Performance – Sina Seifee: *Retracing the Steps of the Wolf in the Story of the Three Little Pigs
Human Needs – At the Monopteros, English Garden / Primordial House and the Landscape of Menace
- 12:00 - 16:00 Uhr 2016-10-29
- RM Base
Once upon a time, a bunch of pigs built a complex laboratorial device that could read in visible formats images that appeared to be frequencies that suggested an existence of something that the archive registered as a wolf-like animal. The signifier fired a wage idea of a wolf in the pigs’ mind as they looked at its illustration on the monitor. The wolf was not seen or felt, in any modes of affective response, by no one for a very long time. So, it was irrelevant for the small pigs to even think about being afraid of such forgotten monsters. The device that they were using looked like an interior of a house. And it was practical to live there, as their lab became their home. The instrument was very much almost indistinguishable from the pigs themselves. Technically, it made itself constantly and automatically extend to any realm of existence that the pigs would raise their index fingers at. The machine indexed for them, revealed a noise: it was a low res image of a canis. (The image represented itself in the interface through a complicated mathematical algorithms and analytical processes, which was only readable after rigorous translations and efficient decoding.) The record of the wolf immediately got imported in the database and registered in the archive with an ID that was unique in the whole universe. They called that house Wolf’s Chamber.
ຈل͜ຈ ʕु•̫͡•ʔु (;´༎ຶٹ༎ຶ`)
In the story of the Three Little Pigs (TLP) the main question remains: what is architecture? Or, what are the metaphysical origins of architecture? In order for us to start practicing the ways we might be able to read, or to disarticulate the “readable” in any narrative, we must think about space and how it is articulated in the story. Every story is about the appropriation of meaning. The TLP takes over by appropriating the meaning of space and transforming it from space-as-environment to space-as-limit. This is about entering the space (pointing, directionality, indexing the way a bullet might enter a space) versus filling (for example how gas fills in a space.) It would be too easy to blame the wall and firewall for this. I would argue that the way architecture makes things proper in TLP is through the ways it makes techno-labyrinthine constructions against the idea of foreign invasion. Labyrinth is when the wall fills the space, instead of immediately representing spatial demarcations. It is a psycho-architecture as easy and open space, but delayed and obsessed with direction and distinction, a slowly-violent civilizing structure, integrating your momentum into its own bureaucratic velocity—by the time you reach the core you are finished. You are meat. When the wolfi finally manages to hack in the house, he finds himself in a cooking pot, on the pigs’ dinner table. He is assimilated to pig.
In a cognitive sense, wolf is the issue of a pictorial content. Can we say that he has no physical existence? It is the housing of the pigs that gives relevance of revealing the possibility of wolf, and not in reverse. In one’s wolf’s grave-robbing imagination, the pigs’ structure appears as a mausoleum, a free-standing building in the middle of the “wild.” Not attached or hanging on something else. Animalizing the space. Giving meaning to the speechless wolf. For all we know, the wolf never shows interest in murder. All he pronounces in the story is “May I enter, please?!” Is he attracted to the house or the pigs? We can’t know for sure. But he has a particular taste. We don’t know which mechanisms supervise his aesthetic taste or what is registered as tasty here. But the wolfi of the story is defined by his precise taste for threesome pig-style interiorities. And pigs are defined by their tastelessness and omnivorocity. I say they are good match. But tech won’t allow it. It is installed in advance to protect the proper name of the center. The pigs’ house is not just building for living, it also always includes structures for work and worship. TLP being at their home safe and secure with rootedness and permanence, structuring the “inner-space” and “proper” forms of inhabiting existence; we must unleash metaphysics on them.
Pigs don’t build, they rebuild. The imaginary pressure of the wolf pushes the demands of rebuilding that would soon create new disciplines and catalysts for inventing new materials exceeding all limits of building. How the project of post-wolf architecture is going to bring out the building to a global-city? The early settlers used an existential vacuum-cleaner to give birth to a city. They had to assume there is “nothing there.” After building with geometry, something ungraspable was also produced, a trace of a horror of that which could not be represented in the new geometry of dwellers. We want to, but cannot cognize it, we can only build according to the ways it is suppressed. In the world of TLP the wolf relates to this sublime figure—the fearful and irregular forms of external nature. When the pigs look outside the house, in the landscape of menace: the observation is technological and externalized, the pig’s psycho-architectural body and wolf’s fictional data constitute a single field on which inside and outside are cofounded. “May I enter, please?!”
Towards a theory of opacity: the TLP hunts the reader historically till the doorsteps of Heideggerian home-based Dasein. In an architectural sense of separation, one thinks of the function of the wall as well as the self at home existentially with oneself, or better, one-to-three-piggy-self. The material of the wall has to endure a performance-test under the intrusion of the wolf, setting up in categorical indexing an allegory of space. No wonder that the three little pigs are alike, representing the operation of the same, their difference is in their engineering a better and stronger separation, three solutions to one problem. Drawing on sand, glass, wood, cement, firewall, laser, layers of safety and security has to be built upon, presenting a riddle for the view of the wolf. In their project, building a house is a discourse in which knowledge equates visual automatic-danger-recognition. Bullied or built by the pigs, the wolf is never revealed rather thematized, silenced, and grasped in an ideologically positioned house-in-the-woods. On which topological proprieties is the concept of the wall interlocked? What kind of theoretical fitness wolf’s character has to master in order to perform a negotiative intrusion? And what is wolf’s relationship with desire, will or wall, and the open-door (eat me)?
- Gulielmo Jacobo's Gravesande Physices Elementa Mathematica. Genf 1748, S. 878, Tafel 109. Courtesy of the artist