body establishes itself through its limitations, yet its skin serves as more than just a seal separating it from the external splashing. It is reveling the body to the outside, only so to separate it from the surrounding flows, as if letting it drift in a transparent ocean. [Neimanis. 2017. p.46] Senselessly encountering other bodies, passively responding to surrounding vibrations, aimlessly drifting towards situations. “Yet, the enacted movement of the body induces a change of matter, reshaping one into another, placing one in a different place and context. Drifting in colony, joining bodies, drifting together, [and] establishing ontologies into institutional environments.” [Gamrot, 2018, pp.93-99]

“Suspended over the abyss, the life of Octavia’s inhabitant is les uncertain than in other cities. They now the net will last only so long.”
- Italo Calvino, Invisible Cities, on Octavia

THE SKIN AS AN ORGANISM

The skin living organism is being responsive, it is coming into form/ feelings/ hurting/ mutating. It is something alive as it wrinkles and stretches [possibly even creating unreturnable stretch marks]. An organism within an ecology that is “adaptive, emotive and behavioral” [Spyropoulos, 2016, pp.36-43]. To result a new tectonic morphology the body co-evolves with environmental ecologies towards the statement of a tool that exposes its physicality - fabricating its qualities and its performance. Upon others, working with potential attributes of its body that are countable and replicable, as constructing patterns, cracks, stretches and changes in its density, step by step stirring its conscious existence to repeatedly retrieve in its future constellations.

“The very atoms of his simple brain were being twisted into new patterns. If he survived, those patterns would become eternal, for his genes would pass them on to future generations. It was a slow, tedious business, but the crystal monolith was patient. Neither it, nor its replicas scattered across half the globe, expected to succeed with all the scores of groups involved in the experiment.”
― Arthur C. Clarke, 2001: A Space Odyssey

[imorphing organs]  Gamrot A. 2017

[imorphing organs]
Gamrot A. 2017

 

ENCOUNTER THE CITY

Subsequently, architecture aims to move towards deeper levels of understanding - lifelike, machine learned and emotively communicated.44 Persuasively interacting with the membrane and giving it the characteristics of soft textile bodies as: twisting/ weaving/ layering/ coiling/ tearing/ pledging. The skin carries the tendency [almost vulnerable] to be penetrated. Being put out there, on the display the skin is fully exposed to any kind of pressure radiating from the externally placed apparatuses, feeding into to the phenomenon on senseless pounding. But what if one gives meaning to it? Resulting in compilation of a vibrating field like component, that is designed to engage in the social relations it organizes. It is the first point of Kontakt, that shapes its fibre and that response, by leaning the pattern of stimulation that is being forced upon its structure. Almost as if a survival mechanism the skin, has to be thought when to collaborate with its surrounding and forming groupings, further, when to isolate itself, consequently it needs to be told when it is to resist and when it is reasonable to give in.

 

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Gamrot, A. Senseless Jellyfish and Sensual Encounters. in The Crack-Up. Spatial Biopolitics. London: Goldsmiths, 2018

Lefebvre, H. Writings on Cities. ed. Kofman, E. Lebas, E. Blackwell Publishers, 1996

Neimanis, A. Bodies of Water: Posthuman Feminist Phenomenology. London and New York: Bloomsbury, 2017

Spyropoulos, T. Behavioural Complexity. Constructing Frameworks for Human-Machine Ecologies. In Architectural Design: Vol. 86, Issue 2. Parametricism 2.0: Rethinking Architecture's Agenda for the 21st Century. ed. Schumacher P. March/April 2016

Alexandra Gamrot