Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020. Student Name: Ana Paola Flores Student ID: 33209338 Goldsmiths University of London Visual Cultures After the Internet Title: Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2019-2020. May 2020 Word Count: 2959 words 1 Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020. Mori Art Museum in Tokyo, Japan chose its exhibition title Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, amongst various titles created by an artificial intelligence denominated IBM Watson.1 This futuristic exhibition encompasses varying artistic technological dispositifs,2 which give visibility to the intersection between life and politics, widely known as Foucaldian biopolitics. The exhibition attempts to predict our relationship with technology in twenty years time.3 One essential indirect aspect Future and the Arts denotes in general is the segregation of humanity from nature. The human natural cognitive abilities of taste, desire for power, consciousness, and speculation about the future in combination with ultimately the fear of death differentiate us from all other forms of life.4 The alienation between nature and culture situates the human being in state of anti-nature, whereby humanity created hegemonic systems to procreate life. The imaginaries of the varying artists (both international and Japanese) contribute to the metastable exhibition a futuristic game where ‘life’ is at play; this ‘game’ encompasses different tests and formulas for life’s own improvement, but also defies notions of morality and ethics, in order to envision a futural idea of how would technological advances affect humanity and the age of the anthropocene. Timothy Campbell states, “Biopolitics is the explicit solution to an inexplicit problem: power’s inability to fully access life. The more that knowledge- power grows in intensity, the more the scene is set for the question of life to be answered by apparatuses that focus, in particular, on the body5”. The form of control that biopolitics wishes to impose over life encapsulates the body, but most implicitly the availability of knowledge. This post-internet exhibition reinforces Hito Steyerl’s Too Much World: Is the Internet Dead? We are attacked by images, information, data and videos most of our time. Future and the Arts, further explores Artificial Intelligence, algorithms, virtual reality, data and robotics6. The technological possibilities presented by this exhibition are therefore classified into ‘zones’.7 The exhibition is divided in five sections entitled: New Possibilities of Cities, Toward NeoMetabolism Architecture, Lifestyle and Design Innovations, Human Augmentation and its Ethical Issues and Society and Humans in Transformation. Approximately more than fifty artists groups combining computational designers, architectural groups, scientists and renowned technological companies such as ALIBABA, NASA, Nissan Intelligent Mobility x Art, and Sony Corporation contributed to the exhibition. The varying apparatuses described above ultimately enhance the aporia between the material and the intangible8. 1 "Mori Art Museum Collaborates With AI To Create An Exhibition Title | Mori Art Museum". 2019. Mori Art Museum. https://www.mori.art.museum/en/news/2019/08/3478/index.html. 2 Timothy Campbell and Adam Sitze. Biopolitics a Reader. (London, Duke University Press, 2013), 11. 3"Future And The Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow". 2019. Mori Art Museum. https://www.mori.art.museum/en/exhibitions/future_art/index.html. 4 Immanuel Kant, ‘Conjectures on the Beginning of Human History’ in Political Writings, ed. Hans Reiss, trans. H B. Nisbet, (Cambridge: Cambridge University Press, 1991.) 5 Timothy Campbell and Adam Sitze. Biopolitics a Reader. (London, Duke University Press, 2013), 14. 6 Hito Steyerl. 2013. "Too Much World: Is The Internet Dead? - Journal #49 November 2013 -E-Flux". EFlux.Com. https://www.e-flux.com/journal/49/60004/too-much-world-is-the-internet-dead/. 7 Michel Foucault, “Classifying”, in The Order of Things, (London and New York: Routledge, 2005 [1966]), 136−179. 8 Joshua Simon, The Way Things are Organized: The Mesoscopic, the Metastable ‘the Curatorial’ in CURATING AFTER THE GLOBAL: Roadmaps for the Present, Luma Foundation: MIT Press, London 2017, p.171. 2 Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020. SECTIONS 1 & 2 NEW POSSIBILITIES OF CITIES and TOWARD NEO-METABOLISM ARCHITECTURE The first two sections of the exhibition introduce models, videos, digital projections, prints, biosculpture, futural installations and architectural projects of cities. They mostly connote utopian habitats, which merge with human life needs, as well as, technologies with the capacity to blend with extreme natural ecosystems. Toward Neo-Metabolism Architecture makes reference to Elizabeth Grosz’s, Embodied Utopias. For instance, an Architecture of Moods 2010-2011, by New-Territories /François Roche shows the model of a mobile robot (the city is built at its core) able to adapt to complex geological conditions, to paraphrase, to trudge in extreme weather conditions. The utopian architectural form presented no longer freezes into the future, but rather is able to adapt to different conditions, which are to move and change to natural forces such as: extreme climate and geological conditions. This fictionality breaks with static architectural conventions as it is described as robotic pathology and strategy of disobedience.9 Further on, H.O.R.T.U.S XL Astaxanthin.g, 2019 bio-sculpture is an organic rhizomatic sculpture made of PETG, biogel and euglena.10 London based ecologicStudio envisions harvesting intelligences inspired by the anthropocene, whereby humanity no longer affects the environment.11 This 3D printed substratum-like structure is an artificial living sculpture with cyanobacteria or plant bacteria as its host.12 This habitat promotes natural life forms defying the segregation from nature and culture. To an extent, these futural spaces create Bloch’s notion of hope.13 These architectural presentations denote an implicit problematic of control. As argued before, humanity is controlled by the world of conventions and hegemonies; some political and capitalist apparatuses in return wish to control humanity further. Michael Foucault claims, “One can easily see how the very grid pattern, the very layout of the estate articulated, in a sort of perpendicular way the disciplinary mechanisms that controlled the body, or bodies, by localizing families (one to a house) and individuals (one to a room). The layout, the fact that individuals were made visible, and the normalization of behaviour meant that a sort of spontaneous policing or control was carried out by the spatial layout of the town itself. It is easy to identify a whole series of disciplinary mechanisms in the working-class estate.14” The futural system no only 9Francois Roche. "Architectural Psychoscapes: Francois Roche". 2005. Mousse Magazine. http://moussemagazine.it/architectural-psychoscapes-francois-roche-2017/. 10 ":: Ecologicstudio ::". 2019. Ecologicstudio.Com. http://www.ecologicstudio.com/v2/index.php. 11Nadine Botha. 2019. "BEYOND THE FOLLY | DAMN° Magazine". DAMN° Magazine. https://www.damnmagazine.net/2019/03/05/beyond-the-folly-ecologicstudio-a-nostalgia-free-harvest/. 12 Annas Essop, Anas, Tia Vialva, Kubi Sertoglu, Paul Hanaphy, and Michael Petch. 2019. "Ecologicstudio & Partners Showcase 3D Printed In-Human Gardens At Centre Pompidou - 3D Printing Industry". 3D Printing Industry. https://3dprintingindustry.com/news/ecologicstudio-partners-showcase-3d-printed-in-humangardens-at-centre-pompidou-149551/. 13 Ersnt Bloch, ‘The Wish Landscape Perspective in Aesthetics: The Order of Art Materials According to the Dimension of their Profundity and Hope’ in The Utopian function of Art and Literature: Selected Essays, trans. Jack Zipes and Frank Mecklenburg, (Cambridge, Ma: MIT Press, 1988). 14 Michael Foucault. ‘Society Must be Defended’, in Biopolitics a Reader. Timothy Campbell and Adam Sitze. (London, Duke University Press, 2013), 70-71. 3 Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020. confines bodies into conventional spaces, but these projects will give privilege to first world economies, and disregard developing economies. Campbell claims, “The result is a racism that is proper to laissez- faire capitalist economy: a racism that explains, without open hostility, why the current unequal distribution of biopower— the distribution of the globalized world into “life zones” (where citizens are protected by a host of techniques of health, security, and safety) and “death zones” (where “wasted lives” are exposed to disease, accident, and war, and left to die).”15 It is not difficult to assume in present day, given the economic conditions we live in that, people who have most power or are well positioned within the hegemonic system, will have the earning capacity to live in those ‘new zones’, creating a sense of discrimination to those in a more precarious condition. Giving privilege to power relates to Arendt’s “precise moment when law lost touch with life.16” In a Biopolitics Reader, Campbell mentions that people outside these norms and regulations are not part of these laws and advantages; they turn meaningless for these societies outside the protocol. These marginalized communities do not posses the same human rights. an Architecture of Moods 2010-2011, by New-Territories /François Roche (Figure 1) 15 16 Timothy Campbell and Adam Sitze. Biopolitics a Reader. (London, Duke University Press, 2013), 20. Timothy Campbell and Adam Sitze. Biopolitics a Reader. (London, Duke University Press, 2013), 20. 4 Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020. H.O.R.T.U.S XL Astaxanthin.g, 2019 (Figure 2) SECTION 3: LIFESTYLE AND DESIGN INNOVATIONS In Society Must be Defended, Michael Foucault argues, “A new technology of power, but this time it is not disciplinary. This technology of power does not exclude the former, does not exclude disciplinary technology, but it does dovetail into it, integrate it, modify it to some extent, and above all, use it by sort of infiltrating it, embedding itself in existing disciplinary techniques. This new technique does not simply do away with the disciplinary technique, because it exists at a different level, on a different scale, and because it has a different bearing area, and makes use of very different instruments.”17 Foucault explains that control is not explicit, but rather it is embedded in our culture and lifestyles. Section 3 presents furniture, designs, automated driving, automated machines, natural networks, data networks, everyday life robots, fashion inspired by the human body organs and IBM’s bitcoin virtual reality games. Firstly, section three unveils superfluous goods such as Internal Collection, 2016-2017 series of fashion designs by Amy Karle,18 that imitate human body features such as ligaments and tendons, pulmonary and nervous system. Foucault further comments, “By creating the imaginary element that is "sex," the deployment of sexuality established one of its most essential internal operating principles: the desire for sex-the desire to have it, to have access to it, to 17 Michael Foucault. ‘Society Must be Defended’, in Biopolitics a Reader. Timothy Campbell and Adam Sitze. (London, Duke University Press, 2013), 62. 18Amy Karle. 2016-2017 “Internal Collection” https://www.amykarle.com/project/internal_collection_garments/ 5 Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020. discover it, to liberate it, to articulate it in discourse, to formulate it in truth. It constituted "sex" itself as something desirable. And it is this desirability of sex that attaches each one of us to the injunction to know it, to reveal its law and its power.19” The intention to imitate bodily organs is quite innovative and a striking artistic intention, these ‘organic’ designs connote sexuality and desire, given the fact that if worn some parts of the body would be bare-naked. Until present day, nudity has always been a political taboo, in most cultures it is prohibited. Such artistic intention suggests that sex has been used as a political tool for control, in a false idealization of a balanced system with ‘sexual freedom’. This biopolitical enigma questions our notions of dress code, where sex in general has been something secretive, difficult to reach and in order to obtain it, one must comply to the system forces and hegemonies to attain it. Internal Collection fashion designs also, questions economic notions of affordability, it is a luxury good that is limited to a small percentage of the population. Alternatively, section three shows various types of networks. For example, Amsterdam based Next Nature Network, 2006 makes reference to data networks of the Internet system. Alexander R. Galloway considers the tendency of these representations to repeat itself in a structure described as a cauliflower shape.20 Aesthetically, they represent no information, only raw data, which is almost impossible to decipher. These visual networks embody a dilemma of representation. Galloway argues, “In fact, the high level of detail seems to hinder comprehension rather than aid it. The high level of technical detail visible here overwhelms the human sensorium, attenuating the viewer’s sense of reality.21” They are ironically, rhizomatic like natural networks such as MYCELIUM + TIMBER, 2017. These natural appearances prompt our cognitive abilities not being able to describe its randomness. However, they create an aesthetic effect. As Hito Steyerl mentions the Internet is now everywhere, in its most contemporary expression is that of robotics and artificial intelligence. But most importantly, these futuristic manifestations and interests from the population are forms of data acquired by the Internet. In our everyday Internet browsing, this data is collected by the Internet and is used as important information sold to the highest bidder. Companies utilize our browsing information and interests for economic means and further forms of control. For instance, Centralization VS Decentralization hardware display: IBM 2018 artwork is a great example of this, its own title makes reference to the powerful decentralization of the system, however, as easy as with an IP address the internet can trace almost everyone. The statistical desires and interests from Japan range from: most technological automobiles, to robotics that can make a portrait with a pen, to a sushi restaurant that no longer requires human capital named SUSHI SINGULARITY, 2019, to the famous robot dog ‘aibo, 2007’ created by Sony and Groove x’s LOVOT, 2019. Japan’s interests are immersed with technological mediation, Japanese society appears to be individualized. Thus, they require a 19 Michael Foucault. ‘Right of Death and Power Over Life’, in Biopolitics a Reader. Timothy Campbell and Adam Sitze. (London, Duke University Press, 2013), 56. 20 Alexander R. Galloway, “Are Some Things Unrepresentable?” The Interface Effect (2012), 82. 21 Alexander R. Galloway, “Are Some Things Unrepresentable?” The Interface Effect (2012), 78. 6 Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020. robotic intervention to satisfy their needs. This proves that the neoliberal system further separates and individualizes society. Future and the Arts provokes a sense of uncertainty to the viewer, how can they compete in this technological atmosphere and complex future.22 These superfluous inventions serve to enhance the productivity and performativity of bodies, given the fact that perhaps even robots may replace their jobs. There are varying forms of knowledge and social, cultural conventions imposed in the bodies’ productivity and behaviour. These anime and dog robots enhance the notion of control by our own material interests, for instance LOVOT has a camera at the top of its head, which may create a sense of surveillance. This section of the Future and the Arts mentions the fictional term ‘singularity’, giving power to technology over life. The main reason for this may be as Timothy Campbell argues, “also the conditions for a redoubled return of old fantasies of “immortality”: whereas the modern subject dreamed of becoming a “prosthetic God,” the contemporary subject wants to use technology to overcome mortality itself, once and for all, whether through a gradual, generalized “negation of death” or through the achievement of a sudden, rapturous “singularity.””23 Humanity depends entirely on technological advances as a means for longevity and the desire for immortality. In this fictionality, technology will have its own consciousness and will take over, in the exhibition this event is regarded as positive because it will ease our lifestyles towards more freedom. This notion however, can be questioned as perhaps this event may be regarded as the most Apocalyptical one, whereby technology will disregard humanity and not support humanity according to plan. LOVOT, 2019 and aibo 2007 (Figure 3) 22 23 Timothy Campbell and Adam Sitze. Biopolitics a Reader. (London, Duke University Press, 2013), 17. Timothy Campbell and Adam Sitze. Biopolitics a Reader. (London, Duke University Press, 2013), 3. 7 Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020. SUSHI SINGULARITY 2019 (Figure 4) SECTION 4, HUMAN AUGMENTATION AND ITS ETHICAL ISSUES From robotics for human rehabilitation, robotics for human augmentation, to small pop-up scientific labs demonstrating their latest biological discoveries in medicine and surgery. This section of the exhibition has the appearance of a laboratory where you can observe real and fictional experimentation on organisms and chemicals. Human Augmentation relates to control in relation to biotechnology, medicine, natality rates and implicitly death rates. It mainly expresses the desire to create longevity in the population. Foucault expresses the second main general apparatus in bio-politics, “focused on the species body, the body imbued with the mechanics of life and serving as the basis of the biological processes: propagation, births and mortality, the level of health, life expectancy and longevity, with all the conditions that can cause these to vary. 24” The forms of control suggested are embedded as health care systems. Biopolitics cannot control an individual body, but it can control the whole in a statistical level, these sectors attempt to predict future diseases and find ways to control them amongst the population. We can perceive how the intention of biopolitics is focused towards the investment of biological life. In essence, Foucault shows, “Power has no control over death, but it can control mortality. And to that extent, it is only natural that death should now be privatized, and should become the most private thing of all.25” The exhibition gives importance to the creation of new technologies that allow the human body to expand its lifetime. The futural presentation of the exhibition reinforces a futural status where death is a factor taken into account, the intervention of politics as a desire to abound life, whereby the posthumanist notions of cyborgs Michael Foucault. ‘Right of Death and Power Over Life’, in Biopolitics a Reader. Timothy Campbell and Adam Sitze. (London, Duke University Press, 2013), 44. 25 Michael Foucault. ‘Society Must be Defended’, in Biopolitics a Reader. Timothy Campbell and Adam Sitze. (London, Duke University Press, 2013), 68. 24 8 Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020. and artificial intelligence connected to life, are being used to control further humanity, in exchange for longevity. For instance, Semi-Living Worry Dolls 2000 by Oron Catts and Ionat Zurr presents the first ‘artificial tissues’ engineered from human body cells. Each is given different preoccupations like: genetic engineering, destruction, biotechnology and capitalism.26 The installation highlights preoccupations of morality and ethics and how powerful companies prioritized by capitalism can create forms of life that may endanger nature. SECTION 5, SOCIETY AND HUMANS IN TRANSFORMATION The last section of the exhibition visions different kinds of robotics, computer programs, sensors, videos and video installations. In essence, German US-based artist Mike Tyka’s presents: Us and Them, 2018 installation encompasses an artificial intelligence network that creates tweets in relation to Donald’s Trump election in 2016, the computer programme used around 200,000 tweets created by boots accounts in his election. The artist utilizes the same technique, by making the AI print different opinions in relation to Trump. Thus, the installation is similar to Baudrillard’s Simulacra, where the virtual digital space blurs from the ‘real’ space. This articulation creates a simulacrum of power.27 Joshua Simon comments in Curating After the Global, “When considering Marx’s Eighteen of Brumaire with regard to the presidency of Donald Trump we are in a position to ask what happens the third time: when the farce is a total tragedy.”28 Also, “The 2008 crisis, and the implementation of austerity policies to benefit the financial sector, seemed to show elites that they still have the use of the state in its oppressive form. This is the tide that allows de-globalization politics navigate so smoothly. From Louis Bonaparte to Trump, there is a consistent pattern: fascists get to power through elections.29” The social media apps, which most of us ironically believe are a form of free expression and freedom have tended to be the most confined technology. Social Media Apps created a mirage and farce in regards to Trump’s presidency. Deleuze comments, “The societies of control operate with machines of a third type, computers, whose passive danger is jamming and whose active one is piracy and the introduction of viruses. This technological evolution must be, even more profoundly, a mutation of capitalism, an already well-known or familiar mutation.30” The Neoliberalist system we live in today appears as source of political freedom, this is only a mirage as capitalist systems of surveillance are embedded everywhere. Additionally, Zoom Pavilion, 2015 created by Mexican artist Rafael Lozano-Hemmer in collaboration with Krzysztof Wodiczko connects to Deleuze Societies of Control. Hemmer installation explicitly presents the notion of surveillance and control. Twelve cameras surround the room and with the use of "Worry Dolls". 2001. The Tissue Culture & Art Project. https://tcaproject.net/portfolio/worry-dolls/. Jean Baudrillard, “The Precession of Simulacra” in Simulacra and Simulation, trans. Sheila Farrer Glaser (Michigan: University of Michigan Press, 1994), 1-7. 28 Joshua Simon, The Way Things are Organized: The Mesoscopic, the Metastable ‘the Curatorial’ in CURATING AFTER THE GLOBAL: Roadmaps for the Present, Luma Foundation: MIT Press, London 2017, p.160. 29 Joshua Simon, The Way Things are Organized: The Mesoscopic, the Metastable ‘the Curatorial’ in CURATING AFTER THE GLOBAL: Roadmaps for the Present, Luma Foundation: MIT Press, London 2017, p.161. 30 Gilles Delueze. “Postscript on the societies of control” October, Vol. 59 (Winter, 1992), p. 6. 26 27 9 Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020. recognition algorithms they project the viewers movements, these electronics can even zoom closer creating a visual interplay of surveillance.31 Deleuze claims, “Types of machines are easily matched with each type of society – not that machines are determining, but because they express those social forms capable or generating them and using them.32” These forms of surveillance wish to control our individualized behaviour, as a political intention to control the population. To finalize, the artistic group Ouchhh presents DATAMONOLITH’s, 2019. This high definition video installation demonstrates how images today are migrants as they travel everywhere and its meaning changes abruptly. Joshua Simon comments upon the curatorial techniques “This form is distinct in meshing together entertainment and surveillance to such a degree that they are inseparable (Big brother, selfies, instant messaging, social media). From the digital as the material of capital (immaterial labor, touching images on the screen, cryptocurrencies), to the rhizomatic panopticon of the Internet, montagne has been replaced by Navigation, and the totality of the social is no longer the reference for the visual but the tidal liquidity of capital. With the digital and the urban converging,- from pop-up exhibitions in non-art spaces, to Instagram foodies, gyms and joggers, Airbnb, food trucks and other institutions of gentrification-metabolic synchronization-biopolitical and necropolitical - emerges as the form totalizing political control. 33” It appears that for humanity reality does not reconcile with itself, everything is so complex that this world appears the worst of all possibilities.34 It is essential to give visibility to the intangible, to question notions of control and surveillance through these artistic ‘political spaces’ or Foucault’s ‘heterotopias’ where criticality takes place in varying ways. Lozano Hemmer. 2015. Zoom Pavilion. http://www.lozano-hemmer.com/artworks/zoom_pavilion.php Gilles Delueze. “Postscript on the societies of control” October, Vol. 59 (Winter, 1992), p. 6. 33 Joshua Simon, The Way Things are Organized: The Mesoscopic, the Metastable ‘the Curatorial’ in CURATING AFTER THE GLOBAL: Roadmaps for the Present, Luma Foundation: MIT Press, London 2017, p.165. 34 Elias Canetti, Realism and New Reality in The Conscience of Words, .55-59. 31 32 10 Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020. US and THEM, 2018 (Figure 5 & 6) 11 Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020. Zoom Pavilion, 2015 (Figure 7) DATAMONOLITH, 2019 (Figure 8) 12 Ana Paola Flores - 33209338 Biopolitics in Future and the Arts: AI, Robotic, Cities, Life - How Humanity Will Live Tomorrow, 2020. BIBLIOGRAPHY, 1. Baudrillard, Jean. “The Precession of Simulacra” in Simulacra and Simulation, trans. Sheila Farrer Glaser. Michigan: University of Michigan Press, 1994, 1-7. 2. Botha, Nadine. 2019. "BEYOND THE FOLLY | DAMN° Magazine". DAMN° Magazine. https://www.damnmagazine.net/2019/03/05/beyond-the-folly-ecologicstudio-a-nostalgia-freeharvest/. 3. Bloch, Ersnt. ‘The Wish Landscape Perspective in Aesthetics: The Order of Art Materials According to the Dimension of their Profundity and Hope’ in The Utopian function of Art and Literature: Selected Essays, trans. Jack Zipes and Frank Mecklenburg, Cambridge, Ma: MIT Press, 1988. 4. Campbell, Timothy and Sitze, Adam. Biopolitics a Reader. London, Duke University Press, 2013. 5. Canetti, Elias. Realism and New Reality in The Conscience of Words, 55-59. 6. Deleuze, Gilles, “Postscript on the societies of control” October, Vol. 59 (Winter, 1992), p. 3-7. 7. ":: Ecologicstudio ::". 2019. Ecologicstudio.Com. http://www.ecologicstudio.com/v2/index.php. 8. Essop, Anas, Tia Vialva, Kubi Sertoglu, Paul Hanaphy, and Michael Petch. 2019. "Ecologicstudio & Partners Showcase 3D Printed In-Human Gardens At Centre Pompidou - 3D Printing Industry". 3D Printing Industry. https://3dprintingindustry.com/news/ecologicstudio-partners-showcase-3d- printed-in-human-gardens-at-centre-pompidou-149551/. 9. "Flickr". 2019. Flickr. https://www.flickr.com/photos/moriartmuseum/albums/72157712082742 10. Foucault, Michael, ‘Of Other Spaces,’ in Diacritics, Vol. 16, No. 1, Spring, 1986. 11. Galloway, Alexander R. “Are Some Things Unrepresentable?” The Interface Effect (2012), 78 – 100. 12. Hemmer, Lozano. 2015. Zoom Pavilion. http://www.lozano- hemmer.com/artworks/zoom_pavilion.php 13. Jagoda, Patrick. “Introduction: Network Aesthetics,” Network Aesthetics (2015), 1 – 37. 14. Kant, Immanuel, ‘Conjectures on the Beginning of Human History’ in Political Writings, ed. Hans Reiss, trans. H B. Nisbet, Cambridge: Cambridge University Press, 1991. 15. Karle, Amy. 2016-2017 “Internal Collection” https://www.amykarle.com/project/internal_collection_garments/ 16. "Mori Art Museum Collaborates With AI To Create An Exhibition Title | Mori Art Museum". 2019. Mori Art Museum. https://www.mori.art.museum/en/news/2019/08/3478/index.html. 17. "Future And The Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow". 2019. Mori Art Museum. https://www.mori.art.museum/en/exhibitions/future_art/index.html. 18. "Exhibition Worklist". 2020. Mori Art Museum. https://www.mori.art.museum/files/exhibitions/2020/01/27/faa_worklist.pdf. 19. Roche Francois. "Architectural Psychoscapes: Francois Roche". 2005. Mousse Magazine. http://moussemagazine.it/architectural-psychoscapes-francois-roche-2017/. 20. Simon, Joshua. The Way Things are Organized: The Mesoscopic, the Metastable ‘the Curatorial’ in CURATING AFTER THE GLOBAL: Roadmaps for the Present, Luma Foundation: MIT Press, London 2017, p.159-172. 21. Steyerl, Hito. 2013. "Too Much World: Is The Internet Dead? - Journal #49 November 2013 -E-Flux". E-Flux.Com. https://www.e-flux.com/journal/49/60004/too-much-world-is-the-internet-dead/. 22. "Worry Dolls". 2001. The Tissue Culture & Art Project. https://tcaproject.net/portfolio/worry-dolls/. Figures (1-8) "Flickr". 2019. Flickr. https://www.flickr.com/photos/moriartmuseum/albums/72157712082742 13