Work, Body, Leisure — Marina Otero Verzier and Nick Axel ...
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Work, Body, Leisure — Marina Otero Verzier and Nick Axel, Editors Published in conjunction with the Dutch Pavilion at the 16th International Architecture Exhibition of La Biennale di Venezia
Transcript of Work, Body, Leisure — Marina Otero Verzier and Nick Axel ...
Work, Body, Leisure — Marina Otero Verzier and Nick Axel, Editors
Published in conjunction with the Dutch Pavilion at the 16th International Architecture Exhibition of La Biennale di Venezia
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6 Marina Otero Verzier, Work, Body, Leisure73 Constant Nieuwenhuys, New (sic!) Babylon 77 Mark Wigley, Constant Dialogue 91 Henk Ovink, No Time to Waste 97 AMO, Splendid Isolation103 Víctor Muñoz Sanz, Researching Automated Landscapes 113 Het Nieuwe Instituut, Automated Landscapes127 Manuel Shvartzberg Carrio, Automated Architecture of Leisure: Palm Springs, 1962145 Marina van Zuylen, A Proper Occupation154 Pier Vittorio Aureli & Maria Shéhérazade Giudici, The Form of Otium: Labor and Leisure in Ancient Greek and Roman Domestic Space 163 Annemarie de Wildt, Sex for Sale175 Silvia Federici, Wages Against Housework183 Markus Krajewski, Elektra in the Kitchen189 Beatriz Colomina, The 24/7 Bed
205 Nathalie de Vries, Offices of To-Morrow211 Simone C. Niquille, What does the Graphical User Interface want? 231 Femke Herregraven, Hyperscaler Ecotones239 Jonathan Beller, Derivative Living: Informatic Subsumption or Platform Communism? 247 Ekim Tan, Play the City253 Francesco Marullo, The Jungle271 Amal Alhaag, An experimental note on technologies of certain bodies 279 Egbert Alejandro Martina, The Abolition to Come289 Ayesha Hameed, Retrograde Futurism299 Paul B. Preciado, Voguing on the Roof of Corporate Architecture: RIP Wu Yongning313 Extended Program315 Biographies319 Image Credits
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Femk
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Femke Herregraven
Hyperscaler Ecotones
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Work
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On November 17, 1988 at 14:28 hours, the Netherlands was the second country in the world to become connected to NSFnet, a precursor to the internet. In November 2010, leaked Unites States Diplomatic documents re-vealed how two Dutch coastal towns—Beverwijk and Kat-wijk—were listed as critical points for the (inter)national security of the United States. Both places are landing sites for fiber-optic cables (Tat-14 and AC-1). In 2013, NSA documents leaked by Edward Snowden revealed how several telecom operators played key roles in helping the British intelligence infiltrate several global fiber-optic networks. Among these were the sub-marine cables TAT-14, which lands in Katwijk; Circe North, which lands in Zandvoort; and Ulysses, which lands in IJmuiden.
In 1893, Rudyard Kipling already described the spell-binding activity of sending signals through cables on the ocean floor in the poem The Deep Sea Cables:
Here in the womb of the world – here on the tie-ribs of earthWords, and the words of men, flicker and flutter and beat–Warning, sorrow and gain, salutation and mirth–For a Power troubles the Still that has neither voice nor feet.They have wakened the timeless Things; they have killed theirfather Time;
Joining hands in the gloom, a league from the last of the sun.Hush! Men talk to-day o’er the waste of the ultimate slime,And a new Word runs be-tween: whispering, “Let us be one!”
Words of men, whispering, and “let us be one,” forecast-ed rather poetically how a planetary communication in-frastructure would not only be shaped by humans, but how it would, in turn, shape humans and society. Spatial infra-structural technologies have agency and perform on their own, thereby sculpting our geographical, legislative, and political landscapes. Dutch shorelines are not excluded from this agency, especially not since the landing of deep-sea cable in the early 2000s. From this moment on, the Dutch beaches can be read as digital ecotones.
“Ecotone” comes from Greek and describe a place of tension. It describes the place where two ecosystems meet, e.g. land and sea. To this we can add another eco-system, a machine ecology, which operates on the Dutch shorelines and hinterlands ac-cording to its own logics and needs. The result is a layered ecotone that stitches water, sand, organisms, deep-sea cables, recreationists, water currents, and landing stations together with infrastructure space.
Coined by Keller Easter-ling, infrastructure space describes spaces as a mediumof information, as “an op-erating system that shapes the city in which information ‘resides in invisible, power-ful activities that determine how objects and content are organized and circulated.”1 If we follow the prediction of the Dutch Datacenter Association, this infrastructure is to grow exponentially. The 2017 report Room for Growth mentions how the digital information industry has grown to be a primary engine of the Dutch economy and a digital gateway to Europe.
When describing how Dutch data centers have grown to a billion-dollar in-dustry in the last fifteen years “almost completely under the radar,” “these modest buildings,” the foundation of the (digital) economy, prove Easterling’s point on how in-frastructure space can remain unstated yet is nevertheless consequential.2 68% of mul-ti-tenant Dutch data center floor space is currently locat-ed in the Amsterdam region, but is expected to rise to 75% over the next three years. The growth which is most antici-pated is however not of urban, multi-tenant data centers, but of hyperscalers: data centers that are custom designed, built, and managed by high end players such as Microsoft, Google and bol.com them-selves for the purposes of cost efficiency and control.
Room for Growth men-tions Microsoft’s and Google’s plans to add an additional 140,000 m² of datacenter floor space to their current 44,000 m². This would give them a footprint comparable to the combined area of all multi-tenant data centers in Amsterdam. This data center floor space would not be built in cities like many other Dutch data centers, but close to shorelines, green power, and affordable locations in Noord-Holland and Gronin-gen. Easterling reminds us how “some of the most radical changes to the globalizing world are being written, not in the language of law and diplo-macy, but in these spatial, in-frastructural technologies.” 3
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Femk
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North Holland, Groningen, and its shorelines are becom-ing the backdrop for the ex-panding (digital) Dutch econ-omy. They are also becoming hotbeds for an expanding infrastructure space and geo-politics. In that sense, the line in an earlier report that states how tech companies “choose the Netherlands as the place to conquer Europe”4 might be taken quite literally. For many centuries, shorelines symbol-ized dangerous frontiers and were doormats for invasion by foreign sea powers, and they continue to be contested plac-es for international contact. And as earlier leaked NSA documents reveal, also places for future surveillance.
In the meantime, new sin-gle tenant hyperscaler data centers will be built and mimic another service industry that the Netherlands is famous for: planning and facilitating tax avoidance. In terms of infrastructure space, the large “rooms” of the single tenant hyperscaler data centers are not any different from the tiny “rooms” of small administra-tive trust offices which host thousands of mailbox subsid-iaries, even those of hyper-scaler companies.
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Work, Body, LeisureMarina Otero Verzier and Nick Axel, Editors
ISBN 978-3-7757-4425-6
Published byHet Nieuwe InstituutMuseumpark 253015 CB RotterdamTel. +31 10-4401200www.hetnieuweinstituut.nl/
Hatje Cantz Verlag GmbHMommsenstraße 2710629 BerlinTel. +49 30 3464678-00Fax +49 30 3464678-29www.hatjecantz.deA Ganske Publishing Group Company
© 2018 Het Nieuwe Instituut, Rotterdam, Hatje Cantz Verlag, Berlin, and authors.
Printed in Italy
All rights reserved. No part of this publication can be repro-duced in any manner without permission in writing from each copyright holder: Hatje Cantz Verlage, Het Nieuwe Instituut, the authors, and image right holders.
Every effort has been made to contact copyright holders of images published herein. The publishers would appreciate being informed of any omissions in order to make due acknowl-edgement in future editions of this book.
EditorMarina Otero Verzier
Managing EditorNick Axel
ContributorsAmal Alhaag, AMO, Pier Vittorio Aureli, Jonathan Beller, Beatriz Colomina, Silvia Federici, Maria Shéhérazade Giudici, Ayesha Hameed, Femke Herregraven, Markus Krajewski, Egbert Alejandro Martina, Francesco Marullo, Víctor Muñoz Sanz, Simone C. Niquille, Henk Ovink, Paul B. Preciado, Manuel Shvartzberg Carrío, Ekim Tan, Nathalie de Vries, Mark Wigley, Annemarie de Wildt, Marina van Zuylen
Director of ResearchMarina Otero Verzier
ResearcherKatía Truijen
ArchivistEllen Smit, Heritage Department, Het Nieuwe Instituut
TranslationsMiles Niemeijer (164–170), Lua Vollaard (74–76; 282; 284; 286)
Graphic DesignHans Gremmen
TypefacesSF ProApple Garamond light Project ManagementClaire Cichy, Hatje Cantz
ProductionHeidrun Zimmerman, Hatje Cantz
PrintingLongo SpA, Bolzano; Longo AG, Bozen
PaperCyclus Offset, 140 g/m²
BindingBarizza International
Published in conjunction with the Dutch Pavilion at the 16th International Architecture Exhibitionof La Biennale di VeneziaWORK, BODY, LEISURE
CommissionerHet Nieuwe InstituutGuus Beumer (Director, General & Artistic)Adriana Strating (Director, Business & Development)
CuratorMarina Otero Verzier
ContributorsAmal Alhaag, Beatriz Colomina, Marten Kuijpers, Victor Muñoz Sanz, Simone C. Niquille, Mark Wigley
Extended ProgramJane Chew and Matthew Stewart, Northscapes Collective (Hamed Khosravi, Taneha K. Bacchin and Filippo laFleur), Noam Toran, Giuditta Vendrame, Paolo Pattelli, Giulio Squillacciotti,Liam Young
Art DirectionMarina Otero Verzier, Guus Beumer
Graphic DesignHans Gremmen
Exhibition DesignMarina Otero Verzier, Raphael Coutin
Assistant CuratorKatía Truijen
Curatorial AssistantFlora Bello Milanez
Exhibition Design AssistantJere Kuzmanic
ArchivistEllen Smit, Heritage Department, Het Nieuwe Instituut
Project LeadChris van Bokhorst (de Projectstudio), Linde Dorenbosch, Judith Oefner
Producer Jurrian Fakkeldij(de Projectstudio)
CommunicationsChristiane Bosman, Eveline Mulckhuyse
Web MagazineCathy Brickwood
Exhibition ProductionBouwko Landstra
