LITERARY REVIEW DESIGN RESEARCH II AURELIA FRIEDLAND

INTRODUCTION: AN IMPENDING SHIFT Youre no longer writing to communicate clearly with a human. Youre writing to be as clear as possible to Google search algorithms. Its creating a kind of writing that denigrates language. But, it makes perfect sense; with SEO-driven sites, their audience isnt an idealized human reader, its an idealized machine reader which has quantitative criteria. 1 Kevin Slavin, former co-founder of Area/Code In a way, this discussion is akin to the last turn of the century, where we have an increasing symbiosis between ourselves and technological development, but where we have yet to fully explore the ways in which technology can be useful to us. At the turn of last century, the response to increasing development brought about by The Industrial Revolution informed several reactions of explorations within, or outside of technological development. Writers like Gertrude Stein and Anas Nin are two examples of those who adapted the most basic technology of their time to allow for intuitive human expression - the written language itself.2 What does it mean to facilitate our own intuitive expression within our current technological structures? Ironically, it seems that the parallel of an adaptation of language today drives the opposite direction, where the mediation of our expression through technology is so strong, that we adapt to their syntactical structures, rather than allowing for our intuitive exploration. Its almost as if its the opposite of the idiosyncractic writing style of Gertrude Stein, where technology is affecting our syntax, even our way of thinking. In the same interview with The Design Observer, Slavin goes on to describe how an algorithmic approach to English is basically Newspeak. Its a way to parse language precisely, in unambiguous terms, without the subtleties and vagaries of genuine human speech.3 While some explored within the bounds of technology, others searched for a method of escape. Psychic adventures 4, Freuds development of the psychoanalytic method 5, and Henry David Thoreaus experiment in simple living 6 are a few examples suggesting that in order to explore, there were those who felt the need to escape from industrial society altogether. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartanlike as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion. 7 Henry David Thoreau

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Throughout the following literary review, I outline my own research of a modern interpretation of these formats for internal and external exploration, which seems to present an inescapable hybrid of necessary exploration within what feels to be an impossible escape. Disappearing (at Sea) by artist Andrew Friend illustrates this argument, demonstrating the majesty of an attempt to escape through no choice but to submerge, or disappear. His large-format photograph reveals an almost unintelligible object offering its resident temporary disappearance, experiencing an isolation seldom found on land. 8 For me, his photograph successfully encapsulates this longing desire for isolation within the growing complexity of our inhabited landscape. What does escape, or exploration, mean within a system which may not allow for escape? This question seems especially relevant now given what is happening with the Occupy movement, and the crumbling of existing structures (education, political, economic)9 which are fueling the fire. This does, of course, consider the discussion of individual interests which have supported our current processes of development 10, but in this review, I move beyond the means by which weve come to this turning point, to focus instead on how we are responding to it. The need for addressing larger design problems has been acknowledged by a multitude of design leaders advocating for design through social change 11, and discussing the need for the humanization or democratization of technology 12. Traditionally, designs role is to develop an understanding of both the needs of an audience and the affordances of technology 13, but what happens in a landscape where both are increasingly convoluted? How do current understandings of design methods change when facilitating an exploration of needs within structure, and an application of technological affordances across multiple scales? This, That, and the Other explores a modern interpretation of wilderness in a world which feels to be fully occupied. Through the adaptation of existing tools and the envisioning of radically scalable systems of development, This, That, and the Other examines potential entry points along the spectrum of an increasingly coded and complexly structured modern condition which may not allow for entire escape. The goal is to seek space within logic-based codified structures to identify where they may be opportunities for decoding, and restructuring more meaning for us. The hope is to identify opportunities within the under-used affordances of technology for facilitating an understanding of our symbiotic relationship with it. This review outlines the nature of the complexly coded landscape as defined by multiple fields by collecting research across three separate sections. The first details an impending shift, where various fields explore the considerations of navigating for meaning within a time of certain uncertainty. The second considers those whose work suggests design opportunities for decoding meaning within this increasingly complexly coded environment. The third covers those who are exploring the potential for radically scalable systems translating a deeper syntactical meaning back onto an urban scale.
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NAVIGATING THROUGH A TIME OF CERTAIN UNCERTAINTY The following research in this first section outlines the need for facilitating understanding within an increasingly complex syntax of our modern techno-urban environment. Although examples have been taken across various fields (each detailing sometimes different understandings of an impending shift), all seem to agree on the importance of taking a trans-disciplinary approach. Examples also are successful in moving the discussion beyond the simple argument of social change 14, advocating for a detailed look at the many levels at which change would need to take place. The resulting suggests a blurring of roles which extend beyond established research methods, often using media forms themselves as both a mode and site for formatting the research. In 1977, the Center for Environmental Structure at University of California, Berkeley published A Pattern Language: Towns, Buildings, Construction (co-authored by Christopher Alexander, Sara Ishikawa and Murray Silverstein). Influenced by the developing understanding of network structure (which evolved as a way to discuss computer programming and design), A Pattern Language breaks down the complexity of a built environment into 253 patterns, which together form a pattern language. The authors goals were to extend the ability for coding and decoding within the built environment beyond the professional realm, to ordinary people. 15 In Modest_Witness@Second_Millennium, Donna Haraway discusses a more modern interpretation of this kind of complex environment, describing the inevitable construction and deconstruction of meaning in a world which, she argues, is now inseparable between materiality and semiotics. Even our most basic technological tools, such as language and mathematics, are essentially adapted for figurative reuse. We reuse them as we might complex building blocks, both forming new meanings (for example the use of tropes such as metaphor), and deconstructing further meanings (such as an atom or a database). These tools (along with the processes by which we use them) inform our world of knowledge, practice, and power, which, in turn, creates both our everyday life and the nature by which we perceive it. She explains how this complexity introduces a fusing together of the natural and the artificial, nature and culture, subject and object, machine and organic body, money and lives, narrative and reality 16 So how might we navigate for the needs of undefined users within an undefined landscape? Haraway advises an ethnographic approach to navigate across the stubborn segregation of separate fields of study, including: linguistics, cultural storytelling, evolution, politics, and history. 17

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In his YouTube ethnography, cultural anthropologist Michael Wesch has demonstrated an application of this kind of cross-disciplinary approach. Initially studying the impact of writing in the remote indigenous culturein Papua New Guinea, Wesch has more recently moved to apply his ethnographic methods to explore the cultural affects within the digital space of Web 2.0. He advises an approach of participant observation, using YouTube as both a user and a researcher.18 His research has interesting implications for designers advocating productive interactions, as hes found that even our most open systems can facilitate our tendency towards generalizing our needs, abandoning our subjective choices in exchange for the average choice afforded by the system. Instead, he calls for YouTube to be used as a tool for reflection.19 What is the role of a designer/ethnographer in facilitating exploration when we cant trust ourselves to identify our needs, even within the most open systems? Perhaps guided by a similar question, there seem to be explorations across multiple scales of a techno-urban environment, searching for something more meaningful within existing syntaxes. Metabiology, for example, (and its cousins, Algorithmic Information Theory and Digital Philosophy) heralded by Gregory Chaitin among others, consider the random evolution of artificial software (computer programs) instead of natural software (DNA) 20. These fields consider the most fundamental equivalent of our current technologies (not dissimilar to written language at the time of Gertrude Stein) - the nature of algorithms in constructing digital programming languages. At their most fundamental level, how might the syntactical structure of code allow for the exploration of meaning? How might this kind of deep look at syntactical structures be applied across other scales? Charles Jenkes would describe this kind of exploration for a greater relationship with syntax in terms of the architectural iconography in what he describes is an era of Radical Post-Modernism (RPM) which heralds, with positive irony, the return of an intense concern with communication in architecture, the commitment to an iconography relevant to our time.... 21 Could this be evidence of the death of postmodernism? If modernity can be characterized by constant change in the pursuit of progress, postmodernity then represents the culmination of this process where constant change has become the status quo and the notion of progress obsolete. 22 Are we stuck in a postmodern reaction to our techno-urban environment, where we feel that we are presented with an endless production of random, and complex meanings? The last twenty years have heralded the technological affordances of generating abundance. 23 I wonder if, in allowing for this technological affordance, were left with an abundance of randomness, where we feel that all is meaningless? This seems to me a design opportunity to apply the affordances of technological randomness from a postmodern era to generate more meaning, or in a way, develop meaningful randomness. As meaning is subjective, we are all explorers in this post postmodern reaction exploring how a chaos of affordances can be meaningful to us.

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Jenkes goes on to explain the resulting aesthetics of RPM within architecture: The emergence of the iconic building in the last ten years shows the new concern for metaphorical buildings alluding to nature and the cosmos Herzog & de Meuron are typical in this respect while the algorithmic architecture of FOA and Cecil Balmond characterises the new pattern-making ...[RPM] immerses itself in the age of information, embracing meaning and communication, embroiling itself in the dirty politics of taste by drawing ideas from beyond the narrow confines of architecture. It is a multi-dimensional, amorphous category, which is heavily influenced by contemporary art, cultural theory, modern literature and everyday life. 24 The evolution of a new method for urban planning marks a clear desire for a stronger sense of participation beyond the visual code implied by a Radical Post-Modernist movement, to participatory methods of development which can help to build deliberative democracy and civil society and, in doing so, help us to achieve all the objectives that have been laid out for citizen participation. 25 Collaborative Strategic Goal Oriented Programming (CoSGOP) is one method, described as a collaborative and communicative way of strategic programming, decision-making, implementation, and monitoring oriented towards defined and specific goals. It is based on sound analysis of available information, emphasizes stakeholder participation, works to create awareness among actors, and is oriented towards managing development processes.26 What is the role of designers in facilitating the navigation through this complex world of understandings? Considering the far-ranging spectrum ( from fundamental codes to their resulting affects), where is the best entry-point for an exploration for meaning? Does it reside in the intentional misuse of existing formats, the development of new formats, or both? This consideration of multiple scales of affect has been explored within a design context as well. Klaus Krippendorff writes of product semantics in his 1989 article On the Essential Contexts of Artifacts or on the Propositions that Design is Making Sense (of Things). He describes the responsibility for designing across four essential contexts (paraphrased below): 1. The operational context (including product orientation, location, affordances, motivations, dispositions and logic) 2. The sociolinguistic context (including user identities, signs, social differentiation, and content of communication) 3. Context of genesis (including stakeholders involved in the production-consumption cycle, skills in creating patterns and models) 4. Ecological context (including the cultural complexes of technology). 27 The application of these kinds of multi-scale considerations remain a challenge to translate from product design to the intangible nature of algorithms and software. Its also difficult to consider the resulting implications of these invisible formats across massive amounts of data and large-scale impacts. 28
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Daniel H. Pink describes how this overabundance of information may soon push us away from an Information Age altogether, transitioning us instead into a conceptual age. In his book, A Whole New Mind, Pink highlights a resulting end to the era of left brain dominance, and the Information Age that it engendered...giving way to a new world in which right brain qualitiesinventiveness, empathy, meaning-predominate. 29 What are the implications of this kind of transition from a world of information to a world of interpretation? How does this translate to the responsibilities for design? My own experiences working in education reform introduced me to the difficulty inherent for students in developing these skills within the existing structure of standardized education. In an interview entitled An In-Depth Look at the Cyber Phenomenon of Our Time: Web 2.0, Wesch describes this difficulty, and the considerations for a new approach to learning which fosters the decoding of meaning across increasingly information-heavy and structured environments. Perhaps we should consider Weschs discussion to apply not only for children, but for all explorers within a highly coded modern civilization of mass information: How do we teach students living in a world where information is always readily at hand literally and figuratively? At the most simple and practical level, we need to teach them how to find the right information. At a slightly higher level, we need to teach them how to interpret what they find. At a still higher level, we need to teach them how to ask questions about what they find, what we often call critical thinking. And at perhaps the highest level, we need to teach them creative thinking, which encompasses all of the lower levels while also inviting them to create their own works, knowledge and information to add to the human story. 30 Where is the room to locate ourselves, and to explore meaning within what feels to be this overwhelmingly homogenous sea of conformity, abundance of intertwined meanings, and hyper-structured landscape? How do these new skills translate into an adult, and heavily mediated present? In the next research group, I will discuss a few approaches of those navigating this design space.

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TOOLS FOR DECODING & NEW WAYS OF SEEING This next section considers researchers or makers whose work suggests design opportunities for exploring new codes within the complexly coded environment. The following examples detail multiple entry points for decoding, and recoding new relationships across various scales: from algorithms, to the unspoken coding of cultural behaviors. Explorations often begin with a look at syntax and meaning, and often result in a new kind of cultural writing, or urban poetics 31. The Kilobot Project conducted by Harvards Self Organizing Systems research group demonstrates how their production of low-cost robotic components presents an opportunity to move beyond the standard in robotics research where collective algorithms are generally meant to control collectives of hundreds or even thousands of robots; for reasons of cost, time, or complexity. Their resulting low-cost Kilobot robot demonstrates the potential for decentralizing cooperating robots, and in turn, replicating more complex collective behaviors such as followthe-leader and foraging. 32 What are the implications of these kinds of redefinitions of established algorithmic standards on complex human behaviors? What other kinds of syntax relationships could there be? How could non-coders like myself attempt to consider these kinds of questions (without conforming to the provided system of syntax)? In Nina Katchadourians piece, Talking Popcorn (2001), she demonstrates how this same kind of exploration could be carried through with a speculative approach. A microphone in the cabinet of the popcorn machine picks up the sound of popping corn, and a computer hidden in the pedestal runs a custom-written program that translates the popping sounds according to the patterns and dictates of Morse Code. A computer-generated voice provides a simultaneous spoken translation. 33 Its interesting to note that Katchadourians choice of morse code and a custom-written program reflect the role of the human within code generation. The result is a Popcorn Journal, a collection of a customized system for pattern recognition. This kind of humanized computer algorithm is even more evident in her ongoing work titled Sorted Books, where she has manually collected books from various libraries ...ranging form private homes to specialized public book collections...the process is the same in every case: culling through a collection of books, pulling particular titles, and eventually grouping the books into clusters so that the titles can be read in sequence, from top to bottom. The final results are shown either as photographs of the book clusters or as the actual stacks themselves, shown on the shelves of the library they were drawn from. Taken as a whole, the clusters from each sorting aim to examine that particular librarys focus, idiosyncrasies, and inconsistencies a cross-section of that librarys holdings. 34

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With the algorithm she has identified (based on her own interpretation of sequence and categorization), this piece makes a lovely point of the strength of human intelligence over computer intelligence. For me, the power of Katchadourians work lies in her desire to decode cultural meaning as a non-expert, utilizing the everyday objects which surround her, and her own interpretations. What other human strengths could be highlighted in this way? In their new book Collage Culture, essays by Aaron Rose and Mandy Kahn consider how this kind of collaging might be a result of a culture in which we feel overwhelmed with abundance. They suggest that we create by collaging, or re-editing where [our] signatures [are] embedded in their subtle acts of choice rather than creating art from scratch. In Roses essay, The Death of Subculture, he calls for an end to this collage era by adopting a philosophy of creative innovation. The collages of Brian Roettinger which sit in between the two authors essays demonstrates the format of personalized codes for creation. With the help of artist/programmer Chandler McWilliams, Roettinger utilizes a computer application to translate a combination of 25 compositional rules into a series of 16 compositions 35: RULES FOR COMPOSITION 110 1 Use 20%, 50%, 60%, or 70% white space 2 All elements must touch each other 3 Use one image multiple times, at varying scales 4 Use a white background 5 Compose twelve lines, all of different lengths and widths 6 Fill the background with a pattern 7 Fill the background with an image 8 Include a line between one and eight points in thickness 9 Scale image at 200% 10 Scale image at 20% How might this collage mentality affect present understandings of other creative media formats? This re-editing is intentionally utilized in Christian Marclays moving-image installation The Clock. 36 This 24-hour long montage demonstrates how a film could be created purely by editing existing film and television clips. The result subverts the sequential narrative intended by each original clip, and in its stead, unveils a new narrative which extends across an audience-centered understanding of time. The piece is so successful in what I consider to be a way reminscencent of relational aesthetics 37, as the meaning of this new narrative is only relevant when the viewer considers the time-based narrative in relation to their own localized sense of time.

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In his project, The Nine Eyes of Google Street View, Jon Raffman demonstrates how focusing in on a moment in an extremely common media form can reveal relational understandings about our culture: The world captured by Google appears to be more truthful and more transparent because of the weight accorded to external reality, the perception of a neutral, unbiased recording, and even the vastness of the project. At the same time, I acknowledge that this way of photographing creates a cultural text like any other, a structured and structuring space whose codes and meaning the artist and the curator of the images can assist in constructing or deciphering. 38 Its interesting how an editing of images has demonstrated new understandings. What other cultural understandings may be embedded within our other common technological documentations? In their project Sealand, Metahaven considers their role as design detectives, constructing a form of contemporary myth-making39 by decoding cultural understandings as they exist in a common google image search and everyday objects to inform their exploration of a fictional national identity for a sort of non-place: Lets imagine a designer working like a detective - not basing his work on the a priori truths about the organization that conventionally form the starting point for corporate identity projects [but rather to uncover the] ... epic story about Sealand ... with the underlying notion of the Internet as a fictional world, in which Sealand fulfills a unique role, extending that role to its national visual identity. I would like the (corporate) identity to be a digesting machine, embracing an infinite amount of possible Sealand definitions and stories, multiplying and re-ordering them by self-defined principles into an identity of unprecedented richness.40 How does this kind of re-appropriation of meaning happen on an urban scale, or across multiple syntaxes? These explorations in decoding meaning through the affordances of existing collective formats is reminiscent of the work of constraint-based artist movements such as Oulipo movement. 41 Artist Sophie Calle, for instance, defines her own codes as a way to explore the abundance of meaning within the urban narrative context of her everyday life. If I were to place these explorations on a spectrum, Calles would sit near the highest magnitude of scale. Led by her own curiosities of the people she meets, her work powerfully contains the intention to decode an understanding of human vulnerability, identity, and intimacy from the established formats of social, urban, and cultural norms.42 She explores these through the loopholes of existing structures as they exist in the cityscape: working as a hotel cleaner to get into peoples rooms43, hiring a detective to stalk her in her paths across the city44, or making people dinner as a cultural exchange for watching them sleep. 45 Her work, although living in documentation, inspires a relational understanding as it reminds us of the poetic in our everyday life. If the decoding of meaning can lead to new understandings through the sourcing of, and re-mapping back onto current cultural codes, how can adaptions of technologies extend beyond their existing affordances? How might we transition past what we intend to capture to facilitate the exploration of new ways of seeing, and new understandings which may exist (but may remain unseen)?
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The exploration of technologys ability to unveil new understandings is particularly evident in the adaptation of tools for seeing, with the adaptation of camera and film technologies. Mateusz Herczkas numerous explorations of visioning technologies illustrate the potential for technologies to facilitate new visions, which may lie outside of their intended affordances. His 2003 piece, 44/13 best explains his intentional technological adaptation of video camera technologies: I transformed the video with an analytical algorithm similar to slitscanning, which results in a very wide moving image showing an analysis of what was seen, [with] time progressing to the right...its perplexing and poetic qualities emerge from interaction between this particular piece of land and specific iterations of the computer process.46 His work, 110 36 zuidvleugel (2007), suggests how the subversion of the natural timing of a camera can act to extend our perceptive abilities beyond what we might anticipate (or physically capture) to generate new understandings as they may exist across a cityscape by treating video footage as a cube of pixels, an extremely wide moving image is extracted which visualizes what was seen across horizontal space, time moving to the right. The resulting image is a liquid panorama masquerading as monumental landscape art, its true nature being a structural analysis of cities and countryside experienced by its inhabitants during everyday travels.47 Another of his projects, Open Open Out Of Body Experience 48, shows how technology can facilitate exploration itself, stimulating the feel of being lost. The Throwable Panoramic Ball Camera developed by Jonas Pfeil and his computer graphics unit team at the Technical University of Berlin achieves a similar objective, capturing 360 degree photos, activated at the height of a toss up into the air. The camera contains 36 two-megapixel mobile phone camera modules and an accelerometer, along with a control unit, packed inside a padded outer shell.49 Although the developers describe the takeaway as a very enjoyable, playful way to take pictures,50 to me, the cameras highest affordance is literally to see new understandings (as a result of letting go of the technology itself ), allowing us to see at a height which empowers us beyond what we can physically see. How else could these kinds of adaptations of seeing technologies be used to reflect upon current or new understandings of time, movement, and narrative within urban space?

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RADICALLY SCALABLE SYSTEMS This last section covers those who are exploring the potential of a radically scalable system, or new formats for translation, which extends from intuitive exploration back onto the built environment. Part of what makes a radically scalable syntax so exciting (and so challenging) is that it is inherently paradoxical. On one hand, the basis of exploration often lives in the speculative, the inexpressible, the intuitive, and the narrative. This is, in essence, that which can more easily be written or painted about. On the other hand, the built environment presents constraints of the logistical and static dependent on time, materials, space, economics, and politics.53 The written works of urban novelists China Miville or Italo Calvino demonstrate the full potential of their freedom in exploring the urban environment. In his novel, The Scar, Miville describes a floating ocean city constructed from the amalgamation of ships: They were built up, topped with structure, styles and materials shoved together from a hundred histories and aesthetics into a compound architecture. Centuries-old pagodas tottered on the decks of ancient oarships, and cement monoliths rose like extra smokestacks on paddlers stolen from southern seas. The streets between the buildings were tight. They passed over the converted vessels on bridges, between mazes and plazas, and what might have been mansions. Parklands crawled across clippers, above armories in deeply hidden decks. Decktop houses were cracked and strained from the boats constant motion. 51 In Short Stories: London in Two-and-a-Half Dimensions, authors CJ Lim and Ed Liu in collaboration with Studio 8 architects Maxwell Mutanda and Tomasz Marchewka illustrate spatial short stories which layer fiction on top of a city. Their 2 and a half D interpretations demonstrate the potential power of this new relationship in offering a richer narrative, and more flexibility across time and place. In one story entitled Discontinuous Cities, they illustrate a bridge which is a transitory connection joining the two halves of the metropolis only between the summer months of June and September, during which a common amnesty is held. 52 The Perpetual Storytelling Apparatus54 developed by Julius von Bismarck & BenjaminMaus suggests how this transition might actually be feasible, perhaps bridging the gap between the imaginative nature of a writers conception and fundamental plans which lead to a built environment. The work of emerging architect Alan Worn considers yet a step further, envisioning a method of architecture which can translate the abstract into the built environment. His project entitled Discordant folly encountered at daybreak,at the foot of the mountain investigates

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the process of translating an axonometric, scenographic mode of drawing into built, three dimensional form. 55 Urban Monitoring System by RCA graduate Daniel Foster Smith envisions another example of such an open source infrastructure system, utilizing networked data-collecting devices to explore a city developed upon a model of human perception: The data collected makes it possible to emulate the environmental surroundings of an individual...collecting visual data used to emulate sight, sound data to emulate hearing, and door data to emulate our sense of smell. Foster describes how he expanded on online tracking methods currently used for optimizing personalized web layouts, speculating how real world personal data may be collected in order to optimize the build environment. In effect, Fosters system explores a new research method for exploring the relationship between environment and behavior. 56

CONCLUSION To summarize, the nature of our changing landscape promises a wealth of complexity which extends across scales. The opportunities for design, however, are numerous, extending reconfigurations of the most fundamental algorithmic structures of programming languages, and imagining the greatest cultural affects of a new method for decoding, and restructuring an urban environment. Throughout each stage of exploration, there exists an opportunity for an increasingly collaborative and inter-disciplinary way of working. The hope is not to return to an era of modernism, but rather to explore an ambiguous landscape of that which could come after postmodernism. Whatever this era will be, it should offer us the ability to discover meaningful randomness across multiple levels of interactions and across multiple syntactical scales.

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WORKS CITED 1, 3. A conversation between Rob Walker and Kevin Slavin. Observatory: Design Observer. 5 Nov. 2011, <http://observatory.designobserver.com> 2. Nin, Anas. Conversations with Anas Nin. The Anas Nin Trust, 1994. 66. 4. The Industrial Revolution. Newportweb. 15 Oct. 2011, < http://www.newportweb.com> 5. Freud, Sigmund. Introductory Lectures on Psychoanalysis. W.W. Norton & Company, 1966. 20. 6, 7. Henry David Thoreau. Wikipedia: The Free Encyclopedia. 18 Oct. 2011, <http://en.wikipedia.org> 8. Disappearing (at sea). Andrew Friend. 5 Sep. 2011, <http://andrewfriend.co.uk> 9. Occupy Movement. Wikipedia: The Free Encyclopedia. 1 Nov. 2011, <http://en.wikipedia.org> 10. Freakonomics. Freakonomics. 3 Nov. 2011, <http://www.freakonomics.com> 11, 14. Better design for the greater good. Design21: Social Design Network. 2 Nov. 2011, <http://www.design21sdn.com/> 12. Transforming society by transforming technology: the science and politics of participatory design. Science Direct. 4 Nov. 2011, <http://www.sciencedirect.com> 13, 27, 28. Krippendorff, Klaus. On the Essential Contexts of Artifacts or on the Proposition that Design Is Making Sense (of Things). MIT Press, 1989. 9-39. 15. Alexander, Christopher, Sara Ishikawa and Murray Silverstein. A Pattern Language: Towns, Buildings, Construction. Oxford University Press, 1977. 16, 17. Haraway, Donna J. Modest-Witness@Second-Millennium.FemaleMan-Meets-OncoMouse. Routledge, 1977. 18. About Us. Mediated Cultures. 4 Nov. 2011, <http://mediatedcultures.net> 19. Digital Ethnography of YouTube project. Mediated Cultures. 4 Nov. 2011, <http://mediatedcultures.net> 20. Gregory Chaitin. Wikipedia: The Free Encyclopedia. 4 Nov. 2011, <http://en.wikipedia.org> 21, 24. Radical PostModernism. Architectural Design Magazine. 4 Nov. 2011, <http://www.architectural-design-magazine.com> 22. Postmodernity. Wikipedia: The Free Encyclopedia. 4 Nov. 2011, <http://en.wikipedia.org> 23. Degree Program Vision. Carnegie Mellon University: Very Large Information Systems. 4 Nov. 2011, < http://vlis.isri.cmu.edu/> 25. Innes, Judith E., and David E. Booher. Public Participation in Planning: New Strategies for the 21st Century. UC Berkeley: Institute of Urban and Regional Development, 2004 26. Urban planning. Wikipedia: The Free Encyclopedia. 4 Nov. 2011, <http://en.wikipedia.org> 29. Pink, Daniel H. A Whole New Mind: Why Right-brainers Will Rule the Future. Penguin Group, 2005. 30. An In-depth Look at the Cyber Phenomenon of Our Time: Web 2.0. The Lawlor Review. 5 Nov. 2011, <http://www.scribd.com>

31. Hodges, Elisabeth. Urban Poetics in the French Renaissance. Ashgate: 2008. 32. Hoff, Nicholas, Radhika Nagpal and Michael Rubenstein. Kilobot: A Low Cost Scalable Robot System for Collective Behaviors. Harvard University: Computer Science Group, 2011. 33. Talking Popcorn. Nina Katchadourian. 4 Nov. 2011, <http://www.ninakatchadourian.com> 34. Sorted Books. Nina Katchadourian. 4 Nov. 2011, <http://www.ninakatchadourian.com> 35. Examining the 21st Centurys Identity Crisis. Collage Culture. 2 Oct. 2011, <http://collageculture.com> 36. Christian Marclays The Clock: 24-Hour Screening. LACMA. 4 Nov. 2011, <http://www.lacma.org> 37. Bourriaud, Nicolas. Relational Aesthetics. Les Presses du rel, 2002. 38. IMG MGMT: The Nine Eyes of Google Street View. Art Fag City. 4 Nov. 2011, <http://www.artfagcity.com> 39. Van Der Velden, Daniel, et al. The Discovery of the Fifth World: Stealth Countries and Logo Nations. Sarai Reader: Bare Acts, 2005. 40. Metahaven: Sealand Identity Project. Janvaneyck: Sealand. 4 Nov. 2011, <http://sealand.janvaneyck.nl/> 41. Oulipo. Wikipedia: The Free Encyclopedia. 2 Nov. 2011, <http://en.wikipedia.org> 42. Sophie Calle. Wikipedia: The Free Encyclopedia. 2 Nov. 2011, <http://en.wikipedia.org> 43. Sophie Calle: Suite Venitienne. White Cube. 2 Nov. 2011, <http://www.whitecube.com> 44. The Detective by Sophie Calle. Photo.net. 2 Nov. 2011, <http://photo.net/philosophy-of-photography> 45. Sophie Calle Les Dormeurs. Mandi. 2 Nov. 2011, <http://blogs.colette.fr/mandi> 46. 44\13. Mateus Zherczka. 2 Nov. 2011, <http://www.mateuszherczka.net> 47. 110 36 zuidvleugel. Mateus Zherczka. 2 Nov. 2011, <http://www.mateuszherczka.net> 48. Open Out Of Body Experience. Mateus Zherczka. 2 Nov. 2011,<http://www.mateuszherczka.net> 49, 50. Panoramic ball camera.... Wired.co.uk. 4 Oct. 2011, <http://www.wired.co.uk> 51. Unsolving the City: An Interview with China Miville. BlgBlg. 13 Oct. 2011, <http://bldgblog/html> 52. Fiction and the City. BlgBlg. 13 Oct. 2011, <http://bldgblog.html> 53. Holes, Leslie. Creating the Built Environment: An Introduction to the practicalities of designing, constructing, and owning buildings. Chapman & Hall, 1997. 54. Perpetual Storytelling Apparatus. Storyteller. 15 Sep. 2011, <http://storyteller.allesblinkt.com/> 55. Discordant folly at daybreak... Alan Worn. 21 Sep. 2011, <http://www.alanworn.com> 56. An Urban Sensation. Sensory Emulation. 30 Sep. 2011, <http://sensoryemulation.com/>

SPECULATIVE
Andrew Friend Isolation in Urban Landscape Italo Calvino China Miville Freedom with words

URBAN Alan Worn SCALE Applied Speculations

Werner Herzog Relational Aesthetics

Pierre Huyge Sophie Calle Janet Cardiff Nina Katchadourian urban poetics

Gertrude Stein Anais Nin Henry David Thoreau Breaking free of structure

ALGORITHMIC SCALE

Donna Haraway Ethnography Michael Wesch Digital Ethnographies

Conditional Programming Algorithmic research

APPLIED