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Themesicon: navigation pathMapping and Texticon: navigation pathThe Carthographic View

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haunted Gaudi and all of art nouveau. Many works were created—«Mobius House» by Stephen Perella, «Embryological House» by Lynn2, the «Interactive Map of the Project and of the Performativity»—in order to build a bridge based on flux; there are also Mark Burry’s «Paramorphism» and «Perplication» [3] of unstable topologies, «Flux-House» by Paul Minific or «Trans Architecture» that is fluid in cyberspace or in the real (Marcos Novak, NOX (Maurice Nio and Lars Spuybroek)). Everywhere the curve gets the better of the straight line and the organic rediscovers its abstract powers that an entire formalist and minimalist culture had denied it.

2. From Artifices to Artefacts

An entire baroque culture had loved artifices and a decorative art that was stylized in order to grasp the multiple, curved or infintessimal perceptions, generated by the clair-obscur characteristic of a world in motion and open onto the infinite. This curved space, reflected in movement and projections, was reinvented in a neo-baroque numeric, that addressed only knots, spirals, folds and rolled-up or unrolled


combinations, where the object is «objectile» and the subject is «subjectile» as Gilles Deleuze analyzed it in «Le pli». In other words, this ultra-fast relational interaction puts an end to an entire vision of modernity theorized by Martin Heidegger: a Cartesian Subject, a stable Object, Truth and technique like «Arraisonnement de l’etant.» The modelization characteristic of the new numeric tools of programming and of interactivity positions man within things instead of in front of them. The map of the world is our interactive «envelope,» in a world with neither protection nor envelope.

3. Surfaces

The map projected the world onto a plane, and this surface-effect has only been generalized, transforming walls into digital skins and depth into an electronic flatbed. The architecture of hypersurfaces or Stephen Perella [4] ), digital tattoing of numeric images printed on panels (Jean Nouvel, Herzog and de Meuron), biotechnical and tactile camouflage (Lynn or NOX)—everywhere the fluid and ultra-thin covering has become the truth of the nude. And here the artists

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