territorial networks: mapping the enormous
DESCRIPTION
thesis proposal, december 2010TRANSCRIPT
1
territorial networks: mapping the enormous
a thesis proposal by dorothy schwankl
territorial networks:mapping the enormous
a thesis proposal by dorothy schwankl
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abstractconcept definitionscircumstancetechniqueprogramprecedentstimelineindexcitations
2 abstract
3Vectors allow for movement only along a specifi c path while nodes
describe points of activity or transfer. By mapping a vector site, like
the stretch of highway between Las Vegas and Los Angeles, a path
through the enormous can be understood. Through the vivifi cation of
concepts of constant arrival and the elongated present, an individual’s
relationship to the shifting landscape is foregrounded. In contrast to
this, a node site is bounded, defi ned, and static. Within a node site,
the qualities of the network and vector can be activated by combining
infrastructural network logic with discrete mapped moments. Through a
synthesis of three programs that vary in their connection to the territory
and network, adjacencies arise between disparate programmatic
identities.
4 concept
5This is a project of translation and constructed adjacencies that
forefront the concepts of elongated present, constant arrival,
and the enormous.
Maps are created and read according to an established set of
cartographic rules. These conventions grant authority to documents
that are intrinsically biased and abbreviated versions of an actual
physical space or landscape. By imposing a regularized system of
representation, the map itself becomes a version of reality that is
detached from real.
Representation of velocity, the ephemeral, and the enormous is
not possible within the traditional mode of mapping, where vectors
connect nodes and territories are defi ned as shaded regions. The
shutter speed of mapping can be shortened such that other qualities
can be read, but the interconnected nature of networks cannot be fully
represented using the language of terrain.
The highway system in America was designed to move people and
goods effi ciently and independently of others. Interchanges were
conceived to allow for almost constant velocity when switching from
one vector path to another. The design of the highway reinforces the
enormous aspect of the desert landscape between Las Vegas and Los
Angeles. This particular car trip is devoid of a continuous urban fabric
to pass by; rather the view is primarily of the relentlessly monotonous
ground of the Mojave Desert—devoid of distinguishable geological,
natural, and even cultural landmarks at highway speed. A continuous
nowhere, the road becomes the only object in the landscape.
The whole trip is part of the concept of “elongated present” in that the
enormous creates a period of time that is simultaneously both long and
short. Long because it takes a measurable amount of time to traverse
the 265 miles. Short because the landscape is so monotonous at
highway speed that there is nothing memorable to see. The driver is
in a state of constant arrival to the same destination repeatedly and
this view is mediated and controlled by the imposed view angle of the
vehicle and speed of motion.
>
6
7By mapping this particular stretch of highway, certain latent conditions
become the focus. An attempt to map the qualities, not just landmarks,
of the landscape results in a biased representation of a real place and
period of time spent along the vector site. The node site is detached
from the vector in location, but brings qualities of the network logic
and dromoscopy to a programmed, built form. The habitation of the
building is determined by forcing adjacencies between programs that
are typically disparate. The combination of stand-alone programs is
done using the moments that are vivifi ed during the mapping process.
The vector is linked to the node, but not through site or program, rather
something entirely different.
8 definitions
9constant arrivala state of receiving information in which it is instantaneously delivered,
rendering departure obsolete
see Paul Virilio 1
elongated presentthe stretching of the here and now, made possible by comparison to
the speeds of other entitiessee Jean Baudrillard
2
the enormousvisually infi nite and of a monotonous character
see Paul Virilio 3
ephemeralthat which is fl eeting, shifting at a fast speed
infrastructurethe physical structure of networks
landscapethe horizontal plane
loudnessvisual or physical noise that typically distracts from a situation or
potentially creates one
mappingthe process of capturing features and their geographic relationship to
one another at a specifi c moment in time
nodea point at which vectors converge, a point of activity or transfer
resolutionthe complexity of an image, correlating with viewing scale or speed
spectaclean entity that attracts attention for only a short amount of time
see Guy Debord 4
vectora line of continuous character with two nodes as its endpoints
10 circumstance
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The vector site is elastic—has variable speed, users, and/or paths.
The vector site is conventionally defi ned by its endpoints.
The vector site is intertwined with multiple infrastructural networks.
Las Vegas, Nevada to Los Angeles, California.
by car: 265 miles. 4 hours 23 minutes.
(up to 6 hours 10 minutes in traffi c)5
This particular car trip is devoid of a continuous urban fabric to pass
by; rather the view is of the relentlessly monotonous ground of the
Mojave Desert—devoid of distinguishable geological, natural, and
even cultural landmarks. A continuous nowhere, the road becomes the
only object in the landscape. As such, the trip becomes the event. The
anticipation of reaching the destination is the propelling force pushes
you to get there faster, quicker, sooner.
While most car trips involve a series of directions at major landmarks,
(highway interchanges, large cities, monuments, etc) this trip involves
223 solid miles of I-15. This trip is entirely the empty space between
landmarks—there are no intermediary nodes. This makes the line
a singular connection between the two nodes. The line is not about
experience, it is a means to an end.
In Las Vegas and Los Angeles, spectacle and destination are
collapsed into a single entity. Whether traveling in one direction or the
other, both endpoints are cities of brightness. The initial burst of light
cannot be sustained because it is generated by the contrast from the
desert.
Speed on this jaunt is determined by posted highway speeds, the
smoothness of the road, and the lack of traffi c. All of these factors are
related to the road itself, not the landscape. The speed of the road is
independent from the speed of the landscape.
known knowns
>
12
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13In the enormous and monotonous landscape of the I-15 between Las
Vegas and Los Angeles, the loudness of the landscape comes into
question. Billboards, painted truck trailers, and other advertisements
do not compete with the natural landscape, but each other for
attention. The barrage of advertisement results in a version of
compassion fatigue. 6 The same choices on repeat for the entire vector
combine to create an extreme nowhere. It does not matter whether or
not you stop for a taco at any particular exit because you will have six
more opportunities to eat that same exact taco. A mass-produced taco
is still the same taco regardless of location. A taco is a taco is a taco.
Programmed elements along vectors are intended for passersby
and are not destinations. These non-places include: toll booths,
truck stops, scenic overlooks, border crossings, and agricultural
checkpoints. (Along other vector sites the non-places could include
airports, distribution centers, free trade zones, customs processing
facilities, and quarantine facilities.) They might evoke characteristics of
spectacle, but are actually a fl attened, commercialized version that is
simply an advertisement. These programmatic elements have specifi c
intended user groups and associated speeds. The duration of use is
meant to be very short. The brevity of the stop reinforces the focus on
the destination, rather than the vector. The quicker you can stop and
eat dinner along the way the sooner you arrive at your destination.
Programmed elements specifi cally for passersby function in relation to
the speed at which the user is moving. They require a certain period
of time for slowing down, a time of complete stop, and then a time for
speeding back up. This transient constituency demands an effi ciency
of travel that extends beyond the infrastructure to the stops along the
way. Speed and ease of access are assigned high value.
While these stops punctuate the trip, they are not about specifi c local
territories, but belong to the network of the highway. Their access,
character, and function are all completely related to and in service of
the highway. The stops are all part of the elongated present of the trip.
>
14
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15
What agreements do you enter into when joining a network? Not
just posted rules on signage, but what spatial, social, and cultural
normative systems do you conform to?
Rather than a connecting path, what if the car trip for Las Vegas to Los
Angeles was defi ned as a corridor of space that correlates to a specifi c
time? Without incident, your individual car is occupying a specifi c zone
of space for the duration of the expedition.
If architecture is conceived as a backdrop, like Bernard Tschumi
proposes, does it fall further back or move forward when it is only
experienced for a short amount of time?7 When architecture is inserted
in a monotonous landscape along a vector does it stand out, or does it
get absorbed into the enormous?
How does the effi ciency of highway interchanges translate into stops?
What if “stopping” does not actually involve coming to a complete
stop?
Keller Easterling writes about the Bel Geddes Interchange featured in
the 1939 Futurama exhibit that extended the cloverleaf radius from 75
to 1000 feet to allow for looping without changing speed.8 What would
be the effect of an even smaller radius? What if intentional slowdowns
were introduced into the speed effi ciency of the highway?
known unknowns
>
16
node
17
The node site is static.
The node site is conventionally defi ned by its borders.
The node site is intertwined with multiple infrastructural networks, but
functions as a endpoint for their services.
While the vector site is about effi cient movement along a path, the
node site is about intentionally slowing speed down. It is a destination
for a specifi c constituency of people and objects. Therefore it is
chosen, designed, and constructed to meet particular needs. It has
clear boundaries and does extend infi nitely. It occupies and serves a
specifi c territory.
known knowns
known unknowns
How does the node site interact with the vector site? How can the
enormous appear within a bounded space?
18
19
the continuous cloverleaf
By never merging into traffi c when entering from a cloverleaf, a driver
can exit again, and continuously inhabit the ramps, not the highway.
20
21
the non-exit
A situation where the highway exit ramp infrastructure was
constructed, but the local infrastructure only exists as a dirt path.
22
23
constant exit
A situation where exits are always available such that the limited
access notion of the highway is dissolved.
24 technique
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Projects designed for transient users require a method of
representation that transcends static depictions of space, occupation,
and circulation.
Representation is inherently subjective.
Activity and movement are inherently noisy and in representing it this
noise is either lessened or amplifi ed to achieve a certain effect.
The exploded axonometric drawing is about the vector, not the node.
Rather than the collapsing of elements into an object, it is about a
series of vectors that lead to a nodal solution. It does not represent
the fi nality of the object, but the series of actions that lead to a specifi c
condition. It is about the process.
Traditional modes of mapping capture a singular perspective and
moment in time. In Antoine de Saint-Exupéry’s The Little Prince, the
geographer says in response to a question of recording fl owers, that
“We do not record them. . . because they are ephemeral." 9 One could
claim (and the Little Prince makes a similar point about volcanoes)
that everything moves, just at different rates of speed. As such, the
mapping of the ephemeral—whether it be fl owers or traffi c, requires
a faster shutter speed. Even fast movement can be captured if the
frame of reference correlates with the velocity. Traditional cartographic
practices assume a very slow shutter speed for the features that are
mapped. This also correlates to the medium—the historic permanence
and longevity of printed maps.
When movement is fl attened into a drawing it is slowed down to the
rate of viewing of the image. Therefore at least two shifts in speed
have been made to represent the initial event. The actual event, the
recording of it, the drawing of it, and the viewing of the created image
are all independent actions.
known knowns
>
26
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known unknowns
In drawing, how can processes be represented not as a specifi c series
of ordered events (like furniture assembly instructions) but as a series
of possibilities?
How can the physicality of drawings relate to the topography, in terms
of both physical landforms and cultural practices, of a place?
Can a drawing have distinguishable character that relates to a specifi c
location?
When examining a site that is a vector, rather than a node, how is the
edge of the page treated? While maps have very distinct boundaries,
how can drawings bleed out of paper space?
28
map
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1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
1”=20 MILES
A1 START HERE.A H
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132.53322 5232 555332 53233332232 533232 532332323222 522 52 555555
32
33
conventions of mapping: grid and graphic scale
conventions of mapping: grid square A1
conventions of mapping: graphic symbols
the ephemeral: fl owers
vector and node: the path
vector and node: converted to a series nodes
constant arrival: taco exits
constant arrival: dromoscopy and visual extents
vector and node: infi nite vectors
constant arrival: dromoscopy and windshield frame
spectacle: defi ning moments
34 program
node
spec
tacle
35known knowns
Program describes an intentional user group and activity that functions
as a part of the territory it infl uences and the network it connects to.
Programs of territory function as nodes. They have specifi c functions
that are about creating a veritable experience as part of delivering
a good or service. It is of a specifi c place and enrolls a particular
audience that exists there. The program serves as an attractor point
for a larger network, but is more importantly a sited set of activities for
a particular constituency.
>
36
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37Programs of network function as vectors. It does not produce fi nality of
transactions, but merely a gathering of objects or information. It has a
clearly defi ned input and output network and its location is determined
by these networks, not by local conditions. Its human constituency
is there to facilitate the movement of goods or services. It is about
effi cient transfers, not experiences.
Some programs are more aligned with one mode of function or the
other, but ultimately function in both ways. By deploying multiple
programs simultaneously in one building, the intent is not to polarize
the functions, but rather to vivify the adjacencies, alignments, and
mingling of territory and network connectivity. This alludes to the
concepts of constant arrival, elongated present, and the enormous
that exist in the vector site of the drive from Las Vegas to Los Angeles.
These effects that arise from the monotonous landscape and the
location along a vector become visible in a node site through program
that is of a network.
>
netw
ork
terr
itory restaurant
call center
museum
self-storage
call center
distribution center
self-storage
distribution center
restaurant
39fi ve potential programs
call centerSince the function of a call center is based on information, the data
network infrastructure is more important than physical location. Pulling
from an orbiting satellite, not local resources, the call center is a
program primarily of the network.
distribution centerWhile occupying a rather large physical footprint, the distribution center
has little infl uence on territorial experience. Its location is determined
by effi ciency within the network and availability of resources—transit
networks, low property values, and cheap labor. It is a collector point
along a vector to combine objects and send them in a new direction in
a different combination or quantity.
museumIntended to provide a visual experience for visitors, the museum is
primarily of a territory. The objects contained in the museum represent
a global network of acquisition and curation.
restaurantA program of experience specifi cally based on a territory, the
restaurant does more than deliver food to its constituency. While the
food potentially does not originate from the surrounding region, the
place becomes a destination based on the authentic event of eating
there.
self storageIndividual self-contained storage units as physical spaces are of a
local territory. The spaces are ubiquitous and universal, but the need
for them is determined by local patterns of material consumption and
hoarding. The objects inside the units are part of a larger network of
material supply and demand such that the units exist as collectors for
excess.
40 precedentsan
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This project engages the disconnect between perceived and real
by creating a device for highlighting the gap. It calls into question
movement along a vector, readable speed, and discontinuities
between site and place.
The weekend house is conceived as a passage from physical entry to optical departure or, simply, a door to a window. . . The composite view formed by the screen in front of the picture window is always out of register, collapsing the opposition between the authentic and mediated. 10
project:Slow HouseDiller+Scofi dioNew Haven, NY 1991 (unbuilt)
A
1
map
ping
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subject: grid square A1
Setting up the locative system for an entire landscape, grid square A1
is standardized means of demarcating the beginning of a drawing. It
assumes that there is a beginning to the object being mapped. Also
inherent in this is the accepted norm of starting in the top left corner of
the sheet and continuing to the right and down. Included in the concept
of square A1 is an assumption that all subsequent squares will be
of the same dimensional character. This means that a regularized
organizational system is imposed onto something that is not inherently
orthogonal, fl at, limited, or confi ned. A1 is the beginning of an
organizational structure that is detached from the reality of the object
and belongs entirely to the map.
see
A-1 Rental: fi rst in the phone book based on alphabetical hierarchy.
A-1 (a.k.a. “KS 150”): a heavy water gas cooled nuclear reactor in Jaslovské Bohunice, Czechoslovakia that was only operational from 1972-1979, after a INES-4 classifi cation accident in 1977. Plans to build the second reactor block “A-2” were cancelled after the accident.
11
A1 paper size: 594mm x 841mm as designated by ISO 216.
The Jeffersonian grid: an absolute grid imposed on the land of the United States in the
Land Ordinance of 1785.
known unknowns
What factors determine the extents of a map? Is the area of interest
centered or is a prescribed scale used to defi ne the scope?
44
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sone
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udn
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object: The Scale Figure
known unknowns
What does a generic six-foot-tall scale fi gure object have to do with
actual occupation of a space by humans?
What is the difference between showing the average dimensions of a
human on a drawing and a human silhouette?
Should the actual intended occupant of the building be shown in
drawings? Is the scale fi gure as idealized as the space is?
The scale fi gure implies a scale and an occupation for spaces that
only exist in theoretical form. They are an attempt to relate a two-
dimensional or three-dimensional object to a real space by way of the
human form. Scale fi gures bring a representation of occupation and
human interaction with space into the realm of drawing and models.
They identify the orientation of a drawing by showing how it relates to
a typical human.
46
F3
node
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ctor
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A digital imposition of the alignment of objects, the object snap
command replaces the hand-drawn visual cues of alignment with
infi nitely scalable precision of absolute alignment. It defi nes endpoints,
midpoints, and centers as nodes of importance; encouraging a
preference for perpendicularity, alignment, and regularization.
see
ORTHO (F8): An AutoCad command that locks drawing into the cardinal directions.
“Oh snap”: A phrase that seconds the taunting, comeback, and/or verbal abuse of another person.
12
subject: the OSNAP command (F3)
known unknowns
How has the ease of computer-aided drafting (and also modeling)
changed the geometry of designed objects? Has it made objects
simpler and/or opened up the possibility of more complex geometries?
Is a line actually about the endpoints, or about the connecting
construction? Is a circle defi ning a center point, a radius distance, or
an enclosed space?
In hand-drafting a system of construction, lines are setup and points
along those lines are defi ned and then connected by lines that
potentially continue past them. What are the design implications of
using segments rather than vectors?
48
reso
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ted
pres
ent
49
image: Shutter Speed
Jacques-Henri Lartigue“Car Trip, Papa at 80 kilometers an hour” (1913)
50
ephe
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alm
appi
ng
51
...Inspired by reconnaissance images from the Cuban Missile Crisis, which indicated a grave prognosis for the political “body” of the modern age. She studied current satellite imagery for signs of malignant sociopolitical activity. 13
Mapping the ephemeral can be done in a graphic way such that the
elapsed time period being shown is immediately understood.
mapping:Mutation SitesSarah Trigggouache on paper mounted on panels (2003)
52
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I make immersive collaged drawings that draw on the language of maps. The impetus for this body of work was my longing to connect to my father, a truck driver who drove eighteen-wheelers across the country hauling industrial machinery. He died over ten years ago. Based on road maps of the U.S., routes my father often traveled, and an invented conglomeration, mutation, and fragmentation of those passageways, my works on paper help me piece together the past and make up the parts I cannot know.
14
Mappings that are admittedly about experience, not actual spaces or
places, have the ability to take on a new spatial language. They are
still of the landscape, but can transcend the disciplinary constraints
of cartography.
mapping:Trajectory 1Val Brittonmonoprint, collage, graphite, and ink on paper (2010)
text precedents
56
infras
truc
ture
map
ping
57
Stan Allen, Point + Lines: Diagrams And Projects For The City (1999)
Infrastructures are fl exible and anticipatory. They work with time and are open to change. By specifying what must be fi xed and what is subject to change, they can precise and indeterminate at the same time. They work through management and cultivation, changing slowly to adjust to shifting conditions. They do not progress toward a predetermined state (as with master planning strategies), but are always evolving within a loose envelope of constraint. 15
While program and site provide a framework for building activities and
interactions, the actual life of the building is indeterminable. With the
proposed idea of programmatic combinations, instead of designing
for specifi c conditions the aim is construct a system of fi xed elements
that would provide this “loose envelope of constraint” that Stan Allen
hypothesizes.
58
infras
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ture
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The discontinuities produced by networks result from the drive for effi ciency, safety, and security. Engineers want to limit the number of access points and provide fast, uninterrupted transfers among these points. So you can drink from a stream anywhere along its length, but you can only access piped water at a faucet. You can pause wherever you want when you’re strolling along a dirt track, but you must use the stations for trains, entry and exit ramps for freeways, and airports for airline networks—and your experience of the terrain between these points is very limited. You experience the architectural transitions between fl oors of a building when you climb the stairs, but you go into architectural limbo between opening and closing of the doors when you use the elevator. 16
William Mitchell, Me++: The Cyborg Self And The Networked City (2004)
The nodal nature of access points was driven by effi ciency and creates
an elongated present when the vector is only experienced during the
“architectural limbo” that Mitchell describes. When the vector is the
subject, the stark contrast between it and the nodes is apparent. The
elongated present is created by the preference for nodes.
60
map
ping
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61
J.J. King “The Node Knows” in Janet Abrams+Peter Hall, Else/Where: Mapping New Cartographies Of Networks And Territories (2006)
Today, things that are symbolically related are brought into network proximity that can mitigate or redeem physical distance. This doesn’t mean the end of geography, but rather its re-emergence in a new form, centered on the instructions, interactions, and connections that order global capital across national boundaries—a world reformatted along the lay lines of fi nancial fl ow...a sort of ‘cartography after information’ 17
Mapping is no longer an inert representational strategy for
slow-moving objects because it can also be used to describe complex
global networks of interaction. Maps transcend the boundaries of their
status as objects in order to chart non-physical conditions.
62
cons
tant
arr
ival
infras
truc
ture
63
Scott Page And Brian Phillips, “By Design: Editing The City” in 30-60-90: 06 Shifting Infrastructures (2004)
Nearly every piece of the city, old and new, from downtown blocks to the sprawling horizontal boxes of the suburbs are wired together by a mesh of sidewalks, highways, rail lines, fi ber runs, and cell phone towers. The pulse of the metropolis is animated by innumerable, simultaneous electronic connections that link local environments an infi nite number of other environments, creating an ambient urbanism. In a perpetual state of fl ux, its networked infrastructure expands and contracts in tandem with new and/or improved modes of circulating people, goods, and information along those networks. The new city is characterized by creating dynamics related to control, mobility, and context. 18
It impossible to disconnect from all these infrastructural networks
and simultaneously impossible to document their reach because
they are constantly shifting to accommodate users. Much like the
impossibility of mapping the ephemeral using cartographic techniques,
this “ambient urbanism” can be located at nodes, but the overall effect
cannot be quantifi ed.
64
map
ping
loud
ness
65
The map represents merely one stage. To understand the contents, meaning, and signifi cance of any map requires that it be reinserted into the social, historical, and technical contexts and processes from which it emerges and upon which it acts. This involves examining the map not only as a discrete object, but as the outcome of specifi c technical and social processes and the generator of future social processes as it enters and circulates in the social world. 19
A map is an object in itself and has projective cultural power that is
quite possibly more cogent than the condition being mapped. Situating
the map in its context vivifi es the biases that are present in the
representation of conditions.
Denis Cosgrove, Geography and Vision: Seeing, Imagining, and Representing the World (2008)
66
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Photography displaces architecture from the context of its physical site to the context of its media presentation—for example, to a book or gallery. Most buildings are perceived not in their real space, but amid other spaces. . . Somewhat like the aerial view, photographic perception of architecture ranges far and wide beyond any particular place or building, branching into diverse networks. 20
Cartographic projection and photographic perception both convey
a specifi c point of view that prioritizes certain effects by selectively
cropping out other information. Like photography, mapping creates
a fi ctitious knowledge of a place that is not based on personal
experience, but rather assumed truth. These forms of translation
also have the ability to suppress the actual enormous by connecting
visually to this “diverse network” of association instead. Perception
replaces fact in a world where connectivity is more important than
truth.
Mitchell Schwarzer, Zoomscape: Architecture in Motion and Media (2004)
68 timeline
january
february
march
april
69
identifying the important m
oments in the m
aps
mapping in specifi c
detail the vector site
mapping in specifi c
detail the node site
mapping program
adjacenciesand confl icts
constructing a set of rules for spatial effi ciency
drawing correlations betw
eenresolution and speed through collage
translating the rules and maps
into a defi ned spatial object
4163
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1113153767
5153
29
3567
70 index
constant arrival
landscape
spectacle
elongated present
the enormous
ephemeral
252741454961
29435153576165
17354759
1115252737414761
resolution
infrastructure
loudness
mapping
node
vector
254565
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72 citations
Virilio, Paul “The Overexposed City” In Leach, Neil (ed.), Rethinking Architecture: A Reader In Cultural Theory (pp. 381-90). London: Routledge.1997. p. 385.
Baudrillard, Jean. The System of Objects. London: Verso, 1996. p. 162.
Virilio, Paul. The Original Accident. Cambridge: Polity, 2007. p. 31.
Debord, Guy. Society of the Spectacle. London: Rebel Press, 2004.
Google Maps directions from “Las Vegas, Nevada” to “Los Angeles, California” http://maps.google.com/ accessed September 27, 2010.
Ulmer, Gregory L.. Electronic Monuments. Minneapolis: University of Minnesota Press, 2005. p. xxix.
Tschumi, Bernard. Architecture And Disjunction. 1st MIT Press paperback ed. Cambridge, Mass.: MIT Press, 1996. p. 149.
Easterling, Keller. Organization Space: Landscapes, Highways, And Houses In America. Cambridge, Mass.: MIT Press, 1999. p. 103.
Saint-Exupéry, Antoine de, and Richard Howard. The Little Prince. San Diego: Harcourt, 2000. p. 46.
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