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@ -131,7 +131,7 @@ ambience x ambiance - space and connection and space and context
### [[people.ClaudeBragdon]] ### [[people.ClaudeBragdon]]
** #cities #human **junction** >> Edward O. Wilson ** #cities #human #ambience **junction** >> Edward O. Wilson
> MAN THE SPACE-EATER > MAN THE SPACE-EATER
> >
> Man has been called the thinking animal. Space-eater would be a more appropriate title, since he so dauntlessly and persistently addresses himself to overcoming the limitations of his space. To realize his success in this, compare, for example, the voyage of Columbus' caravels with that of an ocean liner; or traveling by stage coach with train de luxe. Consider the telephone, the phonograph, the cinematograph, from the standpoint of space-conquest—and wireless telegraphy which sends forth messages in every direction, over sea and land. Most impressive of all are the achievements in the domain of astronomy. One by one the sky has yielded its amazing secrets, till the mind roams free among the stars. The reason why there are to-day so many men braving death in the air is because the conquest of the third dimension is the task to which the Zeit-Geist has for the moment addressed itself, and these intrepid aviators are its chosen instruments—sacrificial pawns in the dimension-gaining game. > Man has been called the thinking animal. Space-eater would be a more appropriate title, since he so dauntlessly and persistently addresses himself to overcoming the limitations of his space. To realize his success in this, compare, for example, the voyage of Columbus' caravels with that of an ocean liner; or traveling by stage coach with train de luxe. Consider the telephone, the phonograph, the cinematograph, from the standpoint of space-conquest—and wireless telegraphy which sends forth messages in every direction, over sea and land. Most impressive of all are the achievements in the domain of astronomy. One by one the sky has yielded its amazing secrets, till the mind roams free among the stars. The reason why there are to-day so many men braving death in the air is because the conquest of the third dimension is the task to which the Zeit-Geist has for the moment addressed itself, and these intrepid aviators are its chosen instruments—sacrificial pawns in the dimension-gaining game.
@ -179,7 +179,7 @@ ambience x ambiance - space and connection and space and context
- Frederick Kietler - Magic architecture - Frederick Kietler - Magic architecture
-  An Unfinished Encyclopedia of Scale - https://www.mos.nyc/news/unfinished-encyclopedia-scale-figures-without-architecture -  An Unfinished Encyclopedia of Scale - https://www.mos.nyc/news/unfinished-encyclopedia-scale-figures-without-architecture
#human #ambience #human #ambience #fix
> The twenty-first century is also the age of allergies, the age > The twenty-first century is also the age of allergies, the age
of the "environmentally hypersensitive" unable to live in of the "environmentally hypersensitive" unable to live in
the modern world. Never at any one time in history have the modern world. Never at any one time in history have
@ -189,7 +189,7 @@ environment is now almost completely man-made, we have
become allergic to ourselves, to our own hyperextended become allergic to ourselves, to our own hyperextended
body in a kind of autoimmune disorder. - colomina wigley body in a kind of autoimmune disorder. - colomina wigley
#cities #cities #fix
> We have become sedentary beings, that is our > We have become sedentary beings, that is our
lot. The house eats away at us in our immobility, lot. The house eats away at us in our immobility,
like consumption. We will soon need too many like consumption. We will soon need too many
@ -221,7 +221,7 @@ Here, however, constructional relations are not illumined by a feeling for the o
#architecture #cyber //follow flusser #architecture #cyber //follow flusser
> **Once we cast** architecture into cyberspace, these concerns take on both theoretical and practical urgency. The architect must now take into active interest not only the motion of the user through the environment, but also account for the fact that the environment itself, unencumbered by gravity and other common constraints, may itself change position, attitude, or attribute. This new choreographic consideration is already a profound extension of responsibilities and opportunities, but it still corresponds only to "movement-image". Far more interesting and difficult is the next step, in which the environment is understood not only to move, but also to breathe and transform, to be cast into the wind not like a stone but like a bird. What this requires is the design of mechanisms and algorithms of animation and interactivity for every act of architecture. Mathematically, this means that time must now be added to the long list of parameters of which architecture is a function. > **Once we cast** architecture into cyberspace, these concerns take on both theoretical and practical urgency. The architect must now take into active interest not only the motion of the user through the environment, but also account for the fact that the environment itself, unencumbered by gravity and other common constraints, may itself change position, attitude, or attribute. This new choreographic consideration is already a profound extension of responsibilities and opportunities, but it still corresponds only to "movement-image". Far more interesting and difficult is the next step, in which the environment is understood not only to move, but also to breathe and transform, to be cast into the wind not like a stone but like a bird. What this requires is the design of mechanisms and algorithms of animation and interactivity for every act of architecture. Mathematically, this means that time must now be added to the long list of parameters of which architecture is a function.
#perception // follow [[incubation.concepts.post-digital]] #perception #dimension // follow [[incubation.concepts.post-digital]]
> **We cannot know** the real in its entirety. As much shields as bridges, our senses isolate us from the outside world, even as the cognitive mechanisms that translate raw input into meaningful pattern isolate us from within. In either case, what we do know is known through sampling: continuous reality, if indeed it is continuous, is segmented and reconstituted to fit our understanding. > **We cannot know** the real in its entirety. As much shields as bridges, our senses isolate us from the outside world, even as the cognitive mechanisms that translate raw input into meaningful pattern isolate us from within. In either case, what we do know is known through sampling: continuous reality, if indeed it is continuous, is segmented and reconstituted to fit our understanding.
> >