{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"24410bf1-91f1-4e6b-9613-e64f0132d341","title":"The Stack On Software and Sovereignty","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9780262029575","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"24410bf1-91f1-4e6b-9613-e64f0132d341","id":"24410bf1-91f1-4e6b-9613-e64f0132d341","uuid":"24410bf1-91f1-4e6b-9613-e64f0132d341","title":"The Stack On Software and Sovereignty","normalized_title":"thestackonsoftwareandsovereignty","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9780262029575","isbns":["9780262029575"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":517,"navigation_url":"https://workshop.closeclaw.top/ai/book/24410bf1-91f1-4e6b-9613-e64f0132d341","title_url":"https://workshop.closeclaw.top/ai/title/The%20Stack%20On%20Software%20and%20Sovereignty","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/24410bf1-91f1-4e6b-9613-e64f0132d341/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/24410bf1-91f1-4e6b-9613-e64f0132d341/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/24410bf1-91f1-4e6b-9613-e64f0132d341","page_url":"https://workshop.closeclaw.top/api/ai/books/24410bf1-91f1-4e6b-9613-e64f0132d341/page","search_url":"https://workshop.closeclaw.top/api/ai/books/24410bf1-91f1-4e6b-9613-e64f0132d341/search"},"page":{"printed_page":408,"pdf_page":422,"physical_index":422,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"75740853c66af8e72b398f5f6583a331dae224829632a61409ef0b65ab5ebc11"},"chapter":"Fheck The Stack |On Software and Sovereignty Benjamin H. Bratton","content":"33. Some updated version of Perec ’ s typologies, perhaps? Georges Perec, Species of Spaces (Melbourne: West Space, 2009).\n\n34. For example, for the designer (or the User), the function of “ illumination ” can come from a window (architecture) or a lamp (furniture), sitting from a chair or a fold in the wall, cooling from a walk-in freezer or a refrigerator, and so on. Choosing which will be solved by fixed designs and which by unfixed, by architecture or by furniture (that is, by envelope or by apparatus), underwrites all programmatic strategies.\n\n35. Perhaps, however, the disciplined section for which OMA and its descendant studios are known for will in time come to play a different but equally important role. Instead of registering and exacting an orderly subdivision of urban programs according to a deep sociological insight into these behaviors placed on an architectural stage, the fixing of program into an overdetermining plan will be more and more at odds with the normal flow of things. Instead of anticipating and accommodating the City’ s organic self-organization, sectional strategies of are used as a slowing, braking, and grating technique of resistance to those flows. They may be modern space ’ s revenge on the programmatic confusion of the virtual envelope.\n\n36. Virilio remarks from the same interview, “ In this case too, if time is money, speed is power. This is why we are constantly in a race. What is a race? It means taking hold of power by getting there first. And at the same time we are on horseback, on foot or driving a car. It ’ s very clear that speed = power, and power = speed, and instantaneity, ubiquitousness and immediacy are the prerogatives of the divine. ” Quoted from the filmed interview with an interview with Sylv è re Lotringer “ Itineraries of the Catastrophe, ” Film presented by Lotringer at Mandrake Bar, Los Angeles, July 1, 2007.\n\n408\n\nNotes","previous_page":407,"next_page":409}