The whole productive spheres, medical, scientific, artistic,

obviously sexual is today confront with problems of transformation,

of hybridization, from silicone to artificial muscles,

from sexual transformism to changes of identities,

from biotechnologies to eugenism underlying.

The integrities defined by modernity have imploded.

The body became a programmable instrument in vitro,

an reprogramming envelope with injections of collagen.

At the antipodes of the Cyber-Robot of Metropolis,

the contemporary prosthesis is made of flesh,

and the functional excrescence in recomposed artificial derm.

The body is not denied, but exacerbated, hypertrophied,

and the skin is not any more an element of covering, of protection,

but like a reactive surface to the environment.

Functions and Bodies would thus have become the physical attributes of an individual choice,

not of an evolutionary adaptation from the constraints,

at the opposite of Darwin's ideas.

And human being could be the first animal species to organize

His own conditions of mutations to quote one of the main idea of Houelbeck in the elementary particle’s book.

From these possible who alternate with ambiguity,

Science Fiction and reality, morals, its limits and its going beyond,

Front these biogenetic mutations,

which assimilate our evolution to those of avatars,

how to believe that architecture can still consist of just bodies,

identifiable,

like slices of chorizo in a lagoon's pizza.

The processes of distortion, originating from morphing,

and here presented by serial tapes or elsewhere on video tapes,

stem from this dearth and open up a field of possibilities.

Over and above a fascination with the technological tool,

and with the contrived metamorphosis that it creates,

we are exercised by its revelatory and operational function.

The more deceptive the morphed movement seems,

the more inert in its transformation,

the more the urban and architectural project seems to be dominated by the prior situation.

The more the morphing can be read in its artifice,

the more the projection seems,

this time around, to be deterritoralized.

Unlike an instrument of representation,

morphing thus reveals the degree to which the hypotheses are decontextualized,

and in an on-going back-and-forth between deduction and induction,

a re-reading of the successive phases will validate or invalidate the relevance of the choices,

in a making with to do less strategy.

Like a chemist having to produce the experiment to read it again and,

understand it,

this empirical and random process,

is built on reaction and folding on the support.

The skin of the photographic,

cartographic image is transformed

and metamorphosed in one and the same envelope in one and the same matter,

it undergoes manipulations akin to folding,

extrusion and scarification.

And the pixels,

fractal fragments of the real, are put back together again in a series of genetic mutations.

This grafted manipulations,

like images of piercing under cutaneous,

operate on several registers,

several identifications,

is it a process of degeneration, a topological cyst,

a code of tribal recognition,

an exacerbation of hyperlocalism where the city is assimilated to an organism.

The context, here, is not idealized or conceptualized,

but substrate of its own mutation.

The virtual instrument would become paradoxically a principle of reality,

and architecture escapes from abstracted projections to be assimilated to a distortion of reality,

in situ