Here is the video, on Vimeo, with conference abstract below:

Open Wide, Come Inside: laughter, composure and architectural play. from pia ednie-brown on Vimeo.

This video is a presentation for an academic online conference in March 2010: the 3rd International Arakawa and Gins Architecture and Philosophy Conference. http://ag3.griffith.edu.au
It is the video presentation for the Art and Architecture stream of the conference. The video is composed as a mock episode of the children’s TV show, Play School, intersecting with an academic paper.
This is the abstract for the paper:

My video presentation, which I am aiming to land somewhere between a lecture, an intimate confessional, and the pre-school TV show, Play School, is concerned with the way in which Arakawa and Gins have generated an evolving open system, and the mechanisms through which that system elusively hold together despite radical internal disparity. I suggest that this openness is sustained through simultaneously resisting coming to rest or finding explanatory closure, while maintaining a firm grasp on an elusive quality of connection. Turbulence, vitality and incongruity enter co-created loopiness, openly snowballing into a perpetual motion machine. Their buildings are an integral part of this machine, but their architecture is that machine.

But its not really a machine, it’s an organism-person-environment dynamic – a three part cleavage that plaits infinite strands of hairy connection into an open loop. What most arouses my interest, is the performative, transversal nature of their compositional glue – or in other words, what holds this dynamic together, and keeps it rolling. This I try to personify in terms of the architecture of shared laughter. The act of laughing together becomes an affective diagram and embodiment of their notion of bioscleave.

These characteristics of Arakawa and Gins make them exemplary cases of what I describe as ‘ethico-aesthetic know-how’ – or the art of emergence, which at best is a capacity to resonate in a heightened awareness of affectivity amidst all our organism-person-environment engagements. Here, we find a compositional coherence that is dynamically behavioural, something that might be found, say, in the complex of feelings that animate a face into a smile, rather than in the formal arrangement of a smiling face. And from there the question becomes, what can this teach about composing buildings that can laugh along with us?

Kim Bridgland's hairy house. First exercise.

Hot and Hairy:
biotopology and new architectural life.

Pia Ednie-Brown, with Simon Sellars and Jessica In.

“Your actions cling to you and respond to you as if they were growing out of you like fingernails. Your house becomes your pet or you become the pet of your house, or a mixture of the two.” Arakawa and Gins, Architectural Body (32)

Can we radically alter our bodies, thoughts and actions through architectural configurations? What kind of currently unimaginable relationships could we foster with our architectural surroundings?

Drawing on the techniques of Arakawa and Gins, who provocatively suggest that architecture is a tool with which to learn how to not die, we will be designing a series of research community developments, or micronations, that are designed to evolve bodies through architectural experimentation.

Based on a scenario set in about 40 years from now (2050), and with reference to relevant historical work from about 40 years ago (1970) we will test, expand upon and develop the suggestions of Arakawa and Gins, while drawing upon contemporary work wedged in the cleavage of these 40 year leaps, such as Patricia Piccinini, Stelarc, SymbioticA, R&Sie, biothing, Greg Lynn, Sabine+Jones, and others.

All students will be provided with digital ‘material’ to work with, in exploring techniques. A second class in the lab, with Jessica In, will be conducted every Tuesday night to facilitate this. Familiarity with Rhino is advisable for this studio project.

This studio will be in dialogue with a seminar with the same class time, run by Simon Sellars, ‘the body is the city’, where students will be elaborating upon and feeding into the community scenario we design, through other media such as film, images, and text.

In November 2009, we held a 5 day intensive workshop in the ‘digital wet laboratories’ in the School of Applied Science (Biosciences) at RMIT. The workshop is run by Oron Catts and Greg Cozens, of SymbioticA.
The workshop is an introduction to biological techniques and issues surrounding the manipulation of living systems. Artists, designers and researchers from various disciplines engage in the biological science lab to utilise language and techniques into their practice and research. Through applied ‘hands-on’ methods, the broader philosophical and ethical implications of human intervention with other living things will be explored.
The workshop is part of the ARC Discovery research project we are doing.
Regular posts were made to the Plastic Futures blog, where there will also be a twitter feed for any of the participants who engage in such practices.
A day by day account can be found in here: Plastic Futures

I felt very honored to give one of the keynote presentations on Friday, Sept 18th. Brian Massumi and Andrew Benjamin presented on the first night (17th), and myself with Erin Manning on the second night.
My presentation was called ‘The Erotic Return’, where I discussed how states of affective intensity have more to offer the research we do as designers than we have cared to acknowledge. The erotic is a somewhat exemplary category of affective intensity because it’s hard to really think about eroticism without and being aware of feeling, or bodily movements. As George Bataille wrote in his study on the subject: “Eroticism is an experience that cannot be assessed from the outside in the way an object can.”

The tingles and flushes of emerging erotic experience are not usually acknowledged features of a design discourse. Encountering an excruciatingly beautiful drawing might make you tingle, taking you to the verge of an erotic experience, but I shudder to think of the awkward pause that might arise in a social or professional situation should you give voice to your experience of that tingle. What I was trying to convey in the presentation, through some project work examples, was: if we are affected by engaging with, say a creative work, we enter into an even more complex, dynamic, aesthetically driven process when we produce creative work, and that this is a very significant level of awareness for research by creative practice. This argument has strong links to those developed in my PhD ‘The Aesthetics of Emergence‘, but is a development upon it. I hope to work up a paper or three on the connections between emergent research methodology (commonly known as ‘post-design rationalisation’, which I thorough believe is both valid and necessary for creative work), and the erotic (or, what I am calling in a Nietzschian play, ‘The Erotic Return’).

you need to click on the image to see it properly though: