Daddy, Why do things have outlines? Constructing the Architectural Body
2011 (English)In: InflexionsArticle in journal (Refereed) In press
Arakawa and Madeline Gins’s book The Architectural Body performs a radical relation of indiscernibility between the embodied performance of the inhabitant and their architectural or built surrounds. This paper will explore the conceptual and architectural composition of the architectural body and suggest, after Gilles Deleuze and Benedict de Spinoza, that we do not yet know what this (architectural) body can do! In particular, I will focus on the dialogue that Arakawa and Gins employ in The Architectural Body to demonstrate how the performing body-being and the transforming architectural surround cleave to one another to create another kind of atmospheric individual, a bioscleave, and by extension, a resituated concept of ecology. To explore the atmospheric ecologies at work in the concept of the architectural body, I will place two further conceptual scenes alongside that offered in Arakawa and Gins’ book: The first scene is another dialogue, Metalogue: Why do Things have outlines? from Gregory Bateson’s Steps to an Ecology of Mind, and the second scene is that in which Deleuze describes the active procedure of the diagram in Francis Bacon: The Logic of Sensation. I will conclude with a discussion of the way ethical know-how can be practiced at the threshold between organism and environment.
Place, publisher, year, edition, pages
Montreal Canada: Senselab , 2011.
Arakawa and Gins, Gregory Bateson, architectural body
Philosophy, Ethics and Religion Architecture
IdentifiersURN: urn:nbn:se:kth:diva-87080OAI: oai:DiVA.org:kth-87080DiVA: diva2:501362
THis essay has been developed from a conference paper “Daddy, Why do Things have Outlines?: Constructing the Architectural Body” presented in AG3 (Arakawa and Gins Third International Conference), (12-26 March, 2010) http://ag3.griffith.edu.au/2012-02-142012-02-142012-02-15Bibliographically approved