goldsmiths university of london visual cultures€¦ · ana paola flores - 33209338 biopolitics in...

Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020.

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Student Name: Ana Paola Flores

Student ID: 33209338

Goldsmiths University of London

Visual Cultures

After the Internet

Title:

Biopolitics in Future and the Arts: AI,

Robotic, Cities, Life - How Humanity

Will Live Tomorrow, 2019-2020.

May 2020

Word Count: 2959 words


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Mori Art Museum in Tokyo, Japan chose its exhibition title Future and the Arts: AI,

Robotic, Cities, Life - How Humanity Will Live Tomorrow, amongst various titles created by an

artificial intelligence denominated IBM Watson.1 This futuristic exhibition encompasses varying

artistic technological dispositifs,2 which give visibility to the intersection between life and

politics, widely known as Foucaldian biopolitics. The exhibition attempts to predict our

relationship with technology in twenty years time.3 One essential indirect aspect Future and the

Arts denotes in general is the segregation of humanity from nature. The human natural

cognitive abilities of taste, desire for power, consciousness, and speculation about the future in

combination with ultimately the fear of death differentiate us from all other forms of life.4 The

alienation between nature and culture situates the human being in state of anti-nature, whereby

humanity created hegemonic systems to procreate life.

The imaginaries of the varying artists (both international and Japanese) contribute to

the metastable exhibition a futuristic game where ‘life’ is at play; this ‘game’ encompasses

different tests and formulas for life’s own improvement, but also defies notions of morality and

ethics, in order to envision a futural idea of how would technological advances affect humanity

and the age of the anthropocene. Timothy Campbell states, “Biopolitics is the explicit solution to

an inexplicit problem: power’s inability to fully access life. The more that knowledge- power

grows in intensity, the more the scene is set for the question of life to be answered by

apparatuses that focus, in particular, on the body5”. The form of control that biopolitics wishes

to impose over life encapsulates the body, but most implicitly the availability of knowledge. This

post-internet exhibition reinforces Hito Steyerl’s Too Much World: Is the Internet Dead? We

are attacked by images, information, data and videos most of our time. Future and the Arts,

further explores Artificial Intelligence, algorithms, virtual reality, data and robotics6. The

technological possibilities presented by this exhibition are therefore classified into ‘zones’.7 The

exhibition is divided in five sections entitled: New Possibilities of Cities, Toward Neo-

Metabolism Architecture, Lifestyle and Design Innovations, Human Augmentation and its

Ethical Issues and Society and Humans in Transformation. Approximately more than fifty

artists groups combining computational designers, architectural groups, scientists and

renowned technological companies such as ALIBABA, NASA, Nissan Intelligent Mobility x Art,

and Sony Corporation contributed to the exhibition. The varying apparatuses described above

ultimately enhance the aporia between the material and the intangible8.

1 "MoriArtMuseumCollaboratesWithAIToCreateAnExhibitionTitle |MoriArtMuseum".2019.MoriArtMuseum.https://www.mori.art.museum/en/news/2019/08/3478/index.html.2TimothyCampbellandAdamSitze.BiopoliticsaReader.(London,DukeUniversityPress,2013),11.3"FutureAndTheArts:AI,Robotics,Cities,Life-HowHumanityWillLiveTomorrow".2019.MoriArtMuseum.https://www.mori.art.museum/en/exhibitions/future_art/index.html.4ImmanuelKant,‘ConjecturesontheBeginningofHumanHistory’inPoliticalWritings,ed.HansReiss,trans.HB.Nisbet,(Cambridge:CambridgeUniversityPress,1991.)5TimothyCampbellandAdamSitze.BiopoliticsaReader.(London,DukeUniversityPress,2013),14.6 Hito Steyerl. 2013. "Too Much World: Is The Internet Dead? - Journal #49 November 2013 -E-Flux". E-Flux.Com.https://www.e-flux.com/journal/49/60004/too-much-world-is-the-internet-dead/.7 Michel Foucault, “Classifying”, inThe Order of Things, (London and New York: Routledge, 2005 [1966]),136−179.8JoshuaSimon,TheWayThingsareOrganized:TheMesoscopic,theMetastable‘theCuratorial’inCURATINGAFTERTHEGLOBAL:RoadmapsforthePresent,LumaFoundation:MITPress,London2017,p.171.


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SECTIONS 1 & 2 NEW POSSIBILITIES OF CITIES and TOWARD NEO-METABOLISM ARCHITECTURE The first two sections of the exhibition introduce models, videos, digital projections, prints, bio-

sculpture, futural installations and architectural projects of cities. They mostly connote utopian

habitats, which merge with human life needs, as well as, technologies with the capacity to blend

with extreme natural ecosystems. Toward Neo-Metabolism Architecture makes reference to

Elizabeth Grosz’s, Embodied Utopias. For instance, an Architecture of Moods 2010-2011, by

New-Territories /François Roche shows the model of a mobile robot (the city is built at its core)

able to adapt to complex geological conditions, to paraphrase, to trudge in extreme weather

conditions. The utopian architectural form presented no longer freezes into the future, but

rather is able to adapt to different conditions, which are to move and change to natural forces

such as: extreme climate and geological conditions. This fictionality breaks with static

architectural conventions as it is described as robotic pathology and strategy of disobedience.9

Further on, H.O.R.T.U.S XL Astaxanthin.g, 2019 bio-sculpture is an organic rhizomatic

sculpture made of PETG, biogel and euglena.10 London based ecologicStudio envisions

harvesting intelligences inspired by the anthropocene, whereby humanity no longer affects the

environment.11 This 3D printed substratum-like structure is an artificial living sculpture with

cyanobacteria or plant bacteria as its host.12 This habitat promotes natural life forms defying the

segregation from nature and culture. To an extent, these futural spaces create Bloch’s notion of

hope.13 These architectural presentations denote an implicit problematic of control. As argued

before, humanity is controlled by the world of conventions and hegemonies; some political and

capitalist apparatuses in return wish to control humanity further. Michael Foucault claims, “One

can easily see how the very grid pattern, the very layout of the estate articulated, in a sort of

perpendicular way the disciplinary mechanisms that controlled the body, or bodies, by localizing

families (one to a house) and individuals (one to a room). The layout, the fact that individuals

were made visible, and the normalization of behaviour meant that a sort of spontaneous policing

or control was carried out by the spatial layout of the town itself. It is easy to identify a whole

series of disciplinary mechanisms in the working-class estate.14” The futural system no only

9Francois Roche. "Architectural Psychoscapes: Francois Roche". 2005. Mousse Magazine.http://moussemagazine.it/architectural-psychoscapes-francois-roche-2017/.10"::Ecologicstudio::".2019.Ecologicstudio.Com.http://www.ecologicstudio.com/v2/index.php.11Nadine Botha. 2019. "BEYOND THE FOLLY | DAMN° Magazine". DAMN° Magazine.https://www.damnmagazine.net/2019/03/05/beyond-the-folly-ecologicstudio-a-nostalgia-free-harvest/.12 Annas Essop, Anas, Tia Vialva, Kubi Sertoglu, Paul Hanaphy, andMichael Petch. 2019. "Ecologicstudio &Partners Showcase3DPrinted In-HumanGardensAtCentrePompidou - 3DPrinting Industry". 3DPrintingIndustry. https://3dprintingindustry.com/news/ecologicstudio-partners-showcase-3d-printed-in-human-gardens-at-centre-pompidou-149551/.13 ErsntBloch, ‘TheWishLandscapePerspective inAesthetics:TheOrderofArtMaterialsAccording to theDimensionoftheirProfundityandHope’inTheUtopianfunctionofArtandLiterature:SelectedEssays,trans.JackZipesandFrankMecklenburg,(Cambridge,Ma:MITPress,1988).14Michael Foucault. ‘SocietyMust beDefended’, inBiopolitics a Reader. Timothy Campbell andAdamSitze.(London,DukeUniversityPress,2013),70-71.


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confines bodies into conventional spaces, but these projects will give privilege to first world

economies, and disregard developing economies. Campbell claims, “The result is a racism that is

proper to laissez- faire capitalist economy: a racism that explains, without open hostility, why

the current unequal distribution of biopower— the distribution of the globalized world into “life

zones” (where citizens are protected by a host of techniques of health, security, and safety) and

“death zones” (where “wasted lives” are exposed to disease, accident, and war, and left to die).”15

It is not difficult to assume in present day, given the economic conditions we live in that, people

who have most power or are well positioned within the hegemonic system, will have the earning

capacity to live in those ‘new zones’, creating a sense of discrimination to those in a more

precarious condition. Giving privilege to power relates to Arendt’s “precise moment when law

lost touch with life.16” In a Biopolitics Reader, Campbell mentions that people outside these

norms and regulations are not part of these laws and advantages; they turn meaningless for

these societies outside the protocol. These marginalized communities do not posses the same

human rights.

an Architecture of Moods 2010-2011, by New-Territories /François Roche (Figure 1)

15Timothy Campbell and Adam Sitze. Biopolitics a Reader. (London, Duke University Press, 2013), 20.16Timothy Campbell and Adam Sitze. Biopolitics a Reader. (London, Duke University Press, 2013), 20.


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H.O.R.T.U.S XL Astaxanthin.g, 2019 (Figure 2) SECTION 3: LIFESTYLE AND DESIGN INNOVATIONS In Society Must be Defended, Michael Foucault argues, “A new technology of power, but this

time it is not disciplinary. This technology of power does not exclude the former, does not

exclude disciplinary technology, but it does dovetail into it, integrate it, modify it to some extent,

and above all, use it by sort of infiltrating it, embedding itself in existing disciplinary techniques.

This new technique does not simply do away with the disciplinary technique, because it exists at

a different level, on a different scale, and because it has a different bearing area, and makes use

of very different instruments.”17 Foucault explains that control is not explicit, but rather it is

embedded in our culture and lifestyles. Section 3 presents furniture, designs, automated driving,

automated machines, natural networks, data networks, everyday life robots, fashion inspired by

the human body organs and IBM’s bitcoin virtual reality games.

Firstly, section three unveils superfluous goods such as Internal Collection, 2016-2017 series of

fashion designs by Amy Karle,18 that imitate human body features such as ligaments and

tendons, pulmonary and nervous system. Foucault further comments, “By creating the

imaginary element that is "sex," the deployment of sexuality established one of its most essential

internal operating principles: the desire for sex-the desire to have it, to have access to it, to

17 Michael Foucault. ‘Society Must be Defended’, in Biopolitics a Reader. Timothy Campbell and Adam Sitze. (London, Duke University Press, 2013), 62.18Amy Karle. 2016-2017 “Internal Collection”https://www.amykarle.com/project/internal_collection_garments/


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discover it, to liberate it, to articulate it in discourse, to formulate it in truth. It constituted "sex"

itself as something desirable. And it is this desirability of sex that attaches each one of us to the

injunction to know it, to reveal its law and its power.19” The intention to imitate bodily organs is

quite innovative and a striking artistic intention, these ‘organic’ designs connote sexuality and

desire, given the fact that if worn some parts of the body would be bare-naked. Until present

day, nudity has always been a political taboo, in most cultures it is prohibited. Such artistic

intention suggests that sex has been used as a political tool for control, in a false idealization of a

balanced system with ‘sexual freedom’. This biopolitical enigma questions our notions of dress

code, where sex in general has been something secretive, difficult to reach and in order to obtain

it, one must comply to the system forces and hegemonies to attain it. Internal Collection fashion

designs also, questions economic notions of affordability, it is a luxury good that is limited to a

small percentage of the population.

Alternatively, section three shows various types of networks. For example, Amsterdam based

Next Nature Network, 2006 makes reference to data networks of the Internet system.

Alexander R. Galloway considers the tendency of these representations to repeat itself in a

structure described as a cauliflower shape.20 Aesthetically, they represent no information, only

raw data, which is almost impossible to decipher. These visual networks embody a dilemma of

representation. Galloway argues, “In fact, the high level of detail seems to hinder

comprehension rather than aid it. The high level of technical detail visible here overwhelms the

human sensorium, attenuating the viewer’s sense of reality.21” They are ironically, rhizomatic

like natural networks such as MYCELIUM + TIMBER, 2017. These natural appearances prompt

our cognitive abilities not being able to describe its randomness. However, they create an

aesthetic effect. As Hito Steyerl mentions the Internet is now everywhere, in its most

contemporary expression is that of robotics and artificial intelligence. But most importantly,

these futuristic manifestations and interests from the population are forms of data acquired by

the Internet. In our everyday Internet browsing, this data is collected by the Internet and is used

as important information sold to the highest bidder. Companies utilize our browsing

information and interests for economic means and further forms of control. For instance,

Centralization VS Decentralization hardware display: IBM 2018 artwork is a great example of

this, its own title makes reference to the powerful decentralization of the system, however, as

easy as with an IP address the internet can trace almost everyone.

The statistical desires and interests from Japan range from: most technological automobiles, to

robotics that can make a portrait with a pen, to a sushi restaurant that no longer requires

human capital named SUSHI SINGULARITY, 2019, to the famous robot dog ‘aibo, 2007’

created by Sony and Groove x’s LOVOT, 2019. Japan’s interests are immersed with

technological mediation, Japanese society appears to be individualized. Thus, they require a 19MichaelFoucault.‘RightofDeathandPowerOverLife’,inBiopoliticsaReader.TimothyCampbellandAdamSitze.(London,DukeUniversityPress,2013),56.20AlexanderR.Galloway,“AreSomeThingsUnrepresentable?”TheInterfaceEffect(2012),82.21AlexanderR.Galloway,“AreSomeThingsUnrepresentable?”TheInterfaceEffect(2012),78.


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robotic intervention to satisfy their needs. This proves that the neoliberal system further

separates and individualizes society. Future and the Arts provokes a sense of uncertainty to the

viewer, how can they compete in this technological atmosphere and complex future.22 These

superfluous inventions serve to enhance the productivity and performativity of bodies, given the

fact that perhaps even robots may replace their jobs. There are varying forms of knowledge and

social, cultural conventions imposed in the bodies’ productivity and behaviour. These anime and

dog robots enhance the notion of control by our own material interests, for instance LOVOT has

a camera at the top of its head, which may create a sense of surveillance. This section of the

Future and the Arts mentions the fictional term ‘singularity’, giving power to technology over

life. The main reason for this may be as Timothy Campbell argues, “also the conditions for a

redoubled return of old fantasies of “immortality”: whereas the modern subject dreamed of

becoming a “prosthetic God,” the contemporary subject wants to use technology to overcome

mortality itself, once and for all, whether through a gradual, generalized “negation of death” or

through the achievement of a sudden, rapturous “singularity.””23 Humanity depends entirely on

technological advances as a means for longevity and the desire for immortality. In this

fictionality, technology will have its own consciousness and will take over, in the exhibition this

event is regarded as positive because it will ease our lifestyles towards more freedom. This

notion however, can be questioned as perhaps this event may be regarded as the most

Apocalyptical one, whereby technology will disregard humanity and not support humanity

according to plan.

LOVOT, 2019 and aibo 2007 (Figure 3)

22TimothyCampbellandAdamSitze.BiopoliticsaReader.(London,DukeUniversityPress,2013),17.23TimothyCampbellandAdamSitze.BiopoliticsaReader.(London,DukeUniversityPress,2013),3.


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SUSHI SINGULARITY 2019 (Figure 4)

SECTION 4, HUMAN AUGMENTATION AND ITS ETHICAL ISSUES

From robotics for human rehabilitation, robotics for human augmentation, to small pop-up

scientific labs demonstrating their latest biological discoveries in medicine and surgery. This

section of the exhibition has the appearance of a laboratory where you can observe real and

fictional experimentation on organisms and chemicals. Human Augmentation relates to control

in relation to biotechnology, medicine, natality rates and implicitly death rates. It mainly

expresses the desire to create longevity in the population. Foucault expresses the second main

general apparatus in bio-politics, “focused on the species body, the body imbued with the

mechanics of life and serving as the basis of the biological processes: propagation, births and

mortality, the level of health, life expectancy and longevity, with all the conditions that can cause

these to vary. 24” The forms of control suggested are embedded as health care systems.

Biopolitics cannot control an individual body, but it can control the whole in a statistical level,

these sectors attempt to predict future diseases and find ways to control them amongst the

population. We can perceive how the intention of biopolitics is focused towards the investment

of biological life. In essence, Foucault shows, “Power has no control over death, but it can

control mortality. And to that extent, it is only natural that death should now be privatized, and

should become the most private thing of all.25” The exhibition gives importance to the creation

of new technologies that allow the human body to expand its lifetime. The futural presentation

of the exhibition reinforces a futural status where death is a factor taken into account, the

intervention of politics as a desire to abound life, whereby the posthumanist notions of cyborgs 24MichaelFoucault.‘RightofDeathandPowerOverLife’,inBiopoliticsaReader.TimothyCampbellandAdamSitze.(London,DukeUniversityPress,2013),44. 25 Michael Foucault. ‘Society Must be Defended’, in Biopolitics a Reader. Timothy Campbell and Adam Sitze. (London, Duke University Press, 2013), 68.


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and artificial intelligence connected to life, are being used to control further humanity, in

exchange for longevity. For instance, Semi-Living Worry Dolls 2000 by Oron Catts and Ionat

Zurr presents the first ‘artificial tissues’ engineered from human body cells. Each is given

different preoccupations like: genetic engineering, destruction, biotechnology and capitalism.26

The installation highlights preoccupations of morality and ethics and how powerful companies

prioritized by capitalism can create forms of life that may endanger nature.

SECTION 5, SOCIETY AND HUMANS IN TRANSFORMATION The last section of the exhibition visions different kinds of robotics, computer programs,

sensors, videos and video installations. In essence, German US-based artist Mike Tyka’s

presents: Us and Them, 2018 installation encompasses an artificial intelligence network that

creates tweets in relation to Donald’s Trump election in 2016, the computer programme used

around 200,000 tweets created by boots accounts in his election. The artist utilizes the same

technique, by making the AI print different opinions in relation to Trump. Thus, the installation

is similar to Baudrillard’s Simulacra, where the virtual digital space blurs from the ‘real’ space.

This articulation creates a simulacrum of power.27 Joshua Simon comments in Curating After

the Global, “When considering Marx’s Eighteen of Brumaire with regard to the presidency of

Donald Trump we are in a position to ask what happens the third time: when the farce is a total

tragedy.”28 Also, “The 2008 crisis, and the implementation of austerity policies to benefit the

financial sector, seemed to show elites that they still have the use of the state in its oppressive

form. This is the tide that allows de-globalization politics navigate so smoothly. From Louis

Bonaparte to Trump, there is a consistent pattern: fascists get to power through elections.29”

The social media apps, which most of us ironically believe are a form of free expression and

freedom have tended to be the most confined technology. Social Media Apps created a mirage

and farce in regards to Trump’s presidency. Deleuze comments, “The societies of control

operate with machines of a third type, computers, whose passive danger is jamming and whose

active one is piracy and the introduction of viruses. This technological evolution must be, even

more profoundly, a mutation of capitalism, an already well-known or familiar mutation.30” The

Neoliberalist system we live in today appears as source of political freedom, this is only a mirage

as capitalist systems of surveillance are embedded everywhere. Additionally, Zoom Pavilion,

2015 created by Mexican artist Rafael Lozano-Hemmer in collaboration with Krzysztof

Wodiczko connects to Deleuze Societies of Control. Hemmer installation explicitly presents the

notion of surveillance and control. Twelve cameras surround the room and with the use of

26"WorryDolls".2001.TheTissueCulture&ArtProject.https://tcaproject.net/portfolio/worry-dolls/.27 Jean Baudrillard, “The Precession of Simulacra” in Simulacra and Simulation, trans. Sheila Farrer Glaser (Michigan: University of Michigan Press, 1994), 1-7.28 Joshua Simon, The Way Things are Organized: The Mesoscopic, the Metastable ‘the Curatorial’ in CURATING AFTER THE GLOBAL: Roadmaps for the Present, Luma Foundation: MIT Press, London 2017, p.160. 29 Joshua Simon, The Way Things are Organized: The Mesoscopic, the Metastable ‘the Curatorial’ in CURATING AFTER THE GLOBAL: Roadmaps for the Present, Luma Foundation: MIT Press, London 2017, p.161. 30 Gilles Delueze. “Postscript on the societies of control” October, Vol. 59 (Winter, 1992), p. 6.


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recognition algorithms they project the viewers movements, these electronics can even zoom

closer creating a visual interplay of surveillance.31 Deleuze claims, “Types of machines are easily

matched with each type of society – not that machines are determining, but because they

express those social forms capable or generating them and using them.32” These forms of

surveillance wish to control our individualized behaviour, as a political intention to control the

population.

To finalize, the artistic group Ouchhh presents DATAMONOLITH’s, 2019. This high definition

video installation demonstrates how images today are migrants as they travel everywhere and

its meaning changes abruptly. Joshua Simon comments upon the curatorial techniques “This

form is distinct in meshing together entertainment and surveillance to such a degree that they

are inseparable (Big brother, selfies, instant messaging, social media). From the digital as the

material of capital (immaterial labor, touching images on the screen, cryptocurrencies), to the

rhizomatic panopticon of the Internet, montagne has been replaced by Navigation, and the

totality of the social is no longer the reference for the visual but the tidal liquidity of capital.

With the digital and the urban converging,- from pop-up exhibitions in non-art spaces, to

Instagram foodies, gyms and joggers, Airbnb, food trucks and other institutions of

gentrification-metabolic synchronization-biopolitical and necropolitical - emerges as the form

totalizing political control. 33” It appears that for humanity reality does not reconcile with itself,

everything is so complex that this world appears the worst of all possibilities.34 It is essential to

give visibility to the intangible, to question notions of control and surveillance through these

artistic ‘political spaces’ or Foucault’s ‘heterotopias’ where criticality takes place in varying ways.

31LozanoHemmer.2015.ZoomPavilion.http://www.lozano-hemmer.com/artworks/zoom_pavilion.php32GillesDelueze.“Postscriptonthesocietiesofcontrol”October,Vol.59(Winter,1992),p.6.33JoshuaSimon,TheWayThingsareOrganized:TheMesoscopic,theMetastable‘theCuratorial’inCURATINGAFTERTHEGLOBAL:RoadmapsforthePresent,LumaFoundation:MITPress,London2017,p.165.34EliasCanetti,RealismandNewRealityinTheConscienceofWords,.55-59.


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US and THEM, 2018 (Figure 5 & 6)


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Zoom Pavilion, 2015 (Figure 7)

DATAMONOLITH, 2019 (Figure 8)


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BIBLIOGRAPHY, 1. Baudrillard, Jean. “The Precession of Simulacra” in Simulacra and Simulation, trans. Sheila Farrer

Glaser. Michigan: University of Michigan Press, 1994, 1-7. 2. Botha, Nadine. 2019. "BEYOND THE FOLLY | DAMN° Magazine". DAMN° Magazine.

https://www.damnmagazine.net/2019/03/05/beyond-the-folly-ecologicstudio-a-nostalgia-free-

harvest/.

3. Bloch, Ersnt. ‘The Wish Landscape Perspective in Aesthetics: The Order of Art Materials According to

the Dimension of their Profundity and Hope’ in The Utopian function of Art and Literature: Selected

Essays, trans. Jack Zipes and Frank Mecklenburg, Cambridge, Ma: MIT Press, 1988.

4. Campbell, Timothy and Sitze, Adam. Biopolitics a Reader. London, Duke University Press, 2013.

5. Canetti, Elias. Realism and New Reality in The Conscience of Words, 55-59.

6. Deleuze, Gilles, “Postscript on the societies of control” October, Vol. 59 (Winter, 1992), p. 3-7.

7. ":: Ecologicstudio ::". 2019. Ecologicstudio.Com. http://www.ecologicstudio.com/v2/index.php.

8. Essop, Anas, Tia Vialva, Kubi Sertoglu, Paul Hanaphy, and Michael Petch. 2019. "Ecologicstudio &

Partners Showcase 3D Printed In-Human Gardens At Centre Pompidou - 3D Printing Industry". 3D Printing Industry. https://3dprintingindustry.com/news/ecologicstudio-partners-showcase-3d-

printed-in-human-gardens-at-centre-pompidou-149551/.

9. "Flickr". 2019. Flickr. https://www.flickr.com/photos/moriartmuseum/albums/72157712082742

10. Foucault, Michael, ‘Of Other Spaces,’ in Diacritics, Vol. 16, No. 1, Spring, 1986.

11. Galloway, Alexander R. “Are Some Things Unrepresentable?” The Interface Effect (2012), 78 – 100.

12. Hemmer, Lozano. 2015. Zoom Pavilion. http://www.lozano-

hemmer.com/artworks/zoom_pavilion.php

13. Jagoda, Patrick. “Introduction: Network Aesthetics,” Network Aesthetics (2015), 1 – 37.

14. Kant, Immanuel, ‘Conjectures on the Beginning of Human History’ in Political Writings, ed. Hans

Reiss, trans. H B. Nisbet, Cambridge: Cambridge University Press, 1991.

15. Karle, Amy. 2016-2017 “Internal Collection” https://www.amykarle.com/project/internal_collection_garments/

16. "Mori Art Museum Collaborates With AI To Create An Exhibition Title | Mori Art Museum". 2019.

Mori Art Museum. https://www.mori.art.museum/en/news/2019/08/3478/index.html.

17. "Future And The Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow". 2019. Mori Art

Museum. https://www.mori.art.museum/en/exhibitions/future_art/index.html.

18. "Exhibition Worklist". 2020. Mori Art Museum.

https://www.mori.art.museum/files/exhibitions/2020/01/27/faa_worklist.pdf.

19. Roche Francois. "Architectural Psychoscapes: Francois Roche". 2005. Mousse Magazine.

http://moussemagazine.it/architectural-psychoscapes-francois-roche-2017/.

20. Simon, Joshua. The Way Things are Organized: The Mesoscopic, the Metastable ‘the Curatorial’ in

CURATING AFTER THE GLOBAL: Roadmaps for the Present, Luma Foundation: MIT Press,

London 2017, p.159-172. 21. Steyerl, Hito. 2013. "Too Much World: Is The Internet Dead? - Journal #49 November 2013 -E-Flux".

E-Flux.Com. https://www.e-flux.com/journal/49/60004/too-much-world-is-the-internet-dead/.

22. "WorryDolls".2001.TheTissueCulture&ArtProject.https://tcaproject.net/portfolio/worry-dolls/.Figures(1-8)"Flickr". 2019. Flickr. https://www.flickr.com/photos/moriartmuseum/albums/72157712082742

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