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INFLeXions No. 6 – Arakawa + Gins, a special issue of Inflexions

Approximately Arawakawa and Gins by McKenzie Wark

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    1. Not the least merit of this is that here writing resists the capture-weapons of other writing. This can't be tackled with paraphrases, categories, or comparisons. There's nothing here interested or interesting in being like something else.
    1. This occupies a region of writings where nothing is in common. Let's say: 'low theory.' High theory is institutional. Its language divides and covers fields. Its texts are authorized. Low theories outside of all that. Low theories common language, re-describing the world singularly.
    1. There is still theory there, in the sense of describing other-than things. There are describing relations. Or not relations, processes; or perhaps not processes, textures.
    1. Low theories practice inventings. This practice has no object. Its not a practice of something (practice of art, of architecture, of politics, or other fields). Here practice practices.
    1. Practice, properly practiced, can strand into language, common language, unspoolings texture language not usually feeling.
    1. "Epistemology is punctuation." (Bateson)
      Practice dissolving points into vectors.
    1. Or, same thing: "God is dead." (Nietzsche)
      Recursive reduction: Erasing God then erases is. Erasing is then erases dying. Language unmooring from all points.
    1. Language outside all points does not willy-nilly. Practice describing unfixity with a reduced set of shifters. Shifters not made of I, you, they, me, it (etc). Texture describings.
    1. In describings are comings and goings, precisely. Ever beginnings. There are nothing ends. Not endings.
    1. In describings, there are scales, but only because comings and goings are precisely. Redescribe boundaries as scale-changes.

    2. And so to building, building so that the textures common language. Describing textures commons practicing. Precisely indescribable.

    3. That's all, really.
  INFLeXions No. 6
Arakawa + Gins

Edited by Jondi Keane & Trish Glazebrook

Open Letters

Madeline Gins

Here Where it Lives...Biocleave
Jondi Keane and Trish Glazebrook 1-21

Mapping Reversible Destiny
Trish Glazebrook and Sarah Conrad 22-40

Escaping the Museum
David Kolb 41-71

Jean-Jacques Lecercle 72-79

The Reversible Eschatology of Arakawa and Gins
Russell Hughes 80-102

Chaos, Autopoiesis and/or Leonardo da Vinci/Arakawa
Hideo Kawamoto 103–111

Daddy, Why do Things have Outlines?: Constructing the Architectural Body
Helene Frichot 112–124

Tentatively Constructing Images: The Dynamism of Piet Mondrian's Paintings
Troy Rhoades 125–153

Evidence: Architectural Body by Accident, Destiny Reversed by Design

Blair Solovy 154-168

Breathing the Walls
James Cunningham 169–188

Technology and the Body Public
Stephen Read 189-213

Bioscleave: Shaping our Biological Niches
Stanley Shostak 214-224

Arakawa and Gins: The Organism-Person-Environment Process
Eugene Gendlin 225-236

An Arakawa and Gins Experimental Teaching Space – A Feasibility Study
Jondi Keane 237–252


The Mechanism of Meaning: A Pedagogical Skecthbook
Gordon Bearn 253–269

Wayfinding through Landing Sites and Architectural Bodies: Exploring the Roles of Trajectoriness, Affectivatoriness, and Imaging Along
Reuben Baron 270-285

Trajectory of ARAKAWA Shusaku: from Kan-Oké (Coffin) to the Reversible Destiny Lofts
Fumi Tsukahara 286-297

A Snailspace
Tom Conley 298–316

Made/line Gins or Arakawa in

Marie Dominique Garnier 317–339

The Dance of Attention
Erin Manning 340–367

What Counts as Language in a Closely Argued Built-Discourse?
Gregg Lambert 368-380

Constructing Poiesis: Storyboards for an immersive diagramming
Alan Prohm 381–415

Open Wide, Come Inside: Laughter, Composure and Architectural Play
Pia Ednie-Brown 416–427


What Arakawa Did
Don Byrd 428–441

Don Ihde 442-445

For Arakawa, Nine More Lives
Jean-Michel Rabaté 446–448


Approximately Arakawa and Gins
Ken Wark 448-449

A Perspective of the Universe
Erin Manning and Brian Massumi

Axial Lecture on Self-Orientation
George Quasha

Bob Bowen

Bob Bowen