Wednesday, June 18, 2014
Monday, June 9, 2014
Publication in conjunction with:
THE FOURTH COLUMBIA CONFERENCE ON ARCHITECTURE, ENGINEERING AND MATERIALSMARCH 30 — APRIL 1, 2011
Details of the conference
The traditional modes of production like oil painting made possible the flexible representation of flesh in bourgeois culture.
The development of photo emulsions made possible the instant image, digitalization and the net, the all-over delivery of information.
New polymer materials together with digitally aided technology make possible a new type of composite corporality.
These plastics change the predictability and sensations of objects in relation to the body and between the objects themselves. Examples are numerous but some are as intimate as sex toys and medical silicone or as extroverted and structural as silicone sealants in glass steel curtain walls.
Most uses of polymers are as instruments for the circulation of flows; the tubing between the body and medical machines, the machine parts in the form of gaskets cushioning rigid parts, and in the making of electronic chips.
This role as a sealant, circulant, cushion, gasket, filler or prosthetic make new polymers essentially the passage between bodies and objects. They are a structural plastic passage between rigid entities and soft ones. They are in the interstitial spaces of everything that matters.
They are both what makes information possible and the form of in-formation, an actual process of informing and forming. Plasticity is present at the level of the digital information, hard mold formation, and the distribution of information.
These new plasticities act as the flexible aura between things, a plastic subjectification.