emoticon

Naomi Devil

EMOTICON

emoticon

emoticon

Noemi Anna rdg aka Naomi Devil

EMOTICON
Institut fr Architekturwissenschaften
Fachbereich Architekturtheorie
Technische Universitt Wien
English translation by Josina den Burger
Edited & distributed by Daibolus

Copyright: Naomi Devil 2009

emoticon

Naomi Devil
aka.

CONTENT
1. Introduction
2. Disturbed balance
3. Functionalism
4. Formalism
5. Immaterial Art
6. Cybernetic
7. The borderline between Sculpture and Architecture

7.1. A Segment of sculpture

7.2. Architectural features

7.3. Reflection past architecture

7.4. Function and Utility

7.5. Changing in the Architectural

7.6. Scale and proportions

7.7. Overlap with neighbouring genera
8. Architectural sculpture

8.1. Interaction with Architecture

8.2. Interaction with the Public

8.3. Interaction with Landscape

8.4 The Dematerialisation
9. The 5 Topologies

9.1. Time: Topology of Rhythms

9.2. Light: Topology of Light

9.3. Sound: Topology of Sound

9.4. Climate: Topology of artificial and natural climate flows

9.5. Space: Topology of Space
10. The Psychology of Emotions

10.1. Behavioural Theories

10.2. Cognitive Psychology Theories

10.3. Attributional Theories

10.4. Evolutionary Emotion Theories
11. Nikolas Schffer: Spatiodynamic Theatre and Shopping centre

11.1. Drama
12. The Structure of the Emoticon

12.1. Geometric Structure

12.2. Effector Group

12.3. Control Group
13. Space-critical Turning
14. Diabolus Cybernetic Art Research Team (CARP)
15. The Art Avantgarde

emoticon

emoticon
1. INTRODUCTION
Literature and Visual Arts were seen already in the Antiques as different Media, presenting Reality with different
instruments. Still it is proved that till the 16th centennial
both were viewed as a healthy hole. The from Plutarch
preserved remark of Simonides: Painting should be Silent Poetry and Poetry Speaking Painting, shows, that
both Arts were seen as related to each other. Although
the from Horaz in his Ars Poetica started saying: Ut pictora Poesis: erit quaeis showing a weaker equality of
Painting and Poetry. In his changed form it became a
sentence in the program of the Ut-pictura-poesis-debates
from Renaissance till Clarification.
In the 15th centennial, at the turning point from Christian
till Humanist Iconography it was prevailed, that imaging
was able to give Gnostic views. Advanced Insight is not
only reached through complicated Text constructions,
but also by Images. In this way there were no sharp borders between Science and Art at one side and Scientific
and Artistic Methods at the other side. The visual artists
worked with scientific tools: with central perspectives
and optical instruments. At the other side Leonardo has
used scientific themes with pictorially and artificial instruments, as shown by his Anatomy studies and Technical
constructions.
In the 16th centennial Science and Art separated.
In this centennial Galileo Galilee (1564-1642) has passed
the base of modern, scientific methods. The Clarification
raised a form of enthusiastic scientific activity and rapidly
dementing progress that leaded to a form where Science
and Art became totally separated.
Then in the beginning of the Computer Aeon a new start
was made by a meaningful cooperation of scientists and
artists, when both groups were intererested to investigate
the Forming logics and Electronic indications.
In research centres, groups of artists, musicians, technicians, and scientists started to work together in a more
advanced way. In 1967 the Experiments in Art and Technology (E.A.T) as a non-profit organisation was founded,

emoticon
to promote and accommodate the collaboration between
Engineers and Artists. The organisation was founded by
the engineers Billy Klver and Fred Waldhauer and the
visual artists Robert Rauschenberg and Robert Whitman
after they already worked together and tried out this collaboration in several and most of all Theatre festival 9
Evenings: Theatre and Engineering, The collaboration of
Artists, Engineers and Industry.
The MOMA in New York showed in an exhibition in 1968:
The Machine as Seen at the End of the Mechanical Age.
Curated by Pontus Hulten. In the parallel exhibition:
Some more Beginnings, the Brooklyn Museum in New
York showed a big amount of technical, electronic and
other medial projects. In the same year was organised
the exhibition; Cybernetic Serendipity. By the Institute for
Contemporary Art in London, and like the title says, showed cybernetic accidentally discoveries.
The exhibition: Cybernetic Serendipity, showed also
some works of the Hungarian Artist Nicolas Schffer.
Towers were and are still are in Architectural History
symbols of industrial power. His for Paris planned but
not created Tower could be seen as the symbol of the
intellectual power and characterizes the atmosphere of
the 60-ties.
In his book: Die kybernetische Stadt, Schffer describes
his future visions. We are, so he says, witnessing a revolutionary process that started with the French Revolution
in 1789 in Paris. And when the book was ready the process has not ended. He projects the started development
to 3 phases in this revolution:
1.
Revolution of Quantity for Quality In this first
phase the big amount of quantity of a group asks for a
growing demand/quantity of mostly material goods
2.
Revolution of Quantity for Quality In the second Phase the demand for more quantity from the group
shows a diminished quality of real cultural goods. Till they
are more or less overloaded by material and half cultural
planes.

Fig. 1. Ken Knowlton KC Gardner Computergrafik

Fig. 2. Ken Knowlton Akt Computergrafik

emoticon
3.
Revolution of Quality for Quantity for Quantity
of Quality.
In the third phase and because of the growing care of
the group for real cultural goods, the demand for quality
rises, and when a certain amount of quality is reached
there is a demand for a bigger quantity of quality. / Nicolas Schffer
The Revolution appears in every life and will finally lead
to a victory of the intellect. Schffer predicts, that where
masses have free entrance to information sources, bigger groups can enjoy the cultural goods of high quality.
He thinks that cooperation in all disciplines will strengthen
intellectual life. The next quote explains his views:
It is proven, that Quality far out will victory over Quantity. When people finally understand, or be educated to
understand, that the only solution for living on this world
is constructive cooperation, then the nation or the group
in that nation that is able to create people of a higher quality, using grey brain masses and well organised human
energy, naturally get the first role in leading matters over
the whole human groups or nations/Nicolas Schffer

Fig. 3 . Nicolas Schffer

In the past 40 years, since the Exhibition: Cybernetic Serendipity, we see a rapid development of computer technology. The Internet opened new ways of cooperations.
Several social networks were born. Virtual reality is become part of our reality.
In Anglo-American saying a cat has 9 lives, in Germany
just 7. Someone that is using Internet is in this way like a
cat, but more. In different networks he can have different
or more then one identity. The technical development has
come probably faster then Schffer even thought, but the
question is if we approached his dream any closer.
Second Life is one of the more beloved virtual worlds. It
seems to be only an entertaining medium but in fact its
a mirror of reality. The consumer arranges this world just
like he is used to in the real world. But there are several interdisciplinary groups that are accomplishing in this

emoticon
virtual world the second or third phase of Schffers revolutions theory and instead creating virtual/material wealth
are creating real cultural wealth.
In Second life there is a very vivid Art scenario going on.
Diabolus Art Space is one of the most successful groups.
Musicians, Visual artists and Technicians of all ages work
together and created together several large projects.
Since 2 years I work within this group.
When I have read Schffers book, the idea of a Spaziodynamic Theatre kept in my mind and interest. I decided
to develop this idea and for all it was close to my own
ideas and also because in earlier projects we always had
the ideas and views of Schffer in mind.
The concept of the new Project came fast and I started to
transform the idea into action. The team worked on it for
weeks. The concept was discussed in detail, new music
was composed, a new Theatre and stage was planned
and build, till finally the Project with the title: EMOTICON
was ready to show for an audience.
My goal was to examine Schffers work in this project,
from a closer view. By the analyses I lean also on the
thinking of Markus Stegman in his book: Architektonische
Skulptur im 20- ten Jahrhundert. I am looking for answers
on questions like:
How do the towers of Schffer interact in the landscape
and surrounding architecture?
How is the rhythm in space with light and sound?
What role climate and time events can play in Art?
What interactions are there between work and viewer, or
different viewers?
What is the meaning of form and function? Etc.
I also describe the Emoticon project and seek for differences and similarities. Due to the development of the
last 40 years the Diabolus Group has far better technical
possibilities and also a wider scala of artistic tools. What
are the real steps forward in this development? Where
can we use it to benefit? What is changed in our view of

space concept by this technical development? Are we

closer to a better future now or are the dreams of Schffer vanishing into the nothing? Many questions I hope to
get an answer on, also when just partly. Where it will not
give an answer I will formulate my thoughts.

10

emoticon
2. DISTURBED BALANCE
A clever, striking solution for a mathematic problem is
called: Beautiful, in professional circles, still beauty is not
a scientific but an aesthetic quality. Architects and artists
use frequently the golden section. They use mathematic
instruments to give their work an aesthetic quality. Many
examples can be given to show how close the relation is
between Science and Art. Even when this relation was
denied and scientists and artists walked strictly separated pathways, the renewed cooperation since the beginning of the computer-centennial proves again that Science and Art belong organically together.
Inside a living organism the balance inside this organism
cannot be disturbed without calling for an illness. The
sharp separation of Science and Art also leads to a schizophrenic state. Just when Artists and Scientists adapt
the working in this organic relation, the cooperation can
become exceptionally fruitful.
The separation of the organic unity and the schizophrenia over all characterize the 20th century. The different
is-men over valuated most one aspect of the artistic quality into the extreme and neglected all the other aspects.
The disturbed balance can lead into morbidly forms of
Art. The Art has to be morbidly maybe, when she is the
expression of a morbid society. The fatal history of the
20th century had to appear also in the Arts.
The schizophrenia of the last century shows up in everything around us as well in the smallest detail. For example, the exaggerated optimism of the 60-ties is not to
understand or to misunderstand, just like the pessimism
of today. In the 60-ties they managed to walk the first
steps in space, but in the same time we were very close
to total destruction by atom weapons.
Humanity had 2 totally strange identities, the optimist at
one side and the destroyer at the other side. And they
both seemed to not wanting to know each other.
Today the same thing is happening and we are confronted with all the problems predicted by the Club of Rome
and have to solve them, those problems however were

emoticon
recognised and the Internet has opened new pathways
for international cooperation. The confidention of the
masses give new hope. Just like in the 60-ties today there is no reason for optimism or pessimism. You never can
judge all on one chosen specific Aspect.
Also human itself mirrors the disturbed balance. The
Greek ideal of the perfect human, developing its body
and mind in balance is totally forgotten. Experts specialize on narrow departments. Professional idiotism is
everywhere. In a wide spectrum educated people are
also in culture circles rare to find.
This exaggerated accent on the chosen Aspect appears
also in the relation between form and function. Vitruvius
said that in a well build piece of architecture the qualities Firmitas, Utilitas and Venustas should be in balance.
Form and Function were in this case for him important
creatively aspects. During the 20th century the balance sometimes pierced towards the Form or towards the
Function.

Fig. 3 . Mondlandung 1969 (Foto:NASA)

11

12

emoticon
3. FUNCTIONALISM
In architecture and design, functionalism it is understood
as a form principal that the only clear aesthetic reflection
comes behind the form of the practical use of the building
or the instrument. The beginning of this thinking goes
back to the aesthetic theorists in the 19th century. (by
example Semper, Greenough).
The perception that the beauty of the form is already inside the functionalism of the architecture and the design
is published and explained by Luis Sullivan in 1896 in
his book
The tall office building artistically considered.
It is the pervading law of all things organic and inorganic,
Of all things physical and metaphysical,
Of all things human and all things super-human,
Of all true manifestations of the head,
Of the heart, of the soul,
That the life is recognizable in its expression,
That form ever follows function. This is the law.
The leading sentence about form, where it says that form
comes from function is described twice in the book, But
comes originally from Dankmar Adler, the partner of Sullivan. Adler again got the idea from Henri Labroust.
Labroust showed in his Library building in Paris, undisguised, almost on purpose created iron- architecture and
became by this a Pioneer of functionalism. Architects in
his time, like also Gottfried Semper, denied for a long
time the use of the new material like Iron, outside the
Building structures of Industrial buildings or Train stations. Fire danger has to be observed always when building a Library. This aspect was important in the use of the
new material: Iron. But it gave an unusual accent to the
aeststetic look of the iron construction.
The functionalism as a form principal expended in Germany by the founding of the German
Work association and the slogan: Objectivity and effectiveness.

emoticon
Later Functionalism became more into sight when the
terms, New building, Bauhaus style or new Objectivity
spreaded around and marked in this way the architectural language after the war towards the reconstruction.
Many times this principal in forms also called for abdication of all ornaments. It was forgotten that also the aesthetics have a function of itself. The formal poverty and
unrealistic view in the functionalistic planning grew more
and more and became since the beginning of the 70ties
a target of public critique. This critique changed into an
opposite movement in the 80/ties.
The new principals of forms became the term Postmodern. The upcoming of the Post-modern shows that
only functional considerations with the planning are not
enough.

Fig.. 5. Sale Labrouste

13

14

emoticon
4. FORMALISM
As an opposite towards Functionalism is the way of the
Formalistic Conception of Art, like for example, composition, colour, lines and textures. Looking for a personal
value in free comparative analyses of styles. The value of
the work is in the Autonomy of the Form and the content
aspects like theme and idea, the genesis and history of
the work, the context and personality of the artist were
neglected when it came to analyses.
The beginning of Formalism is already to find in the Antiques. The believe that the Universe was controlled by
godlike numeric relations leaded in Arts towards formal
considerations, where people tried to express the numeric relations in the artwork. Architectural constructs were
derived through strict rules and a basic size, The Interkolumnium.
Platon said that the world only could be recognised
through the spiritual way. This idea was For him the true
being. The perceptible Form is an image of real being.
The sensual Perceptive of forms was only conditional
and because of that never could be perfect. To understand the real value in the Essence of Things, people
should focus on the general and abstract the no real specificities of rare phenomenons. The artist should show
by abstraction of the form the true essence of things.
The pupil of Platon, Aristoteles understood the Art as a
process in styling. The experience of a piece of art can
be totally sensual or rational. During the clarification the
hypothesis was that one aesthetic experience should be
totally different then another. Kant said that `In every fine
Art is the essence of the form, where the form is the abstract of an idea and becomes the symbol of that idea.
For example beauty is seen as a symbol of the good.
Aesthetic experience leads towards moral Resonance.
Friedrich Schiller saw the Aesthetic as an instrument for
social and politic reformations. He Valued the mentally
therapeutic character of the aesthetic of the form.
In 1851 John Ruskin leaded with The Stones of Venice
the descriptive Form-anylisis and

emoticon
history of style to their first apogee. Because of capital he got from Vienna Ruskin could deduce abstract
basic Forms following the social conditions in that time.
The French painter Maurice Denis wrote in his article:
Definition Neo-Traditions in 1890, that a painting was in
fact nothing more then a surface covered with paint in a
certain order.
In the 18th century, when Spiritual Science was arguing
with Science, the Art Historic needed objective criteria
for Art appreciation. Heinrich Wlfflin voted for a Comparitive Form analysis and History of Style. He himself described his approach as Art History without a name. He
used at his lectures two slide projectors that gave him the
Possibilities to compare two pieces of Art. Mostly he
compared pieces of art from the Renaissance with works
from Baroque. The artists were not important with these
views. In the centre of his analysis stood the development of history of style. He tried to find commonalities in
certain epochs or countries and leaned on the findings of
Sensory Physiologies and Perceptive Physiology. He developed in his major work 5 conceptual opposites, where
he tried to describe the Formal differences between Renaissance and Baroque.
Linear Picturesque
Surface Depth
Closed Open
Unity Multiplicity
Brightness Ambiguity and Movement
Wlfflin distinguishes different levels of style. As an individual style the subjective viewing and painttechique of
an artist was known. The Group-Style is the joint Form
language of a school, a country or a culture society. The
term Time-Style gathers the over ordered, all comprehensive Form language of a century.
Another important representative of Formalism was Alois
Riegel; His theory is backed up by similar assumptions
and targets like Wlfflins.
Developing of the Form from itself (Independence of Artistic genius)

Fig. 6. Hyperformalismus DanCoyote Antonelli

Fig. 7. Hyperformalismus Juria Yoshikawa

15

16

emoticon
Linking the Form of development ( History of Style) with
Perception of History. The ambition to establish Art History as an academic discipline. Reject of a Metaphysics for
example after Hegel.
As Riegls theory says Styles do not develop beside each
other, but interfere with each other and can come to random moments. This way he could announce opposite to
Wlfflins works, that the History of Style was not easy
to insert and in the time it all began seemed to be anachronistic.

Fig. 8. Hyperformalismus Calimera Lane

Fig.. 9. Emoticon 1 Caravaggio Bonetto

The modern Formalism began in the United States. Clement Greenberg became in the 1930-ties one of the most
influential Us- American Art critics of the 20th century. He
had the ambition to an assessment of Art that only was
based on immediately perceptive view. He shares here
the Formalistic Assumption.
He concentrated on the essence of Materials and Techniques that were used at the genesis of an art piece. He
coined the Abstract Expressionism with the terms American-Type Painting and Colorized Painting. Greenbergs
perception to judge Pieces of Art strict after the Form,
leaded finally to banning the Spirituality, the Intellectual
Content in the Arts. And still today the impact of his actions is still to feel.

emoticon

Fig. 10. Living architecture Velazquez Bonetto, Josina

Burgess, Caravaggio Bonetto

17

Fig. 11. Emoticon 2 Josina Bugess, Velazquez Bonetto

Fig. 12. Living architecture Caravaggio Bonetto, Velazquez
Bonetto

18

emoticon
5. IMMATERIAL ARTS
The ambition to set Humanities at the same theoretic and
methodical level, where Science already was in the 18th
century did create an invisible braid, partly reciprocal Art
theories.
This complexity of different Art theories got even stronger
when the objectives of artists strengthened and during
the creating process also non-material media were involved.
Most of the art theoretic and aesthetic considerations did
see until the 20th century a piece of art as a material incarnation of the artists ideas. In the centre of the analysis
were the real appearances of the matter. The ambition
of art historic was to answer questions like how and with
what kind of techniques the artist used the features of the
material to achieve an artistic idea.
Of course the artists had to use during the creating process the impact of light, sound, climate, time and space,
but it can be seen as a quantum jump that it was theorized and set on the level of immaterial artistic medium.
The outcome is varied. It can be seen as a process of
de materializing of Art. Immaterial matter can be used as
a tool for art. Its for example possible that an artist only
uses the medium of Light to visualize his artistic idea. At
the other hand
The widened freedom of choices in using media let arise
new Art genres. Like for example architectural and cybernetic sculptures or sound installations.
The history of the middle European Art till our century
is from a constant increasing separation of the areas of
perception. The effect in more or less one area of perception stood against the Arts of life, where seeing, hearing,
feeling always messing with each other.
When Light, Sound, Climate, Time and Space are set on
the level of Independent Artistic
Medium, new ways will open, The effect of a piece of
art still can be limited on one area of perception, but the
artist can work in contrary to earlier practices with largely
immaterial media. New Art genres arise there where the

emoticon
separation of areas of perception were repealed. More
and more artists try to include all the areas of perception,
to stay successfully and get the attention in competition
with the always getting scarcer of resources.

Fig. 13. Lichtkunst Kunstlicht Karlsruhe

Fig. 14. Nicolas Schffer Lichtmobil

19

20

emoticon
6. CYBERNETIC
The artists are more and more dealing with the use of
Artificial Light and Sound, Artificial Climate and Immaterial Space and modelling Time. With help of Computer
technology micro timely units are always programmed
differentiated. The programming of these micro timely
units allows them to give a substantive content, when
Light and sound effects are used. We are witnessing an
evolution where the roots go back to the beginning of the
Cybernetic Phase.
Cybernetic was defined by its founder Norbert Wiener
as Communication Science, control and scheme of living organism and machines, also known as the Art of
Piloting. The Cybernetic explores the basic concepts of
piloting and regulation of systems, independent of their
background. This way different areas as machines, people or organisations can be compared. This was developed in the 1940ties by Scientists of the most distinctive
disciplines and inspired many different application fields/
Wikipedia/

emoticon

Fig. 15-18. Cybernetic Architectur (Caravaggio Bonetto)

21

22

emoticon
7. THE BORDERLINE BETWEEN SCULPTURE AND ARCHITECTURE
In the borderline between Sculpture and Architecture Nicolas Schffer describes in his book:
Die Kybernetische Stadt is future visions. Many of his
ideas became reality, in many ways also the presence is
differently shaped as we thought in the 60ties. Definitely
he assumed what important role the Interactive Functioning would play in the coming century. His towers as well
as his Spatiodynamic Theatre exhibit marks of interactivity.
Schffers many smaller towers, exhibited inside doors
can be viewed as sculptural works of art. The lesser realized bigger dimensional towers standing in urban environment and for the entire not realized Cybernetic tower
for Paris show a different generic society. They are to
localize in the borderline of Sculpturing and Architecture.
The overall accepted and spreader generic understanding is named Architectural Sculpture, Although the word
Sculpture is a little confusing.
Sculpturing is one of the oldest fine Art forms in the history of culture. The difference of sculpturing and painting is
in the three-dimensionality of the art. In sculpturing form
and image are experienced spatially through their use of
different materials and different techniques. The bandwidth of the used materials goes from classical materials
like stone, wood, ivory, metal, clay and plaster, to glass, a
diversity of artificial materials and to textiles.
The name Sculpture presents a certain sort of sculpture
art, that by its solid material and the
Manufacturing methods in the subtractive process, meaning by its cutting, redeem or hollowing characterizes this
material. Opposite of a Sculpture a Plastic is created in
an additive process, this means by adding more material
/Wikipedia/.
Maybe the name Architectural Plastic would be more fitting in several occasions.

emoticon
Indeed in the case of Schffers towers this is not about
subtractive processing. Those towers where build from
steel, light sources and many mirrors in an additive process.
7.1 A SEGMENT OF SCULPTURE
Sculptural features outweigh with the Towers, this way a
Genus belonging yields with the sculpture.
Architectural Sculpturing can be looked at as a feature,
comparable to the Environment or the Installation. She
does not exhibit a certain Style direction. Dominating in
the forming are Light, Sound, Space and Time and with
those is sought the end materializing of the work.
The close linking of Electronic and Cybernetic leads into
renewing of the Monumental Arts.
The Tower for Paris was planned as a Airy Structure
build from square, 2 meter thick steel
Pipes, as Schffer describes in his book. The adjective
airy sounds inappropriate and even funny when its talking about a construction of 2 meter thick steel pipes, but
when you think about the dimensions and the artifices in
the planning that are used to dissolve the construction
and give the image its floating in the air, then you can
imagine that Schffers Tower at least could got close to
the adjective, when it was really build.
With an average size of 59 meters the planned tower
would reach e height of 307 meters. To compare: the
10.000 tons heavy tower of Eiffel in Paris is 300 meter, counting the television antenna as well: 324 meter.
Schffer had planned an asymmetric form with specific
rhythm. Al parts of this skeleton would have a layer of
stainless steel slides. Inside at different heights
close or further away from the planned central axis, 14
hollow mirrors would be attached.
Besides that would be placed 200 parallel arms, aiming
towards another four rectangular
directions, 144 vertical axes were planned on what 363
mirrors would be attached. Every one of the 144 axes
would be driven in the plans from electro motors with variable speed. The drive mechanics should be linked to

Fig. 19. Nicolas Schffer Der Turm fr Paris

23

24

emoticon
a control centre that would represent the essential part
of the cybernetic system. As well the concave as the convexes side of the hollow mirrors should reflect the shining. The hollow mirrors and the turn able plane mirrors
would reflect as well in stillness as in moving a majority of
shining, that would have send out all around the tower in
every direction. At the tower 2085 electronic flashes and
2250 partly coloured headlamps would be attached that
each would aim at the turn able plane mirrors that were
linked to the turn able axis. 15 Light guns would be attached to the top of the tower and beam 2 kilometres up so
bee night the height of the tower should be optical higher.
The on and out switching of the light guns and electronic
flashes also would be controlled bee the control centre.
The attached mirrors reflect the surrounding and the shining the light sources and in this way
Dissolve the contraction. The real and optic dimensions of the architectural sculpture distinguish essentially,
where the light guns rythmize the surrounding space and
this space becomes part of the Art. The optical dimension of the steel construction became because of that of a
superior magnitude.
The construction raises more in height then at the base to
create the effect the tower floats.
Schffer did understand the Cybernetic distribution, the
steady motor-driven movement and
Lightshow as Symbol of the Future. But here he missed
the actual direction of development.
In todays perspective the concept of sustainability is in
the centre of future architecture.
In Urban structures and also in the design and performance is the value preserving, resource management
with materials and constructions required.
This means a consequent introduction of intelligent technologies, innovative building,
environmentally-friendly materials and environmentally
energy-harvesting.
The energy usage for the planned tower is not agreeable
with the concept of sustainability.

Fig. 20. Nicolas Schffer Chronos

7.2 ARCHITECTURAL SCULPTURE

emoticon
Architectural Sculpture characterizes itself through clearly identifiable architectural features.
It is not about easy formal imitating architectural individual elements or related systems.
More deciding is the meaning, the enrichment of expression, where the vocabulary of the artist its widened with
elements of architectural language. For example, the
use of the tower form implicates, that all abstract concepts that were aligned to these architectural types for
centuries were automatically adapted into the meaning
of the work. Individual elements like pillars, poles, roofs,
gables, doors, windows or window openings or walls
should not be seen as geometric builds, but as words
in an internationally known language. From the affiliation
with the genus sculpture arises, inspire of the architectural character, a clear independency
of all functions under appropriate utility.
This way the abstract meaning of the architectural features crystallizes, and the useful function is withdrawn.
In very rare occasions a conditional use appears. The
architectural Sculpture must exhibit in any case an architectural feature.
7.3 REFLEXION PAST ARCHITECTURE
The tower as architectural type has had different forms
in appearance and functions during the architectural history, but it always was and is in close alliance with the abstract concepts power and censorship. The gender towers in San Gimignano spread the financial power of the
owner-families. The newest skyscrapers that are growing
closer unto heights of 1 kilometre. show the economic
leading role of their own metropolis. Schffers tower can
be seen as a symbol of the intellectual power of scientists
and artists-avant-garde. He was convinced that
The future would bring an intellectual revolution. This because of the widened possibilities to enter knowledge of
higher quality. In this way the tower is the symbol of intellectual power of the masses and the intellectual progress.
The church tower proclaims the word of God, but also
has other functions. Like Light towers it is guidance. The

Fig. 21. Nicolas Schffer Chronos 10B 1980

25

26

emoticon
church tower rises above the surrounding roofs of houses and trees and is visible from far away. It is a feature
that helps the traveller to finds its way to then next village
or city. The church tower also gives a glance over the
surroundings. A lookout has also this function, to give the
possibility of a 360-degrees panorama view.
The view serves as an entertainment source, where the
beauty of the city or the region is to enjoy. The panorama
also gives possibilities to censorship. In contrary of lookouts, observatories and airport towers serve controlling
of the area.
7.4 FUNCTIONS AND UTILITY
Although most of the architectural sculptures are showing architectural features, are these features not only
serving the normal serving functions. In case of the tower
of Paris, Schffer did provided another seven different
visitor platforms, attainable by elevators or stairs. On the
platforms where restaurants, signal utilities, spaces for
television, an operational monitoring open for public with
an automatic magnethophon guide, concert halls. A post
office, an organ, a drugstore and stores. From the other
platforms in between you could enjoy two kinds of entertainment: the panorama over Paris and the look over the
tower in full action. This way the tower served the need
for entertainment but also a control over the city.
The tower still has other functions. It serves air navigation
and is a information, quantification and action system
Thermometer, Hygrometer and anemometer are attached to the tower, The central control centre rates the
measure dates and in this way the tower functions for
a part as a meteorological station. Traffic information is
sended out by light and radio signals.
7.5 CHANGING OF ARCHITECTURAL FEATURES

Fig.. 22. The twin towers of San Gimignano

In this case, the mentioned architectural features, in contrast with architectural sculptures, are functional, there
are many sculptural features supporting the genus be-

emoticon
longing
of architectural sculptures. The architectural features of
architectural sculptures represent usually more or less
distinctive artistic transformation versus the real architectural features. A naturalistic imitation is- till very rare occasions avoids. The art and manner of changing is very
diverse. The tower of Paris stands on a sole strut, like it
would flow and symbolizes herewith the technical evolution. The tower rises up far high. This way the mass is
concentrated on the top and not on the bottom like other
towers. The form is dematerialised and dissolved by the
mirrors and light effects. A model-impression can
7.6 SCALES AND PROPORTION
In architectural sculpture, versus similar real architecture,
clear altered scale often is showing. An extended range
of all thinkable standards is to be found. A model-impression can
Derive, but more often is chosen for a comparatively over
dimensional proportion, like in this case with the tower of
Schffer.
The tower in Lige was also build in significant dimensions and placed in the exterior. Here however the intentions of kinetic/cybernetic art played a central role.
7.7 OVERLAP WITH NEIGHBORING GENERA
Often overlaps appear with neighbouring genera and
subgenera, especially in areas of environment, installation, and architecture models. Architectural sculpture can
simultaneous
Belong to several (sub-) genera. Schffers tower ken be
seen as vantage-, art-, show-, media- or culture tower.
It also has affinity with the genera sound- or light installation.

Fig. 23. Klner Dom

27

28

emoticon

Fig. 24 - 29. Cybernetic Sculpty Tower

Art Space Diabolus CARP 2 (2008)

emoticon

29

30

emoticon
8. CONTENT DIMENSION ARCHITECTURAL SCULPTURE

8.1 INTERACTION WITH THE LANDSCAPE

A variety of architectural sculptures are created for placement in the exterior
Every work of art gets a naturally contact with it. An active relation of a work of art with the surrounding landscape is seen as interaction with the scenery.
Interaction has not to be only between work of art and
landscape but also with for example, the viewer and the
work of art.
In fact its an interaction between 3 participants. The
work of art opens a conflict for the viewer with the landscape that was not possible without the work of art. First
of all the reception of the sculpture makes it possible to
perceptive modus of the landscape.
Often the use of wells from nature like wood, stone or soil
creates a connecting line with the landscape.
8.2. INTERACTION WITH PUBLIC PLACES
The knowledge of public places reveres in this relation
to other viewers that see the often in public places situated architectural sculptures. For example passers-by that
pass evidently. Interaction in public happen basically on
2 levels:
1.
The relation of the work of art in public. The
sculpture is actively aiming on the viewer, also when they
just evidently pass and offer to use their facilities.
2.
The relation of the viewers with each other, for
example from viewer to passers-by. This is also significantly activated by the sculpture. It asks for coming closer, climb it, walk through etc. Organized space effects
communication.
.

emoticon
8.3. INTERACTION WITH THE LANDSCAPE
Schffer had planned his tower in a fixed, urban location.
After his idea it should be a
identifier and be placed in the centre of the city. The movement of the flexi parts, the lights as well as the sending
out of acoustic signs react on the changes of the surrounding. The controlling centre controls the interaction.
It receives the measure data of the sensors and meters
and with the help of algorithmic it decides over the appropriate reactions.
Because of the mirrors the tower performs, seen from a
distance by day, depending of the intensity of the sunlight, a giant vivid flame. The lightshow unfolds most of all
by night, when the phenomenon, through the light guns
depending on the cybernetic control system rhythm
is continuous changing. The tower accentuate the timely
changes in the normal lighting and other climate factors
and makes it possible to experience and modified, intensive view of the surrounding. A sunny day becomes a
golden aureole, sunset a wild dance of fire.
Chrome steel and mirrors reflect the landscape and connect a line between the urban landscapes.
Apparently the tower forms itself from the same material
as the surrounding and fits naturally in. It dissolves and
becomes almost invisible.
Schffer does not use only materials that mirror nature,
but in a certain way he uses nature itself. He uses the five
topologies time; light, sound, climate and space and aims
on an immaterial work of art. He rythmetize the space
with light and sound. Climate changes, odours and wind
are involved in the creating. It comes close to his objective and makes a big step towards the immaterialisation
of a work of art.
The Immaterialisation
The next quotes reflect the views:
We are really witnessing a process that our environment

Fig. 30 . Nicolas Schffet Chronos 10B 1980

31

32

emoticon
is in constant changing.
We simplify the form and diminish the volume and the
weight of the material that we for example use in the urban surrounding.
In counterwords stadium we are increasing degree with
transparants. /Schffer/
One day we will get in to the inner structure of space and
even get in to the inner structure of the inner components
or even more the micro components of space. And we
will create invisible partitions that exist of atomic sizes. /
Schffer/

emoticon

Fig. 34-36. Entmaterialisierte Cybernetic Sculpture

(time-space painting)
Art space diabolus CARP 9 Velazquez Bonetto

33

34

emoticon
9. THE 5 TOPOLOGIES
9.1. Time: Topology of Rhythm
Time is the immaterial essence in what life expires. The
element time is also a material that you can structure,
model and program its expiring. The way that time expires in an innovative and especially aesthetic manor
makes it possible to understand it as a specific immaterial subject. The essence of time you call programming.
Program time for an aesthetic purpose and reprove the
available time and by that aestheticism information/? /
Time is a design element that is used by artists and architects for centuries in many different ways. A work of
art interacts with time, when the perception of the work
converts with time. The lighting is rhythmic. The cycles
of this rhythm have different lengths. Not only the light
or climate context is changing, also the work of art is a
subject of confirming change, when the process of decay
is slowly but surely proceeding.
Art and architecture can act timeless or temporarily, depending on the artistic objectives and design concepts.
The longer the cycle of the performing in the universe,
which is involved in the artistic concept, becomes, the
more timeless becomes the work of art. For example, the
real beauty and essence of Stonehenge unfolds one time
a year simultaneous with the summer solstice.
The energy expenditure, needed for the building, has to
be balanced with these exceptional rare moments. Considering this you understand that the builders did build for
eternity. Condition of timelessness
Timeless acting architecture also arises when the cycles
of the universe are excluded, as in current a minimalist
trend that occurs with, for example, the builds of Peter
Zumtors.
Condition of timelessness is in any case the use of precious materials, which can resist the decaying process
infinitely.
Time becomes of greater importance in art since compu-

emoticon
ter programming is possible. In the pc the processing of
ultra small time moments come to an end. Accordingly
are also the cycles lengths in micro dimension. Conclusion is that the cybernetic and digital art have a tendency
for temporary quality.
Schffers towers react on any change of the environment. I contrary of the timelessness they thematise constant change. Nothing is fixed nor the work of art itself
seems to be fixed, because all kinds of artifices were
used to dissolve the expiry of the forces. The towers create different zones of temporal density in the city. More
near to the tower is a bigger density of possible events.
Although stainless steel is one of the finest materials.
Some temporary quality could creep in also in the choice
of material. The mirrors could confront the atmospheric
conditions for several years but would fade slowly. The
burned light sources had to be changed constantly. The
feeling of a short life is inescapable connected with the
work of art.
9.2. Light: Topology of Light
Without light life and perception were not possible with
the sensory organ eyes, our surrounding would be invisible. Light and shadow accentuate the material character
of the objects in our environment and offer a diversity
of colours, shadows and textures for the senses. At the
other hand we would not be able to recognize the material structures without the electromagnetic phenomenon
light. The electromagnetic source is not to see with our
eyes. In space we see the stars and the planets, the
interstellar material shows as a lightning nebula, but in
empty space our eyes see nothing that can send a signal
to our brains. We recognize light as a reflection or transparent, it materializes for the sensory organ on objects.
Forming is in a certain sense to give body to the light, or
in other words produce light out of nothing.
Light is an indispensable artistic medium; a design element without any artist can work. Although light is the

Fig. 37. Nicolas Schffer Der Turm fr Paris

35

36

emoticon
most normal medium in creative work, the artists always
used it, as art history tells us, to give the work a quality
of unusual and extraordinary nature. The most common
medium is in the same time the most effective. Knight is
often described as godlike, a symbol for holiness and the
spirit: the clarification gives the word a new meaning and
since then we speak of the light of intellect.
Over more then thousand years architects schematised
light. As already said, in the basic essence of Stonehenge, the yearly returning event of the light.
The Greek assumed by their designs, that a work of art is
viewed from all sides. The play of light and shadow round
the pillars rythmisizes the space. Architecture and light
are creating unity. New levels of architecture were reached with the building of the Haggis Sofia, where the light
is the centre of the design concept. In gothic architecture
light is the essence of the construction principle of the
whole cathedral. Building and stained glass windows are
the material carriers of the aesthetic form of light. Light
becomes an aureole, as the unrepresentable God even
conceived.
In the 10th century was found the technique of putting
parts of glass into lead webs. The gothic window replaced
the roman window. The sunlight beams shied through the
coloured parts of glass during the daily walk through the
sky and the translucent light dynamic the space with the
image of the glass painting. There are many examples
in the last centuries where in architecture the direction
of natural light is very important. Le Corbusiers Notre
Dame du Haut in Ronchamps or the Tadao Andos church
of light can be seen as subsequent offspring of the same
concept.

Fig. 38-39. Lichtkunst Kunstlicht Karlsruhe

There are 2 sources of light available: Natural light and

artificial light. In the past only fire, candles, gas lamps
could be used as artificial light. In the 19th century electricity revolutionized the designing with light. The from
Edison developed bulbs were the first products, that in
the 1880ties found a widespread application. In the same
time there were the power grids to be build. This achievement marks the beginning of comprehensive electrifi-

emoticon
cation of the cultural development.
Electric light is always available and can be programmed.
The use of electric light gives a great flexibility with designing. Dramatic effects are possible with relative little
effort. No wonder that electric light was used very fast
for all kinds of manipulation purposes. At the last NSPDparty day in 1938 in Nuremberg at the zeppelin field, over
150 very strong headlamps,
that were shining vertical at the sky and created a cathedral of light, made it a spectacular event. Similar scenes
offered the opening and ending ceremonies of the Olympics and football
(soccer) world championships. At stadium buildings the
best light effects are used to stimulate the emotions. The
Alliance Stadium of Herzog and de Meuron were even
titled an emotions factory.
Cinematographic equipment triggered a new artistic revolution. Film can be seen as one of the most important
mass media since the 20th century, as well in the form of
movies as well of television. At the same time it became
one of the most important elements of modern culture.
The possibilities of cinema theatre even widened with the
triumph of the Internet.
Light is the most important design element in Schffers
work. For him the light is the carrier of information, that
dynamic the space. He describes the method, how he
creates light effects, as Luminodynamism. The space is
covered in light and rhythmic, in such a way that it is possible to decode semantically. Though light installations
he offers information. The light is transformed in a flood
of data. The lightning signals sendet out from the tower
offer informations about the weather, the traffic-situation,
stock information and so on. A huge pulsing information
density arises, that emphasizes and highlights the urban
character.
This information density is also to be seen as a symbol
for the future. Schffer, the visionary, already said in the
60-ties, that the coming decades will be described in history as the information age.

Fig. 40. Lichtkunst Kunstlicht Karlsruhe

37

38

emoticon
9.3 Sound: Topology of sound
Schffers strivings, to achieve ad much as possible without using material to express the artistic concept and to
create a nonmaterial piece of art, are, beside the use of
light, also close to the use of sound. In the past just the
use of music instruments at productions of artificial noise
were focussed at. The kingdom of sound in fact is a lot
bigger. Schffer was a pioneer in using a wide spectrum
of artificial sounds and acoustics in the creating process
and lifted it up into the rank of art. Schffer did really something important for this development.
The art of sound is a form of installation art, where the
visual and space aspects are involved, but the acoustics
are focussed on. The spectre includes all the sounds
of nature, people and techniques and the silence itself.
Acoustic and electronic tools were used to become an
artificial effect in sound, but also the ordinary sounds of
daily life and their lack of it became part of the repertoire.
The art of sound lays in the borderline between art and
music.
The roots of sound art lay in the beginning of the 20th
century, when cooperations started between artists,
technicians and scientists. In this time are to find the first
examples of artists and artist groups that acted against
traditional art and widened the traditional field of art. The
historic sources of sound art come together in the use of
music as noise, the use of random accidental processes
and space ideas in the musical composition, as well in
the integration of sound and noise in the forms of kinetic
sculptures and installations. Another step is the introduction of interactivity

Fig. 42-43. Das elektrische Licht

In sound art is abandoned the traditional form and narrative musical mediation in favour of a new sound-space
experience. Sound installations dont have a timescale;
they are directed by the proper time of the recipient. Like
in an exhibition the recipient can organise his own view
on time or space. Sound art has generally a strong place
and ephemera nature. Sound art is the ideal medium to

emoticon
charge a place atmospheric and let it become a special
experience. The visitor becomes action- and interpretation freedom to form his own sensual experience. Sound
installations and sound sculptures allow a constant coming and going.
To the genus sound art can be counted several installations that in fact were born before the time that sound art
was realized. For example the in 1953 in Buenos Aires
realized: Musica para la torre of Mauricio Kagel, the: Poeme Eletronique of Edgard Varese for the Philips pavilion
on the world exhibition at Brussels in 1958, John Cages
variation VII at the already described 9 evenings at
New York or the spatiodynamic constructions of Nicolas
Schffer. The name Sound installation appears for the
first time in 1971 with the important US-American artist
Max Neuhaus.
With Drive in music Max Neuhaus was the first to realize
in 1967/68 an idea to use music for public space, music
that was soundwomen complex, but not force the people
pausing by. Along a wide avenue, the Lincoln Parkway in
Buffalo, Neuhaus did install over a route of 600 meter 20
radio performers with different orientations and sounds,
in such a way that in seven overlapping zones different
sound components erase. The sounds were synthesized
for every spot in self-made generators and changed under influence of the dependence of the surrounding climate. Because the channels all had the same frequents,
the drivers could here,
depending of the speed, direction, time and weather,
different sound developments. Actually Neuhaus did not
work only with his installations in the public space, with
synthetic sounds, produced by his generators, but he
used them also as a contra point to the noise that was to
find at the place in that time and changed it into a aesthetic context offering you clear sounds.
(Source: Golo Fllmer, Tne fr die Strae, in: Akademie der Knste (Hg.), Klangkunst, Mnchen 1996, S.
216-218)
At Schffers cybernetic-kinetic sculptures most of all the
sounds of the mechanic movements of the parts, mixed

Fig.. 44. Nicolas Schffer Lichtmobil (Kalocsa)

39

40

emoticon
with sounds of nature and the noise of the city that creates the sensual experience. In this case also the background noise was a contra point for the sounds coming
from the sculpture itself.
9.4 Climate: Topology of the artificial and natural climate streams
Climatic phenomena of Schffer where schematised. In
his book: The cybernetic city he speaks about the climatic organisation of units and their environment. The
controlled climate of the city of the future would be controlled in his opinion by a cybernetic centre. Bad smells
would be suppressed; good smells spreader so the sensual experience of the city would be strengthened in a
controlled way also at this level.

Fig. 45. ROLAND hardware und Edirol softwareSampler

The forming with the medium smell is not a new idea, but
it is new to control it
cyberneticly. The church already used smell for ages to
create a holy atmosphere; The forming of an experience
in a space with help of smell is a part of gardening art.
Other art genres however have neglected this artistic
possibility. Just in the 20th century artistic interests focus
on smell.
Smell does not have to be a concrete part of sensual
experience of a piece of art; many times it is only used
as a hidden reference. The elephant excrements that
Chris Ofili used in his paintings have been prepared so
that they dont spread any smell, just the form and appearance
Swears in the memory of the viewer, and calls for a sensual experience. That was different in 1987 with Hellweins: Art spectacle with smell and noise in the Bremer
Kunsthalle. With the motto: The Subhuman, Hellwein
created a multimedia show, a forming theatre, where beside music and video also smell was used. Cows and
Excrements in the holy spaces of the Bremer KunsthalleA Exhibition Opera, initiated by the art shocker Gottfried
Hellwein- with this words the event was announced.

emoticon
The reactions were from accusations of charlatanism till
bright enthusiasm.

The basic idea, to integrate climate events into the piece of art was already written by Schffer, later unfolded
by the successor generations of artists and architects.
Like smell, also fog, wind and sunshine became a pronounced part of the artistic expression and conquered
a large terrain in the kingdom of art. Here some more
examples: Worldwide attention got the pavilion Blur
Building from the architects Diller and Scofidio in 2002
on the Schweitzer Landesausstellung im Jahr 2002, the
Biennale of Zwitserland. Only a fine-sprayed water mist
produced the building envelope of this pavilion. Fujiko
Nakaya also used mist as a medium for his building for
the Singapore biennale in 2008. Renzo Pianos Culture
centre Jean Marie Tjibaou in New Caledonia thematises
the wind with characteristic wood constructions. Since
1990 Theo Jansen develops kinetic sculptures, calling
them beach animals. The necessary movements come
from the wind. The artist develops the skeletal builds in
a form of a living creature. The beach animals can orientate harsh to the environment. They can anchor themselves in the sand when a storm is emerging, recognize
with the antennas obstacles and change direction when
they enter the water. Many examples can be delivered,
how climate phenomenon is used as an artistic medium.
It is a process of widening and freeing the art, which beginnings were to find at Schffer.

9.5 Topology of Space

Gonzales, Gabo, Pevsner, were the first sculptors, that
consciously introduced gaps in their sculptures, so that in
comparison of full and empty the immaterial space was
shown. For these artists space was not the absolute matter, but highlighting an object from the matter.

Fig. 46. Mauricio Kagel

Fig. 47. Max Neuhaus: Drive-In Music

41

42

emoticon
A radical step was made from Schffer, when he renounced the modelling of solids, to the use of only extraction of fractions of the enclosed space to form them
rhythmic. With increasingly omission of the articles was
for him the enclosed space and not the solid structure
important. He wanted to integrate the immaterial space
dynamically as a basic material in a structured work, to
create a movement of harmonic lines.

Fig. 48. Nebel Kunst von Nakaya

Several of Schffers structures can be seen as traps

he carried out into the space. He strove to set a trap to
space in an easy and possibly with little solid structuresway. To catch a fragment and dynamic it in a specific way
to give the space an energetic content and in the same
time works inside and around the structure. The design
is not treated as an isolated object but as a structured
element in a structured space.

Schffers tower creates, forms and divides the space, inand outdoor merge. This architectural space is defined
by horizontal and vertical elements.
A special place in the Cybernetic city is the Spazodynamic Theatre and business centre, one of the favourite
sites of leisure. This type of building is detailed described
in the book: The Cybernetic City
Many aspects of the concept are realized in the shopping
malls of today, where restaurants, cinema, theatre and
shops are taking care in various levels for the entertainment of the visitor.
Often employees of a television station are present to involve passers-by in live broadcasts.
The basic approach of Second life is in a certain way just
the same. Here is offered the same entertainment what
is mentioned above. Numerous shops are available. The
users can choose out of several Art events, shows and
parties, to visit through teleportation.
Fig. 49. Chris Ofili

The Diabolus Cybernetic Art Research Group (CARP)

emoticon
has set the target to realize Schffers Spaziodynamic
Theatre in Second life. For the theme for the performance
was chosen Robert Plutschiks evolution-psychology
emotion theory. Based on Plutschiks system of primary
emotions an interactive theatre was realized, where the
audience could influence the performance. To explain the
project it is helpful to look at a few examples of emotionspsychologic theories.

Fig. 50-52. Theo Jansen 3 Strandbeasts

43

44

emoticon

Fig. 53. Hans Arp

emoticon

Fig. 55. Einkaufzentrum Stuttgart

Fig. 56. Virtual Art Space Diabolus emoticon 4

45

46

emoticon
10. Emotionspsychology
Emotions are a research object of the emotions psychology, but never the question, what emotions really are is
answered satisfactory.
Assuming the everyday understanding of emotions, certain psychological states like happiness, surprise, grief
etc. are described. We presume that our interlocutor
knows what is ment with these words, because he has
felt before somehow similar conditions. Our experience
support that this hypothesis likely is true. Everybody
seems to understand these words. All people show now
and then these psychic conditions. Emotions are experiences that are similar to everyone. There is in fact no
language that does not have words for such events.
As a science the emotions psychology needs a definition,
that is understandable for everybody and irrespectively if
he has or has not experienced these emotions.
There are many definitions to find in the emotionspsychologic literature. Even for a part irreconcilable categories
of definitions, that an emotions definition mostly is part
of a wider
emotionstheory. Behaviouristic, cognitive-psychologic-,
attributional-, evolutionalpsychologic. Approach and treat
the issue from different point of views, accordingly determine the sense Emotion as different.
Here a few definitions, from what the synthesis at least
gives an impression of what emotions can be.
A emotion is a intersubjectively observable response
pattern, that is released by certain environmental conditions. The basic response patterns are inborn.
A emotion is a hereditary pattern of response, that includes profound changes of the physical mechanism
as a whole, specially when the individual details of the
reaction always with some consistency (.) appear, when
triggering stimulus is presented.
/John B. WATSON (1878-1958)/

emoticon
A emotion is a experiencing state, and certainly a experiencing physical reactions, that are following on the
perception of a excitatory stimulus
/ William JAMES (1842-1910)/
A emotion is a experiencing state, that emerge from the
integration of physical commotions
and sensations and certain cognitions.
/ Stanley SCHACHTER (1922-1997)/
A emotion is a experiencing state, that results from specific ratings and follow certain acts.
/Bernard WEINER/
I see a emotion as a syndrome of different components:
Not only the experience of state belongs to it not only
the cognitions belong to it, but also physiologic reactions,
action impulses and observable behaviour. Beside that
there is no doubt, that emotions have a genetic base,
they are- under Darwin- the basic shapes of the evolutionary adoption.
/Robert PLUTCHIK/
Emotions are nothing else then certain neurophysical
reactions. They exist as such just in our brain. They run
automatically, we cannot influence them, only give them
a meaning after.
/Joseph E. LeDOUX/
Emotions are socially negotiated, they are social
constructions. There are no emotions such as an object
of itself, that you can research objectively.
What feeling a person has in a certain situation is not
depending of the biologic reaction programming, but of
what feeling he believes to have. Only this way the strong
cultural and historic differences towards emotions are to
explain.
/Kenneth J. GERGEN/
To integrate the different theories, a single emotionsdefinition is needed. A so-called Working-definition is accepted to describe phenomenon and harsh delineation of
the research fields. Expectations are, that an exact defi-

Fig. 57 . Robert Plutchik Emotions and Life

Fig. 58 . Angst

47

48

emoticon

nition will arise as a result of scientific analysis.

The next example of a working-definition is coming from
the study-book of Meyer, Schtzwohl and Reisenzein:
1 Emotions are events like: happiness, grief, rage, fear,
pity, disappointment, relief, proud ness, ashamed, guild,
envy as well as many other states that are similar to the
described ones above.
2 These phenomenon have the next symbols uncommon: (a) they are actual experiences of state of people;
(b) they are different in manner, quality and intensity (.);
(c) they are usually object focussed (.); (d) people that
are in a experience of state of one of them, normally have
a characteristic experience (experiencing emotions), and
often also physiologic changes appear.
Emotions should be delimited from emotional dispositions. When you call Fear an emotion, the belonging
emotional disposition should be Anxiety. Emotion is a
current experience of state of a person. At the opposite
the emotional disposition is the Quality of this person.
The quality as well as the intensity can be distinguishing
is used between different emotional episodes. The intensity is to examine, just not give it an absolute measure.
Emotions distinguish the experience of state of a certain
person by:
-A characteristic experience
-Certain physiologic changes
-Certain behaviour
Emotions have a biologic function. They are connected
directly with behaviour. Many researchers, for example
Plutschik, see emotions even as evolutionary adjustments mechanisms.
In any case emotions permit need- and situational
chooses for behaviour. They regulate intensity and stamina and carry out the mastering of such behaviour.

Similar difficult, as the giving of a definition, is the classification of emotions. How could they be distinguished in
what kind of features? What emotions are almost similar
to each other and what ones not at all? Are there emotions more elemental then the others, that function as
basic emotion? At this question the mentioned theories
give several answers.
10.1 Behaviouristic Theories
Behaviourism is a so-called movement in psychology
that was spread mostly in the USA in the years between
1920 and 1960. An important representative of this movement was John B. Watson (1878-1958)
The central research object of this movement was Behaviour, the subject portion of the physiologies, that was
intersubjective observable and to access equally by several observers. The experience, that was only accessible for the affected person itself, cannot be a subject of
physiology. They wanted to describe the research object
in objective measurements. It was the intention, and
surely not possible when experiencing. The behaviour
is visual and acoustic observable and to measure. Research subjects of the behaviouristic physiology are only
intersubjective observable behaviours of environmental
conditions like several stimuli. Behaviourists exclude the
introspections research method, because they are unreliable, and produce only subjective data.
The Behaviourist Watson hypothesizes that emotions are
inborn. So it is clear to observe emotions just with infants,
to examine these theses. An amount of experiments was
performed to experience what extreme stimuli gave what
kind of reactions with infants. Three fundamental different patterns of response could be noted; Fear, Anger
and Love. Watsons hypotheses are that all other reaction pattern arises by classic conditioning.
Notes at Watsons Theory:
. Watson cant determine emotions from other reactions
. Little statement about emotions of an adult

emoticon
. Watson can not clarify, how the other emotions grow
from the fundamental patterns of emotions
. Watsons theory of acquisition of emotions was only proved with Fear
10.2 Cognitive-psychological Theories
James - Schachter - Mandler
Cognitive-physiologic theories have the perception, that
an emotion is a state of experience. Besides that the hypotheses is that the deriving of several emotions are depending of certain processes. These processes can have
a physiological and cognitive nature.
Emotions, definitively private ones, for others not accusable experiences, are communicated to the outside by
physical symptoms. Emotions effect certain physical
changes. In contrary, physical changes can cause emotions. Normally we assume that emotions are the decisive, not the physical change. In contrast the Psychologist William James thinks, that physical changes appear
first and that emotions are nothing more then the feelings
belonging to these changes. James regarded visceral
reactions (heart, lung, stomach) as deciding. Carl Lange has similar views, but he thinks that vasomotor responses are responsible for the emerging of emotions.
The diversity of physical changes is also after James the
foundation of our rich emotional experience. Hereby are
not the voluntary motor acts, like mimic and gestures,
but the involuntary reactions of the viscera much more
important. The emotional reaction is not only showed by
just observing an object but by judging the total situation.
That is could come to a reaction of fear, has to come out
of the judgement. Critics of this theory indicate that the
same visceral changes can appear at different emotional
or non-emotional experiences and that visceral changes
are to slow to be the cause of the emotion. When the theory of James is true, also the artificial induce of changes
in visceral (like a adrenalin injection) would lead to emotions, and that is not the case overall.

49

Maron has developed and completed this theory. For him

an emotion is a physical component and a psychological
component that include certain cognitions. He assumes
that the feeling of a physical change is necessary for experience emotions, but not sufficiently. Cognition should
appear over the commotion and agitation of a situation,
so the emotion can derive. There has to be a linking between agitation and judgement of the situation that he
calls: Causal attribution.
Valins questioned the physiologic components. Because
we often dont realize or notice a physical agitation, it not
this component that is needed for arising the emotion, but
the cognitive representation of it.
10.3 Attribution Theories
Pride, Shame or Guild are good examples of emotions
that are depending from complex thought processes,
from cause-write-ups, so called causal attributes. With
Schachters cognitive-physiological theory situation-judgement and physiologic-agitation are linked. When physical agitation is described as the cause, Weiners theory
is about that overall events in the environment can be the
cause. He does not see the physical agitation as needed
for an emotion to arise. His attribution theory deals with
the effects of cause-write-ups and the human experience
and behaviour especially in motivation and emotion. The
attribution approach seems primary important for complex emotions. Characteristic of such complex emotions
is also the fact, as we do believe, infants or animals cannot feel them, because they dont have the ability of the
needed cognitions.
After Weiners theory emotions appear in three steps:
In the first step the individual judges if the goal that is set
is reached in the perceived event.
At the second step the individual judges the event towards the previous result, like for example the own striving, the own skill, the difficulty of the task or chance.
The third step is judging the causal factor when he asked
himself the next questions:

50

emoticon
. Is the cause my doing or others doings?
. Is the cause over time stable or variable?
. Is the cause controllable for me or not?
As a note it can be said, that Weiners theory is not based on any empirical bases and cannot be satisfactory
empirical tested.
10.4 Evolutionary Emotions theory
The psychologist Robert Plutchik developed in the 1960
till 1980ties his evolution-psychological emotions theory.
His priorities were the research of Emotions, Suicides,
Violence and Psychotherapy
Plutschik tried to put his theory together in a systematic
form of ten postulates.
The most important points of this theory are:
. Emotions have a genetic source
. Emotions are the basic shapes of adoption of responses
with stabilizing feedback loops that create a certain way
of self-regulation of behaviour.
. Emotions can be identified on every level of the phylogenetic stairs
. Emotions are complex chains of reactions
. There are eight basic or primary emotions
. The similarity between the primary emotions can be exhibit in a three-dimensional structural model
. All other emotions are a mix or a combination of the
primary emotions
Plutschik represents the meaning, that emotions arise
in the phylogenies from natural selection and therefore
have a somehow genetic base. Emotions are a complex
sequence of reactions after stimuli. This stimulus is judged by cognitive evaluation. From there, under influence
of the central nerves system arise feelings that led toward certain actions. These actions are a feedback to the
situation. Plutschik assumes that this pattern gives us an
evolutionary benefit

Emotions in CG (facial animation)

The eight primary emotions are based on physiological

emoticon
mechanism that during evolution addressed fundamental
problems of adoption. The eight primary emotions are:
Fear, Trouble, Happiness, Sadness, Trust, Disgust, Anticipation and Surprise.
These eight primary functions are to arrange analogical
in a radial two-dimensional colour circle diagram. To this
two-dimensional colour circle Plutschik added the intensity of emotions as a third dimension. Emotions with a
decreasing intensity were to define. Plutschik has shown
the same meaning sometimes spatially, sometimes also
two-dimensional.
Secondary emotions arise from a mix or combination of
primary emotions. From this mix arise second or third
primary emotions, so called Dyads or Triads. Primary Dyads arise from the mixing of two related emotions. Emotions that are facing each other cause a conflict that can
lead to inhibition of action.
Many researchers consider, that there are a few basic
emotions from what all the other arise.
Unfortunately there is disagreement about the criteria for
a basic emotion. As a result there are several, chosen
by different researchers, primary emotions. For Plutschik
is the criteria: the large evolutionary adaptive value. Because there are no empirical findings for basic emotions
of any kind, the concept of the basic emotions must be
seen as failed. Plutchiks theory leaves little space for the
cognitive element of emotions. In spite of these criticisms
the outcome of this theory is still assessed as significant.
The Plutschik theory serves as a starting point by the Diabolus Art Research group realized project in Secondlife.
The project can be seen as an experiment, what is aiming to carry out Schffers spaziodynamic theatre in the
metaversum. The result is a figure of Schffers events in
a virtual world. With that the group left a little space for
artistic freedom. Most of the aspects were kept in mind
and realized after the original ideas. To allow comparison
the next Related section of Schffers book is quoted:
Emotions in CG (facial animation)

51

52

emoticon
11. Nicolas Schffer: Spaziodynamic theatre and business centre.
One of the favourite places of recreation will be the spaziodynamic theatre. A solid place of certain architecture,
but inside will unroll a continuous dynamic and total drama.
This theatre consists of an eggshell with acoustic profile of 100 till 250-meter diameter. The audience is in
the middle and inside the shell, on a hyperbolic structure that turns around a cylindrical spindle. This spindle
contains a business centre what was discussed before.
The audience can move easily between business centre
and spectator boxes, even when the hyperbolic structure
where the boxes are, are slowly moving, with different
speed in both directions.
11.1. The Drama
Opposed to the audience is a pathway around the wall of
the shell. On this ring stage a part of the drama is played,
namely electronic ballet running by cybernetic sculptures
as well as ballet with dancers. On certain spots on the
ring stage choirs recite poems, solists will sing and declaim, theatre plays will be performed that are specially
written for this construction. Presentations and all kinds
of information are performed and given. Along the whole
inside of the shell is a cyclorama background that is build
from several screens. One of them is animated in itself
with movements of polychrome elements from what its
build and contains lumodynamic projections with changeable scores or exists from overlaid relief gratings.
Other will serve as cinema screenings.
The sound is stereophonic and sends out in opposite direction of the rotation movement of the audience. The
audience can overlook all parts of the projections in all
directions. The total event is controlled by an electronic
control tower that is located on the top of the central cylindrical building. The program of the events is constantly
changed to avoid every idea of repetition. To over hole

emoticon
the super saturation also the different rotation of the audience will play a role. At the end of the event without
beginning and no finale are different visions, are moving
sounds, constantly changing rhythms and produced aromas and climates active. When the spectator enters his
box, he will sense a whole complex of rhythmic sensations that is not totally performing without his assistance.
In front of every spectator is a switchboard, with what
he can send out to the control tower his experiences or
orders, that will be continuously quantified and influence
the program. In the free space in front of the boxes flying
sculptures can appear and mobile between screens can
be lowered to show projections. On the cinema screens
weekshows, abstract movies, short films and art films
can be showed. These halls are suitable for audiovisual
concerts and exhibitions of mobile artworks) plastics of
the avant-garde, also for scientific and artistic lectures,
as well as for debates, artistic competitions and so on.
This spaziodynamic theatre, for one part for functional
recreation (shopping) and for the other part is mend for
aesthetic recreation, gives in a concentrated example for
balance, that is so needed for the harmonic form of life. /
Nicolas Schffer/

Fig. 59-60 . emoticon 4 (time-space painting)

53

54

emoticon
12. The structure of the emoticon

Plutchiks demonstration led the idea, to visualize his

emotions theory and transform this theory out of its bookworm into an audiovisual show. During the performance
the different qualities and intensity of emotions with help
of music, dance and visual effects were acted out. On several moments the audience was questioned if the quality
and intensity of the emotions were appropriate and convincingly or not. Depending on the outcome of the voting
the next performance of an emotion was chosen
12.1. Geometric structure
The basic form of the Emoticon theatre was build after
the basic idea of Nicolas Schffers Spaziodynamic theatre. The building was, due to the new collaborative metaverse infrastructure significantly expanded possibilities,
heavily modified.
In the metaverse environment it is possible to arrange the
geometric divides, without considering the static laws.
Beside that this environment gives the possibility to change, reform, colour, texture, translate and rotate the geometric parts in the space. To realize these functions there
is an object oriented script language (LSL) available.
The Emoticon Theatre has 24 parts:
12.2. Group effectors
The element effectors take care of the visual effects of
the Emoticon system
1. / Spherical texture-project surfaces
These components show the immerse background on
two levels.

emoticon
. Three projection screens with textures-, colour- and rotation script, two of them are district balls and one a half
ball, with a diameter of D = 256 meter (1a)
. Six projection screens with textures-, colour- and rotation script, two of them district balls and four eighths
segments of balls, with a diameter of D = 128 meter (1b)
. One auditorium level of dimensions 128 x 128 meter
(1c) here are also the seats for the audience.
. Two sets of 24 x 4 textures (1 d). The textures are answering the different intensities and qualities of emotions,
for example the four pairs of opposite emotions. There
are also emotions qualities of each three intensities. (8
x 3 = 24)
. Every set was formed by Caravaggio Bonetto and Millamilla Noel.
Millamilla Noels set replaces with eight textures also the
dyads.

2/. Particle emitter, Flexi prim and shape torture prim

These components generate the visual effects.
. Three particle emitters, targetters with translation- and
rotation script. These emitters are sending out the particles to the target points. (2a)
. One particle emitter with translation- and rotation script.
The particles are sending out towards this target point
(2c)
. One particle emitter target with translation- and rotation
script. The multi emitters will always send out a particle
that replaces the emotion. The particles are the textures
to seen in the sets shown above. (2c)
. Three shape tortures primes with texture-, colour-,
translation- and rotation scripts (2d). They are large dimensioned primitives, that can change appropriate their

Fig. 61 . Das Grundstruktur der Emoticon Theater

55

56

emoticon
forms and textures.
. Two headlamps with translation- and rotation scripts
(2e). The colour of the headlamps change according the
emotions.
. One flexi group with translation- and rotation script (2f).
They are tube like forms that meander through the space.

3. / Stage with audience seats

. Camera effectors: Takes over the control of the spectator seats. Usually the spectator self controls the spectator-camera. In this case a script was build in the seats
that takes over the control and is sending out the camera
data of the camera-controller during the performance.
(3a)

Fig. 62-63. Emoticon Komponente

. Auditorium speaker: This element receives the instant

message texts and delivers them to the audience. This
information transmission-system makes it possible to ask
questions to the audience during the performance. (3b).
. Voting system: With the help of this system the audience
can answered the questions with yes or no. They can decide if they find the audiovisual effects, the music and the
dance are expressive enough to show the emotions in
authentic. All seats contain the voting-menu. Depending
the amount of votes from each seat a corresponding signal is send out to the evaluation centre (3c)
4/. Dancing group.
. Controlled outfit attachment. Five avatar figures create an animation group. To the body of each figure are
special geometric attached, that also are controlled by
the effectors code-sender. These geometric become the
same commando signals as the projection surfaces and
the particle emitters and change accordingly form, texture and colour. These controlled attachments follow the
dance movements of the avatar figures. (4a)

emoticon
. Animation control: The dance movements of the avatar
figures are controlled with the help of a so called HUDles animator script (4b) note; HUD is the short name for
Head-Up-Display
12.3. Control group
The control group components-task is to control the effectors elements time depending.
5/. Master controller
The master controller is responsible for the total show.
The master controller contains more scripts that control
all audiovisual elements after a time depending schedule. The master controller becomes, interprets and communicates the data, that are set for every beginning- or
ending-moment of the system-conditions. These dates
have the following construction: Time-set in seconds,
number of communication channel, command. The master controller consists of different parts that carry out
different tasks.
. Event Recorder: The event recorder asks on command
every effectors element for the data that describe the
appropriate states of the effectors, and let the received
information appear in the messenger window. (5a)
. Event Player: The event player synchronise the collaboration of the different master controller parts with the
soundtrack. (5b)
. Effect Code-sender: Is a menu panel with buttons. Every button equals the 3x8=24 emotion quality and the intensity combinations, furthermore the 8 dyads and the 4
unlike pairs. When activating these buttons all the commands for the actual emotions quality and intensity combinations are send out to the effectors. There are also 2
more buttons. One group for intensity control, the other
makes it possible to eliminate function groups. All buttons
can be activated by the event player or manually. (5c)

Fig. 64-65. Emoticon Komponente

57

58

emoticon
. Venue Voting Evaluator and Event Program Modificator: stores and analyses the answers that are distributed
by the voting system of the audience-seats. Every three
minutes the spectator is questioned if the announced feeling and emotion is matching the emotion-intensity. The
outcome is depending of the analysed results of the voting. The show takes 24 minutes. Original all 24 emotionqualities and intensity-combinations were played in a certain order, namely every combination for three minutes.
The given votes influence this order. Is the number of the
no-answers less then 5, the program continues. Is the
number bigger then 5 but smaller as 10, randomly one
of the nearby dyads is chosen and played. Is the number
of no-answers bigger then 10, then the unlike pairs are
played. (5d)
. Scene Event Controller: Controls the translation- and
rotation movements of the effectors elements. (5e)
. Venue Camera Controller: Send time-depending the
camera-data for the seats. (5f)
. Venue Message Sender: Send on the right moment the
questions to the spectators. (5g)
6. Soundtrack Server
. Parcel Media Switch: Switches the program equally the
needed soundtracks. (6a)
. Soundtrack Storage Server: is an external server, from
where the individual soundtracks are obtainable with
URL for inland use. (6b)

emoticon

Fig. 66-67. Emoticon Kontroll Bereich

59

60

emoticon
13. Space Critical Turnaround
With the Internet new cultural spaces are created, that is
no longer can be captured in the category of a physical
space. The space seems no longer a demarcated physical place, but a result of social relations. Space compactions are leaded to medial levels.
Some while now it seems obvious that a totally new understanding of space, a space knowledge is needed.
This question is moving up since the 80ties in the run
of cultural- and scientific debates. Many scientists look
at the new considerations as paradigm-shifts, because
not only time is in the centre of culture-science anymore,
where it always was in modernity, but now also space
in placed in the interest. Space is looked at as Cultural
Dimension.
The understanding of the past was that space was understood as territory, existing autonomous from people.
And the historic processes were serving as a background
and were determined this way. At the other hand area
sociologists describe space as a product of human action and perception. Hans Dietrich Schultz publishes this
new approach with a pithy phrase: Space is not, Space
is made! This paradigm shift is looked at as a spatial
turnaround or Space critical turnaround.
Today area sociologists are thinking about how humans
create spatial orders and what meaning that will have for
the social process. The places in our world are seen as
medialized places. Space becomes a new analyse category, where the scientist approaches the object from the
beginning as a spatial category and thinks spatial also.
The Internet let geographic distance disappear and makes it possible to collaborate and work together on a
never seen before level. The artists and scientists that
work together on the Diabolus Cybernetic Art Research
Project, not only live thousands of kilometres away from
each other, but even also on different continents. They
meet each other weekly repeatedly in a virtual world.

emoticon

61

Fig. 68. Kooperation und Zusammenarbeit auf einer bisher nicht gesehenen Ebene: CARP Metropolis Theater
Gruppe in SL
von links nach rechts:
nnoiz Papp (D)
Millamilla Noel (I)
Sca Shilova (NL)
Debbie Trilling (UK)
windyy Lane (USA)
Josina Burgess (NL)
Velazquez Bonetto (D)
Efrantirise Morane (I)

62

emoticon
14. Diabolus Cybernetic Art Research Team
(CARP)
Performers: Erfantirise Morane (I), Medora Chevalier
(UK), Josina Burgess (NL) Millamilla Noel (I)
Concept and art direction: Caravaggio Bonetto (A)
Soundtrack creator: Junivers Stockholm (S)
Visual set design: Velazquez Bonetto (D)
Costume Design: Josina Burgess (NL)
Textures: Caravaggio Bonetto (A), Millamilla Noel (I),
Josina Burgess (NL)

emoticon

Fig. 40. Performers: Millamilla Noel, Medora Chevalier, Josina Burgess in Aktion Fotos: Millamilla Noel

63

64

emoticon
15. Artistic Avant Garde
Like the name of the group is showing, the members of
Diabolus Cybernetic Art Group take the 50- and 60ties
as a example. In the beginning of the cybernetic age,
the new technology has triggered a revolution in art. The
speed of development has increased enormously. The
adventurous spirit of the artist generation now is presented from time to time new terain by technical progressing. The projects of the Diabolus Group do have a
experimental character. Time will tell how they will fit in.
The avantgardistic art mostly appears as deliberately
provocative, emphasizes innovative as well as highly self
reflexive orientated Art. The avantgardistic art strive to
create something original, unheared. Baudelaires poetry
collection: The Flowers of Evil, has made the shadowside
of citylife into lyricks and provoked this way the citizens.
Shock seems to be since this time one of the most important objectives for artists. It even seems to be a serious
need in the competition for attention, that has a scarce
resource.
The problem with this is, than no sensation stays long.
What today is a big scandal is tomorrow boring. It is very
difficult to outdo the triggered riots again and again. The
dada-ists could irritate with their nonsens-poems, nowadays nobody is agitated when a work of art seems to
have no sense at all. We saw empty screens, who is still
wondering when Karin Sander frames 770 hairs each on
a papersheet of 28x21 cm and exibits them? Futile is the
trying of Orlan to shock with his surgery. Te Vienna actionists have filled many buckets with blood. The artistcouple Christo and Jeanne-Claude can only with enormous
capitalinvestions get the attention. In Central Park in New
York a few years ago 7.503 towers were exibited. After
the succes of this project now they plan a voltage of the
Arkansas river in Colorado. The project can be realised
with the needed preperation time earliest in the 2012.
Question is will it be more then just a tourist attraction?
The more extreme, the more extravagant pieces of art
are exibited, the more their extra-aestetic, theoretical

emoticon
commentary will be. They tend to become less and less
understandable from itsself. Becuase of this the contact
with the audience will be more and more lost.
It is possible that Schffer towers were not appealing to
every citizen. The were strange and new. But they were
certainly not shocking in the way like for example Hagens Body Worlds. His ideas were eccentric and original
in a positive sense, without making special effort to be
original.
The Diabolus Team also does not want to shock, apart
from the intention to tell something, seems to be shocking today. The driving force are scientific- and adventurous spirit, the need to communicate and human
contacts. Whether this causes Art, and the answere is
positiv, how she will fit in arthistory, has to be decided by
the future generations.

Fig. 41. Kunst als Skandal

65

66

emoticon

serenity
joy
ecstasy

emoticon

67

68

emoticon

acceptance
trust
admiration

emoticon

69

70

emoticon

apprehension
fear
terror

emoticon

71

72

emoticon

distraction
surptise
amazement

emoticon

73

74

emoticon

pensiveness
sadness
grief

emoticon

75

76

emoticon

boredom
disgust
loathing

emoticon

77

78

emoticon

annoyance
anger
rage

emoticon

79

80

emoticon

interest
anticipation
vigilance

emoticon

81

82

emoticon
Bibliography
[1] Nikolas Schffer Die Kybernetische Stadt, Heinz Moos
Verlag Mnchen, 1970
[2] Markus Stegmann, Architektonische Skulptur im 20. Jahrhundert,
Ernst Wasmuth Verlag Tbingen, Berlin, 1995
[3] Wikipedia
[4] Golo Fllmer, Tne fr die Strae,
Akademie der Knste (Hg.), Klangkunst, Mnchen 1996, S.
216-218
[5] Hartmut Bhme, Das Licht als Medium der Kunst,
ber Erfahrungsarmut und sthetisches Gegenlicht in der
technischen Zivilisation
Antrittsvorlesung, 2. November 1994
Humboldt-Universitt zu Berlin, Philosophische Fakultt III,
Institut fr Kulturwissenschaft
[6] Lehrveranstaltung im SS 2002 von A. Univ.-Prof. Dr. Michael Trimmel
ID 1105 Proseminar Allgemeine Psychologie: Motivation
und Emotion II
Kurztitel: Emotionstheorie von Robert Plutchik
[7] http://www.psychologie.uni-heidelberg.de/ae/allg/lehre/
wct/e/index.htm
[8] Austellungskatalog: Cybernetik Serendipity 1968, London

emoticon

83

84

emoticon