Category Archives: theory

Excerpts (from https://www.fastcompany.com/3062246/an-exclusive-look-at-airbnbs-first-foray-into-urban-planning)

Direct-to-consumer brands fill podcast ad breaks with promises of the one true electric toothbrush and meals that arrive in the mail, selling us on the relief of forgoing choice altogether. The general idea seems to be that humans are so busy pursuing complicated forms of self-actualization that we’d like much of our life to be assembled for us, as if from a kit.

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Meanwhile, International Airbnb Style continues to reproduce, sometimes by outright appropriation. Zoé de Las Cases and Benjamin Dewé, a French interior designer couple, were shocked when they discovered that Airbnb had replicated the design of an apartment that they listed on the platform for a meeting room in the company’s San Francisco corporate office, down to a trio of faux-industrial pendant lights, a twee chalkboard, and a floating shelf full of almost identical art objects (in 2012 Airbnb itself had rented Las Cases and Dewé’s space to host a party). The couple sued Airbnb in late 2015. “They are branding their company with our life,” Dewé told BuzzFeed. In making the replica rooms, company designers would “reproduce the exact sofa, as close as they could to the exact chair,” recalls Lisa Bottom, a design director at Gensler, the architecture firm that designed the office in 2014.

Bottom says the meeting rooms were the brainchild of Airbnb founders Joe Gebbia and Brian Chesky, the RISD graduates. Gensler arranged the company’s meeting rooms around an atrium so that, “when you looked up through the atrium space, it was like looking at little snapshots of various cities,” Bottom says. All places, in one place. Imagine traveling across continents in a pilgrimage to the headquarters of the company that helps you open your house to strangers only to find yourself — at home.

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Schwarzmann critiqued the lack of locality in generic places, but Haid’s company suggests a different, paradoxical definition of locality: desirable places should be both specific enough to be interesting and generic enough to be as convenient as possible, consumed quickly and easily — equal parts authentic and expendable. In his 1992 book Non-Places, Marc Augé, the French anthropologist, wrote that with the emergence of such identity-less space, “people are always, and never, at home.”

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Yet the AirSpace aesthetic that Airbnb has contributed to, and the geography it creates, limits experiences of difference in the service of comforting a particular demographic (“the vanilla tourist”) falsely defined as the norm. It is a “hallucination of the normal,” as Koolhaas writes. This is the harmful illusion that so much technology, and technological culture, perpetuates: if you do not fit within its predefined structures as an effective user, you must be doing something wrong.

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Kanyi Maqubela, the Roam investor, sees meaning in the generic from an unexpected source. “If you go to Catholic church in most parts of the world, the mass is going to feel like the mass. There is still a sense of unity,” he says. “We’re starting to enter the world where these private companies have some of that magic to them, the notion of feeling at home across time zones in any country.”

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We have misinterpreted the old adage that the personal is political, she writes—inflecting our personal desires and decisions with political righteousness while neatly avoiding political accountability. We may understand that “the corporations we work for poison the earth, fleece the poor, make the super rich more rich, but hey. Fuck it,” Crispin writes. “We like our apartments, we can subscribe to both Netflix and Hulu, the health insurance covers my SSRI prescription, and the white noise machine I just bought helps me sleep at night.”

The sleek, simple devices produced by Apple, which encourage us to seamlessly glide through the day by tapping and swiping on pocket-size screens, rely on a hidden “maximalist assemblage,” Chayka writes: “server farms absorbing massive amounts of electricity, Chinese factories where workers die by suicide, devastated mud pit mines that produce tin.” Also, he points out, the glass walls in Apple’s headquarters were marked with Post-it notes to keep employees from smacking into them, like birds.

Comparing a “society that has conjured up such gigantic means of production and of exchange” to “the sorcerer who is no longer able to control the powers of the nether world whom he has called up by his spells,” they contended that there was “too much means of subsistence, too much industry, too much commerce.”

Excerpts (from https://emergencemagazine.org/interview/the-ecology-of-perception/)

Well, one of the most common misreadings of my work and of my research has been to say, “Oh, Abram is suggesting that writing is bad and that the alphabet is the cause of all our problems.” This is a terrible misreading, because I’m a writer and I love the written word and I love to read, and I’m deeply given to the exquisite power of the written word to open wonders. I’m not at all claiming—and this is quite important—I’m not at all suggesting that writing is bad, but, rather, that writing is magic, and that the alphabet is a very potent form of magic, a very concentrated form of animism.

For our Indigenous ancestors, one could be wandering through the terrain and have one’s attention snagged by a boulder with patches of crinkly black and red lichen spreading on their surface, and you would focus your eyes on a patch of lichen and abruptly hear the rock speaking to you. Well, that’s not so different from us waking up in the morning, walking to the kitchen, opening up the paper, and focusing our eyes on a few bits of ink on the page, and suddenly we hear voices and we see visions of events happening in the White House or in Iraq.

We focus our eyes on these ostensibly inanimate bits of ink on the page and we hear voices, conversations unfolding between people on the far side of the world. This is animism, folks. It’s an intensely concentrated form of animism, but it’s animism, nonetheless; as outrageous as a talking stone. We just do it with our own scratches and scripts. Our oral ancestors were doing the same thing with bent twigs, tree forms, leaves, cloud shapes, animal tracks — everything in the surrounding terrain was speaking to us. But this new, very concentrated form of animism only speaks with a human voice, and the words that we experience as we read are human words.

So, again, the alphabet closes us into a space of exclusively human meaning and verbiage, while the wider, more-than-human terrain doesn’t seem to speak at all. And in that sense, this new, very concentrated form of magic that we call the alphabet makes possible the forgetting of the lives and perspectives of all the other animals, of the plants, of the mountains and rivers. It doesn’t force us to forget these other beings, but it makes possible that we begin to neglect them.

So, I’m not saying writing is bad. I’m saying writing is a magic, and only when we recognize it as such can we use it responsibly. If we don’t recognize writing as a very potent magic—that is, as something that has much more than rational effects upon our experience—if we don’t recognize it as a magic, we tend to fall under its spell. The word “spell” has that double meaning, both to cast a magic within the world and also simply to arrange the letters. But those two meanings were once one and the same, because to learn to read with this new magic was to cast a kind of spell upon our own senses.

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I’m not in any way trying to reduce the mystery of spirit to the wind, but rather to expand our sense of the wind and the breath and the air as something irreducibly weird and richly mysterious and deeply magical and filled with meaning: this meaning-filled plenum in which we find ourselves bodily immersed, from which we drink steadily to fire our hearts and our awareness. It does seem to me that one very interesting way of looking at climate change is to recognize that climate change is the simple consequence of forgetting the holiness of the invisible medium and beginning to treat it as just empty space.

‘“Utopia” comes from the Greek “ou-topos,” or “no-place.” It promises a paradise lost, defined by nonexistence. Many of the people Field photographed emphasized the temporary nature of living in this way, the gift of transience hemmed by the threat of eviction. Mobility, which is something like freedom, allows the construction of ephemeral utopias, no-places, gone by morning.’

Diedrich Diederichsen

I pick up a musical instrument and produce a sequence of tones. These tones enchant my surroundings and me as I produce them. At some point I grow tired, the tones cease, and the enchantment passes….Dolphy said: “When you hear music, after it’s over, it’s gone in the air; you can never recapture it again.” What I produced has vanished without a trace; it created no value—nor, however, did it depend on a providential nature and the miracles of the land of milk and honey. It was me.

I myself, using my talents and abilities—that which belongs to me as a human being and sets me apart from the animals—gave expression to something; that is, I lent inner states, which are also exclusively mine, and yet whose form is familiar to all other human beings from their own internal, subjective states, a form that was understandable to others and may thus have been beautiful. I realized myself as a human being in the dialectic between my nature as a unique individual and my nature as a social and collective being, and I did so entirely without economy, without reification, without the creation of value, without storage, costs, or profits, without the calculation of future time and hence without speculation, without interest or the creation of secondary value, and without valorization.

This is how utterly utopian music is, or rather how utopian it would be if it could exist in this way, as music in itself.

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So while we see that the notion of an absolutely valueless music—a music free of all value, valorization, or fixation—has often been projected into the past, its actual place would have to be in the present and in the future, and not just because we are speaking about utopia. Except in Arcadia, such a music has never existed as a social practice. On the other hand, it may have existed innumerable times as a mode of communication detached from society, as the song one sings to oneself, the whimsy with which one rhythmically structures one’s steps, the drone that one produces with one’s own body as a resonating chamber. And out of those countless individual moments that never solidified into objects, when individuals or little groups had musical experiences that had nothing to do with musical objects or any social purpose, music and music-like behavior have gained the reputation of being able to touch one’s most intimate subjectivity.

“An ultimate simulation needs an ultimate computer, and the new science of digitalism says that the universe itself is the ultimate computer — actually the only computer. Further, it says, all the computation of the human world, especially our puny little PCs, merely piggybacks on cycles of the great computer. Weaving together the esoteric teachings of quantum physics with the latest theories in computer science, pioneering digital thinkers are outlining a way of understanding all of physics as a form of computation.

From this perspective, computation seems almost a theological process. It takes as its fodder the primeval choice between yes or no, the fundamental state of 1 or 0. After stripping away all externalities, all material embellishments, what remains is the purest state of existence: here/not here. Am/not am. In the Old Testament, when Moses asks the Creator, “Who are you?” the being says, in effect, “Am.” One bit. One almighty bit. Yes. One. Exist. It is the simplest statement possible.”

https://www.physics.princeton.edu/ph115/LQ.pdf

“Suisalu reminds us that historically, lawn has been a symbol of power and wealth as it required substantial upkeep and unused land. Today, it still indicates wealth, but is mainly maintained by the owners themselves. This puts us in a schizophrenic situation where we strive to be privileged by taking the role of the servants.”

Excerpts from “Towards an Ethics of Improvisation” by Cornelius Cardew (https://www.ubu.com/papers/cardew_ethics.html)

1). Elaborate forms and a brilliant technique conceal a basic inhibition, a reluctance to directly express love, a fear of self-exposure.

2). …for these are, so to speak, suburbs of our language. (And how many houses or streets does it take before a town begins to be a town?) Our language can be seen as an ancient city: a maze of little streets and squares, of old and new houses, and of houses with additions from various periods; and this surrounded by a multitude of new boroughs with straight regular streets and uniform houses.

It is easy to imagine a language consisting only of orders and reports in battle.-Or a language consisting only of questions and expressions for answering yes and no. And imnumerable [sic] others.- And to imagine a language means to imagine a form of life.” [quoted from Philosophical Investigations by Wittgenstein]

3). Love is a dimension like time, not some small thing that has to be made more interesting by elaborate preamble. The basic dream -of both love and music- is of a continuity, something that will live forever. The simplest practical attempt at realising this dream is the family. In music we try to eliminate time psycholgically [sic] to work in time in such a way that it loses its hold on us, relaxes its pressure. Quoting Wittgenstein again: “If by eternity is understood not endless temporal duration but timelessness, then he lives eternally who lives in the present”.

4). My most rewarding experiences with Treatise have come through people who by some fluke have (a) acquired a visual education, (b) escaped a musical education and (c) have nevertheless become musicians, ie play music to the full capacity of their beings.

5). Integrity What we do in the actual event is important -not only what we have in mind. Often what we do is what tells us what we have in mind.

The difference between making the sound and being the sound. The professional musician makes the sounds (in full knowledge of them as they are external to him); AMM is their sounds (as ignorant of them as one is about one’s own nature).

6). Life is a force to be used and if necessary used up. “Death is the virtue in us going to its destination” (Lieh Tzu).

E.C.C.O. (John C. Lilly)

There exists a Cosmic Control Center (C.C.C.) with a Galactic substation called Galactic Coincidence Control (G.C.C.). Within which is the Solar System Control Unit (S.S.C.U.), within which is the Earth Coincidence Control Office (E.C.C.O.). The assignments of responsiblities from the top to the bottom of this system of control is by a set of regulations, which translated by E.C.C.O. for humans is somewhat as follows:

To all humans
If you wish to control coincidences in your own life on the planet Earth, we will cooperate and determine those coincidences for you under the following conditions:

1) You must know/assume/simulate our existence in ECCO

2) You must be willing to accept our responsibility for control of your coincidences.

3) You must exert your best capabilities for your survival programs and your own development as an advancing/advanced member of ECCO’s earthside corps of controlled coincidence workers. You are expected to use your best intelligence in this service

4) You are expected to expect the unexpected every minute, every hour of every day and of every night.

5) You must be able to maintain conscious/thinking/ reasoning no matter what events we arrange to happen to you. Some of these events will seem cataclysmic/catastrophic/overwhelming: remember stay aware, no matter what happens/apparently happens to you.

6) You are in our training program for life: there is no escape from it. We (not you ) control the long-term coincidences; you (not we) control the shorter-term coincidences by your own efforts.

7) Your major mission on earth is to discover/create that which we do to control the long-term coincidence patterns: you are being trained on Earth to do this job.

8) When your mission on planet Earth is completed, you will no longer be required to remain/return there.

9) Remember the motto passed to us (from GCC via SSCU):

“Cosmic Love is absolutelely Ruthless and Highly Indifferent:
it teaches its lessons whether you like/dislike them or not.”