Member 2302
16 entries

Contributor to project:
Designing Science Fiction...
Michail Vlasopoulos (M, 35)
Athens, GR
Immortal since Aug 11, 2009
Uplinks: 0, Generation 3

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    From CoCreatr
    Bizarre Systems
    From Tomas
    Deleuze and the Genesis of...
    From rene
    Virtual Bodies, Virtual...
    From Environmentalalex
    Architecture: The Art of...
    From HackerLastPip
    The Mechanical Phylum
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    From Michail Vlasopoulos
    Cyborg Eye
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    Toys that make worlds
    Michail Vlasopoulos’ project
    Designing Science Fiction...
    The course will be loosely inspired by the movie (and the book) The Man who Fell to Earth in which David Bowie plays an extraterrestrial visitor...
    Now playing SpaceCollective
    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.

    "At the centre of my ironic faith, my blasphemy, is the image of the cyborg. (...)A cyborg is a cybernetic organism, a hybrid of machine and organism, a creature of social reality as well as a creature of fiction. Social reality is lived social relations, our most important political construction, a world-changing fiction. (...) Modern medicine is also full of cyborgs, of couplings between organism and machine, each conceived as coded devices, in an intimacy and with a power that was not generated in the history of sexuality. Cyborg 'sex' restores some of the lovely replicative baroque of ferns and invertebrates (such nice organic prophylactics against heterosexism). Cyborg replication is uncoupled from organic reproduction. Modern production seems like a dream of cyborg colonization work, a dream that makes the nightmare of Taylorism seem idyllic. And modern war is a cyborg orgy, coded by C3I, command-control-communication-intelligence, an $84 billion item in 1984'sUS defence budget. I am making an argument for the cyborg as a fiction mapping our social and bodily reality and as an imaginative resource suggesting some very fruitful couplings. Michael Foucault's biopolitics is a flaccid premonition of cyborg politics, a very open field. (...) By the late twentieth century, our time, a mythic time, we are all chimeras, theorized and fabricated hybrids of machine and organism; in short, we are cyborgs. Ths cyborg is our ontology; it gives us our politics. The cyborg is a condensed image of both imagination and material reality, the two joined centres structuring any possibility of historical transformation."

    Donna Haraway, "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century," in Simians, Cyborgs and Women: The Reinvention of Nature (New York; Routledge, 1991), pp.149-181.

    1. (above) External vision

    2. (middle) This is what the blind Canadian sees through the small camera on his glasses that simply converts light into pixels and concequenlty transforms it into electrical signals that run through the cable wire embedded on his head, ultimately stimulating the visual centre of the brain.

    3. (below) This is the image he now perceives from the outside world, since his out-dated system started to decay. The scientist who studied and applied the system died without finishing his research.

    A sad story of a post-goth E. Scissorhands

    From, The Cyborg Revolution [2005]

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    The city as a construction left at the mercy of the animal. A terrified Bruce Willis, wrapped in cellophane, leaving the underground haven to collect specimens from a quarantined city. from Terry Gilliam’s movie: “Twelve Monkeys”(1995)

    Let us stop for a minute and imagine the city as a crystallization of a collective consciousness, a vision of order once residing in our minds that has slowly materialized in a concrete form. We can then think of a stratified psycho-analyzed urban environment, where voids are not only visible gaps in a saturated urban tissue, but also perceptible “uncivilized” urges that penetrate our very minds and corrupt our production of desires. Pockets of emptiness inhabiting the corpus and psyche of the city.

    Originated in the ancient world, the Circus has a history of a ritualistic performance -mostly of a nomadic nature. It served as a proto-theatre, examining and experimenting with the interaction between human and animal nature. Since it originally featured an event staged within nature, it didn’t really necessitate architecture; no stronghold, no threshold needed whatsoever. Later on, newly conceived dualities gave rise to apparent architectures, and consequently to built divisions between nature and civilization, man and animal. Walls, hedges, embankments and prisons carefully started to crystallize an interiority: that what stays in and that what is left out. The rest remained in the fringe of non-materiality. A specter hovering above and across, refusing to take a form -hidden in the woods. A place where mythic assemblages of human and animal have proliferated. And while these combinations once constituted a way to praise nature, in the middle ages they represented an incarnation of the demonic. Thus, the Circus and its intricate ontologies were ostracized outside the city walls. This factory of oddities topped by a tensed fabric has been located in the fridge of architectural typology ever since, taking the form of a mechanized caravan on wheels, traveling from town to town in search of urban voids, feeding the curiosity of an agitated public with its obscure and absurd forms. The Circus intoxicated the nineteenth century american public as a theatrical -and even an anthropological- laboratory for the exotic, the whimsical and the monstrous.

    The word circus that originally denoted a traveling company of performers, later on came to signify a frenetic pandemonium; particularly, the absence of order. This metonymy qualifies as the main thesis of this paper. (...)The Circus can be ontologically defined as an intense field of anthropomorphic and zoomorphic entities; the elephant stands on two legs and humans walk on four. This cross-mimicry blurs the distinctions between the species and handles them as a unified corporeal expressivity -a “dance of an ecosystem”. With this circus ontology at hand, the becoming-animals of the performance constitute a transgression in the normality of urban society. There are indeed spaces of the city or the mind detached from the plane of civility -the one of comfort, security and infrastructure- and infested with the forces of the chaotic and spontaneous nature. (...)The Circus is a marginal space par excellence: abandoned from any form of rationalism and not included in our institutionalized urban spectacles.

    We should therefore study the Circus as an internalization of a wilderness, both natural and psychological. A terrain not only haunting the urban environment but also acting as a vague surface for the projections of a collective subconscious. And it is in this unique vagueness that we should look for the subjectivities, the spectacles and the monsters of an imminent future, towards a redefinition of how man relates to nature.-

    Open publication - Free publishing - More void
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    Socio-Foundation Competition Entry: Michael Vlasopoulos & Petros Phokaides

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