Scenario
-7 machinism protocols / 10 models / 250 sheets to strip behind blank wall paper
-paranoiac cheap installation  / recording in live ''flagrand delit'' of inspiration by web cam survey (opposite wall)

BI[r]O-BO[o]T    

Ecosophical apparatus & skizoïd machines

R&Sie(n)+Ds

Francois Roche, Stephanie Lavaux, Toshikatsu Kiuchi, Benoit Durandin, Stephan Henrich

“ …in power games, [apparatuses could be considered] relationship strategies supporting types of knowledge and supported by themselves.” Michel Foucault, Dits et Ecrits)

Machines are always pretending to do more than what they were programmed to do. It’s their nature.

               Their behavior alternates phantasms, frustrations and fears inspired by their own ability to break free and threaten us.[1]

                    The blurriness between what they are supposed to do, as perfect alienated and domesticated creatures, and the anthropomorphic psychology we intentionally project on them, creates a spectrum of potentiality, both interpretative and productive, which is able to re-“scenarize’’ the operating processes of the architectural field. Machines are a vector of narration, generators of rumor, and at the same time directly operational, with an accurate efficiency of production.

               These multiple disorders, this kind of schizophrenia, could be considered a tool for reopening processes and subjectivities, for re-“protocolizing’’ indeterminacy and uncertainties. In this way, they become agents of blur logic, of reactive and re-programmable logic.

               As in Alice in Wonderland, where Lewis Carroll used mathematics to confuse a little girl’s perception, such apparatuses, including ‘’bachelor machines,”[2] stretch a line of subjectivization to organize repetitions and anomalies[3] using and developing paradoxes that are able to re-complexify and de-alienate the edges of the truth system, in order to re-invert the logic of meaning and turn it into a vanishing point…  

7                                 6             10                    5         5        6                            9

It seems to make strategic sense to evaluate architecture’s degree of reality on the basis of its ability to tell stories and in this way enlarge the dimension of its physicality. In a sense, we should consider the structure itself as a fragment of a scenario, a MacGuffin, the point where and from which speeches, strategies, scientific protocols and power games articulate stories and agendas.

            Misunderstandings, in this sense, produce artefacts – in “the garden which forks nowhere’’ – and apparatuses can be considered generators of ambiguities and knowledge where non-shaping protocols, protocols of emergences, contingently reveal the conditions of emission and are revealed by them, in a Situationist[4] strategy.

The seven BI[r]O-BO[o]Ts should be considered a preliminary spectrum, from a speculative self-organized urbanism (Iveheardabout)[5] to a digestive physiological experiment (thegardenofearthlydelights).[6] Within these endpoints are a stochastic machine with a predictable uncompletion (Olzweg),[7] an industrial milling machine for anthroposophic transactions (waterflux),[8] a hydroponic  Hitchcockian ‘’Rear Windows’’, (I’mlostinParis), a standing up machine, as a Darwinism evolution from a André Bloc house to its extension (broomwitch)[9] and at last but not least, a pure chimera hybrid bio-robot – the mechanical ghost of a wild forest where cold war degrades nature (heshotmedown).[10]

Their skyzoïd-machinism agendas are both products and vectors of paranoia.[11]