72 EAAE no 35 Teaching and Experimenting with Architectural Design: Advances in Technology and Changes in Pedagogy
2 Walter Benjamin, "the Work of Art in the Age of Mechanical Reproduction" in: illuminations,
ed. Hanna Arendt, trans. Harry Zohn (New York: Schocken Books, 1969)
3 The use of the pair touch and sight connected to the distinction made by art historian Alois
Rigel (1858–1905) between two kinds of visual experience: the optical which is connected
to the outline of distinguishable objects in deep space; and the haptic which conceived as an
attachment to a surface.
Neil Leach concept of belonging refers to Judith Butler's approach of 'performativity', that
relates to the way the subject acquires his/her identity. It is precisely our actions and behav-
ior that constitute our identity and sense of belonging. [Neil Leach, Camouflage, (MIT Press,
Cambridge, MA: 2006)]. We also relating to another sense of the term in J. L Austin concept of
performative utterances. Performatives operate in such a way that saying of it makes it so; it is
the action that is executed in the statement itself. [J. L. Austin, How to Do Things with Words,
ed. J. O. Urmson and Marina Sbisá. (Cambridge, Mass.: Harvard University Press, 1962)]
5 Gilles Deleuze, A thousand Plateaus, trans. Brian Massumi, (University of Minnesota Press,
Minneapolis 1987), p. 11
6 In this sense the diagram differs from 3 types of signs identified by Charles S. Peirce semiot-
ics: the icon, the symbol and the index. While the icon and the symbol are representations of
their objects; The Index is physically driven sign, sets up cause and effect relationship with
its object. The index, which is not dependent on similitude, is a sign of the real. Through the
indexical the diagram connected to the actual.
7 Ben Van Berkel and Caroline Bos, "Diagrams – interactive instruments in operation" , in ANY
23: Diagram Work: Data Mechanics for a Topological Age, December 1998
8 According to Lev Manovich, new media shifts from visual representation to a new paradigm-
that of the database. Following art historian Ervin Panofsky's who saw in linear perspective
the "symbolic form" of the modern age, Manovich indentify the database as the new symbolic
form of the computer age. The database is a new way of experiencing the endless and unstruc-
tured collection of images, texts, and other data records of digital age. (Manovich, "Database
as Symbolic Form", in The Language of New Media, (Cambridge: MIT Press, 2001).
9 W. Benjamin, "the work of art", p. 236
Acknowledgment
We thank Einat Manoff for her insightful comments.
Authors
Carmella Jacoby - Volk, a senior lecturer in the Interior Design Department, Colman College, Israel,
in which she teaches both theoretical seminars and design studios and is in charge of composing of
academic programs. Founder and Editor in Chief of Block Magazine, a periodical for Architecture,
Media, Theory and City
Anat Messing, Designer, lecturer the Interior Design Department, Colman College, Israel, Currently
studying for her Masters at the Cohn Institute, Tel Aviv University. Editor in Block Magazine.