Texas A&M University T4T LAB Spring 2017
Invited Professor: Casey Rehm
Team: Hannah Galbraith, Aaron Rosas, Jasper Gregory, Ezequiel Campos
DELUZIAN BIG DATA
In Benjamin Bratton’s The Stack, Bratton explores the idea that all the many genres of computation- smart grids, cloud platforms, mobiles apps, smart cities, automation - can be seen as a coherent whole called The Stack. The Stack is made up of six different layers, each intersecting and constantly informing the other with the Earth layer at its head. Bratton begins to then discuss the inherent computational aspects of the earth and its materials, and its importance of being the physical beginning to all energy and life.
Deleuze also discusses computational aspects of the earth when he describes the natural repetition of the earth found in all things such as waves, heartbeats, and wind, and how these repetitions are always in a constant state of transgression. Deleuze mentions repetition another time however, and this time when analyzing Francis Bacon paintings. He describes the repetition as being the way we can understand a painting using the aspects of structure, contour, and figure.
Just like in a painting, we can use the machine as an interface between the layers of the stack to produce repetition and repetitive geometry drawn out of context images to then begin to organize public and private spaces in the architectural manifestation, creating different interfaces inside and outside the building: public- private, public to public, private-private.
In order to produce a transition between territories, a spasm is released through the figure, which transgressively becomes more figural as the spaces become more private. As the initial scripting strategies suggested figural geometry, in order to bring in truly figural spaces we began to bring in 3D figural data with the sampling of broccoli. The 3D scanned broccoli had inherent figural geometry and allowed a multiplicity of figures that could be expanded as well as dissected to create and transitory space and encompassing form.
With the introduction of big data and new computational methods, the way we think about “private space” has now been completely transformed. Even though we still desire “privacy”, aspects of the computational age like social media and the internet now drive our desires to constantly be apart and accepted by the public realm. This has created a inverse relationship between our spaces withdrawing from the public eye, and the usage of social media becoming more heavy to return into the public gaze. Things like privacy, self-esteem, and self-worth are now dependant less on your own opinion, and more on the public opinion. This residential apartment in downtown Los Angeles accepts these new truths and provides spaces driven by our usage and interaction with big data. Driven by rules of perception, it allows the user to always feel connected back into the public collective, while simultaneously being in a private space. The use of mirrors and column spacing allow separation of spaces without complete enclosure, thus allowing the user to feel simultaneously in two places at once, while still being able to observe themselves interacting with others. The private spaces in the home like the bedrooms and bathrooms as figural entities can become interactive screens, updating social media content and allowing personalization and mixture across the media-scape. As the user update their own feeds, their data can likewise be mapped on the outside of the building, thus completely the circle of interaction of the perceiving and the perceived.