…………………………the research base of jon goodbun

Architecture Today: Review of Project Japan by Rem Koolhaas and Hans Ulrich Obrist

The review (by David Cunningham and me) of the Rem Koolhaas and Hans Ulrich Obrist’s book ‘Project Japan’ on the metabolist movement in post-war Japanese architecture is available free online at http://www.architecturetoday.co.uk/?p=23259

Filed under: ecology, research, , , , ,

Ecological Urbanism: Re-imagining the Project of Planning for a Post-Capitalist World

I am happy to have been one of 20 researchers invited to present their work at the launch event of the new Graduate School of the University of Westminster. Here is my poster:

Ecological Urbanism: Re-imagining the Project of Planning for a Post-Capitalist World

Dr Jon Goodbun

We are today, according to the UK government’s chief scientist John Beddington, facing a ‘perfect storm’ of social, political, economic and ecological dimensions. The full extent of our problems is yet to be determined, but one thing seems certain: our foreseeable futures will not be like our recent pasts. Leading analysts of all the major resource domains – water, food, material resources and energy – tell us that our global industrial and financial models, driven by the short-termism of market forces, are stressed and close to systemic failure.

Our economic naiveté is compounded by the widespread disregard of science’s warnings regarding our planetary environment. Biologists tell us that we are in the midst of the biggest mass extinction event in 65 million years, whilst in recent weeks atmospheric monitoring stations in the Arctic have recorded levels above 400 ppm CO2e for the first time. The built environment is responsible for around 60% of carbon emissions, yet a recent report by engineers Ove Arup declared that global attempts by governments and industry to self regulate and reduce emissions have been ‘a near total failure’.

In fact, our economic and ecological problems are interconnected, and the production of the built environment straddles both domains. My work explores new models for thinking about the complex interactions between buildings, cities, and the broader social and ecological networks within which we exist. I argue that we can develop new conceptual, political and design tools out of the legacies of several centuries of systems theory research, which can help us think about buildings and cities as processes more than objects – as complex and interconnected multi-scalar systems and hybrids of human and natural ecologies. I argue that such a project suggests not just a rethinking of architectural practice, but a renewal and expansion of the social project of planning more broadly. Yes, we need to start planning smart ecological urban infrastructures, but that shift in political priorities can only be delivered through a democratic planning of the global economy.


I have a book contract with Ashgate to publish my PhD (completed last summer): ‘The Architecture of the Extended Mind – Towards a Critical Urban Ecology’. Since completing my doctorate I have set up a design research practice called Rheomode (see www.rheomode.org.uk). Rheomode is currently involved in 4 main research projects, including

1. Scarcity, working as a part of the SCIBE AHRC/HERA European research team, based at the University of Westminster. I have recently co-guest-edited (with Prof Jeremy Till and Dr Deljana Iossifova) a special issue of the journal Architectural Design on ‘Scarcity – Architecture in an age of depleting resouces’.

2. A RIBA funded teaching and research project looking at the political ecologies of concrete and digital fabrication.

3. Re-imagining the project of planning, a broad urban ecology teaching and research project (and book in progress).

4. Space and Mind, an ongoing research interest in thinking about the role that ecological, technological and spatial environments play in our cognitive processes.

Filed under: ecology, research

Something I wrote four years ago…

In a conversation at the RCA last week the Oxford Conference on architectural education in 2008 was briefly mentioned. It reminded me that I wrote an open letter to the conference with Karin Jaschke, which was published on by BDOnline at the time. It is interesting to reread this article now – especially in the light if the current discussions at the RCA with Alex de Rijke and Charles Walker and other staff and students, regarding rewriting the architecture course.

The article (pasted below) was written towards the end of the Labour government,  and before the Lehman Brothers crash. Clearly the economic crisis and the new right wing UK government have shifted priorities and political debate enormously, but it is still remarkable how much the discussion around the environment has moved in the wrong direction. There is of course also a lot in this article that I would not say in the same way today. We seemed to be fairly comfortable using the word ‘sustainability’ without too much qualification. This was partly in response the Oxford conferences use of the term, but today I would be much more critical of that term. I would also not use the term ‘autonomy’ in the same way regarding architecture. We were obviously referring to some of the more myopic design studios, but today I think have a much more dialectical conception of architectural autonomy, and would state much more strongly the way that a certain way of working with and thinking about architectural autonomy is key to grasping architecture’s political dimensions – following in particular recent writing by Victoria Watson and Pier Vittorio Aureli (and in a different sense Patrik Schumacher). In general I would make more of the usefulness of urban political ecology in thinking about cities and the environmental question, following more recent work by for example Erik Swyngedouw and Matthew Gandy, and would avoid some of the more eco-apocalyptic language.

In any case, I include the original article below unedited:

Dear conference,

We apologies for not being with you in person. We are writing in response to the short opinion piece by Iain Borden on this Oxford Conference, sustainability and architectural education, which is circulating amongst delegates, and which is going to be published in the September issue of Blueprint. We are also writing to report back on the major international pan-disciplinary design research conference held in Turin earlier this month, ‘Changing the Change’, to which we contributed.
In his piece, Iain refers to ‘a certain sense of unease’ that he feels at the ‘clarion call’ of sustainability. His uneasiness is shared by many colleagues. Indeed, we have been watching with some fascination the real sense of fear that the ‘environmental question’ has instilled in many architectural educators in recent years. For many design tutors this fear is well founded, as they are in no way intellectually equipped to deal with the practical demands of students, nor the critical demands of the issues at stake. We find ourselves in the curious position of watching design tutors demanding their right to autonomy, that is to say, demanding their right to social irrelevance, and we wonder with Marx, who will educate the educators?
Yet the challenges ahead might prove to be architectural and design education’s greatest moment. To understand why this is, we need a sober reflection upon where we are now, and the nature of the intellectual, social and political struggles that we face.
Firstly, let us be clear, the ‘environmental question’ is of a completely different order to any other issue that we are facing. This is because the environmental question forces us to confront the question of value production in capitalism head on, in a way that no other contemporary issue does. Iain wonders whether, “global health, intercultural interaction, and well-being”, might be “other challenges of equal or perhaps greater significance.” These are all important issues, and indeed for many thinkers they are inseparable and fundamental to the question of sustainable living. However, they will all be completely determined by outcome of the confrontation between ‘the environmental question’ and capitalist production. Period.
The kind of scientific reports on climate change that have been coming out over the last year are of a different order to what has come before. Benchmarks that had been thought to be fifty years away in a worse case scenario are now, it seems, upon us. In the coming weeks the North Pole will be navigable to normal shipping for the first time, whilst Australia has already shifted to a new pattern of seasons and rainfall. The recent Stockholm Networks report suggested that even if we were to meet Kyoto plus standards, which we certainly will not, there will still be fast and massive negative change to the world that we know. The kinds of discussions that we are having in construction, which are almost exclusively around carbon emission control (ie a tiny part of the environmental impact of building), will at best slightly delay change. Considered as technical solutions alone, they are irrelevant. There is after all nothing special about carbon – it is the most currently pressing of many natural cycles that have been distorted as capitalist growth hits planetary limits, but we are also losing control of our food, water, material and energy futures too. We need to start asking, exactly what scenarios are we designing for, and for whom?
Naomi Klein in her recent book has brilliantly exposed how some of the most criminal and un-progressive forces in global capitalism use crises to dominate entire areas of the global economy. On the basis of our current situation, we have to conclude that by far the most likely scenario that we are heading towards, is that of a degraded planet, with huge regions becoming increasingly uninhabitable, producing massive migration shifts, whilst even the wealthier areas struggle to meet energy and material needs, and have significant problems with food crops and supplies.
These are unfortunately exactly the kind of conditions that ‘crisis capitalism’ loves. In the absence of any popular shared vision of a new way of being on the planet, an atmosphere of real fear will emerge. In this situation, the corporations with for example interests in nuclear power and GM foods will put pressure on governments to give them full access to global markets. These will even seem like common sense solutions.. indeed to our current Prime Minister they already do. Increasingly, the only food that will grow is from the seeds of privately owned and centralised GM corporations (with proprietary pollinating GM insects already being developed!), and the main energy supplies will come from centralised nuclear ‘big power’ interests. This is not centuries away. This is being put in place now. This is Green Capitalism!
So what does this have to do with architectural practice, education, and the Oxford Conference? Well, firstly, we need to understand that the questions confronting us are not about avoiding climate change – it is already far too late for that. It is about damage limitation and amelioration. It is about creating positive visions of alternative futures, as a form of resistance, and to counter the fear that will come. It is about designing properly local-global decentralised network structures of power, food, information and infrastructure that are both robust enough to exist on their own in a worst case scenario, and which take power away from the criminal centres of capitalism today. It is about properly training designers in systems theory, ecology, cybernetics etc… training designers to be social facilitators and political activists, designers of processes and economies as well as beautiful objects. It is about producing new kinds of design schools, which are active agents of local and global change. It is about producing new kinds of professionals, and facilitating new kinds of participatory design.
If architectural and design education is to meet this historic role, then it will need to free itself from the constraints of the professional bodies to which it is shackled, or it will need to transform those bodies entirely. Let the students redesign the curriculum, and not only will you find that sustainability issues are suddenly at the core of all subjects areas, but that some very interesting shifts in pedagogy, content, and indeed definitions of architecture and architectural work would materialise. Indeed, among the first critiques that properly sustainable architectural institutions will make will be concerning the many relationships between professional architecture and capitalist criminality.
Iain’s unease is then understandable. Sustainability is in its broadest form grounded in values that are antithetical to those underpinning the architectural profession and architectural education in most institutions today: the importance of authorship, the premium on individualism, an idea of creativity that is still fundamentally rooted in 19th century romantic and idealist artistic thought. Instead sustainability thinking, at least tendentiously, foregrounds co-authorship, co-creation, and an agency oriented rather than ego-centric approach to design.
Last week’s ‘Changing the Change – An international conference on the role and potential of design research in the transition towards sustainability’ conference in Turin, chaired by Ezio Manzini, demonstrated the breadth of definitions that are active in current sustainability discourse, ranging from environmental and carbon-focused thinking to socially and psychologically oriented research; from highly theoretical systems thinking to hands-on, bottom-up engagement. Manzini’s research project, ‘The Sustainable Everyday’, is grounded in designers going out into the world and looking for progressive grass roots activities to network, up-scale and support. It is a living demonstration of real design research in action. It has wide geographical spread and enormous trans-cultural and co-operative potential. Designers (architects were invited but thin on the ground) have clearly caught on to the fact that sustainability is an infinitely sensible, realistic, and energising proposition in a world with obvious and potentially lethal flaws in its structural (economic, material) and, arguably, philosophical (social, spiritual) set-up. Yes, sustainability is a systemic cultural critique.
Ultimately Iain’s unease is in defence of a plurality of approaches to architecture, and with this we concur – diversity is fundamental to the robust health of any ecology. We would also join him in resisting any overly ambitious common declaration of intent. There is very little consensus or understanding around what sustainability is or means in architecture, and we should not pretend otherwise at this stage. And above all, architectural education should be in the business of critiquing definitions of sustainability provided by the profession, for reasons that we hope are by now clear.

Jon Goodbun (University of Westminster) and Karin Jaschke (University of Brighton), 2008

Filed under: ecology, research, teaching

Gregory Bateson – An Ecology of Mind documentary film

I am co-organising (with Kevin Power (Centre for Action Research, Ashridge Business School) and Wallace Heim) the London premier of:

An Ecology of Mind: A Film by Nora Bateson
Monday 27 February 2012, 18:30-22:00 pm
Old Cinema, University of Westminster, 309 Regent Street, London W1B 2UW

Tickets: £9.50; £3.50 (student/unwaged/Westminster staff)
Book your ticket from: http://anecologyofmindlondon.eventbrite.co.uk/

The Institute for Modern and Contemporary Culture (IMCC) at the University of Westminster is proud to host the London premier of Nora Bateson’s An Ecology of Mind: A Daughter’s Portrait of Gregory Bateson. The screening will be followed by an interdisciplinary panel and audience discussion with Nora Bateson, and will end with a wine reception in the Regent Street foyer.

Panel with Nora Bateson; Iain Boal (Birkbeck College); Jody Boehnert (Brighton University); Ranulph Glanville (American Society for Cybernetics); Peter Reason (Action Research); and Wendy Wheeler (London Metropolitan University). Chaired by Jon Goodbun (IMCC and Architecture, Westminster)

“Tell me a story” … of life, art and science, of systems and survival. Gregory Bateson’s way of thinking – seeing the world as relationships, connections and patterns – continues to influence and provoke new thinking about human social life, about ecology, technology, art, design and health. Nora Bateson, Gregory’s youngest daughter, introduces Bateson’s ideas to new audiences in her film An Ecology of Mind, using the metaphor of a relationship between father and daughter, and footage of Bateson’s talks.

There are several other screenings around the country – see www.anecologyofmind.com Each screening, too, hosts a discussion between Nora and a wide range of people working in depth with Bateson’s ideas: artists, architects, action researchers, ecological activists, mental health practitioners, scientists, urban designers, cyberneticians. These screenings and discussions intend to show a way of thinking that crosses fields of knowledge and experience, one that can lead out of the ecological crisis and towards a more sound way of living.

Awards for the film:
Gold for Best Documentary, Spokane International Film Festival, 2011
Audience Award Winner, Best Documentary, Santa Cruz Film Festival, 2011
Winner, Media Ecology Association, John Culkin Award for Outstanding Praxis, 2011

Event organised by Jon Goodbun (Westminster), Wallace Heim, Kevin Power (Centre for Action Research, Ashridge Business School) and Eva Bakkeslett

To book a ticket go to: http://anecologyofmindlondon.eventbrite.co.uk/

Filed under: ecology, research, teaching, , , ,

PhD viva interview, 2nd August 2011

Jon Goodbun’s PhD viva interview, 2nd August 2011

Department of Architecture, University of Westminster

Notes by Murray Fraser



Present: Jonathan Hale (JH), Jeremy Till (JT), Jon Goodbun (JG), Marion Roberts, Murray Fraser


JH: Would you like to begin by saying something generally about your thesis subject and how it all started?

JG: I was concerned with how to think about environmental questions, in their broadest sense, in relation to architecture. But it has been a complex journey depending on different stages of my career and the issues I have been thinking about (e.g. digital architecture/aesthetic theory/tools and prosthesis/ecology/etc.). The importance of ecology for instance has only truly become apparent to me over the last few years. I came to realise that all these questions are inseparable and can be thought about together by looking at architectural space and architectural technology. This mixture of ideas can then be used in turn to illuminate the internals relations thinking within Marxism and also to update cybernetic theory. For me the key figure in all this is Gregory Bateson.

JH: You mention that your thesis began as a PhD by Design and that in some ways you think it still is. Can you explain this more?

JG: My thesis needs to be seen as design research because it mixes moments of critical theory, architectural history and scientific analysis in a broad-based interdisciplinary manner. And the way in which such different types of knowledge have been deliberately and laterally combined — just like architects do in their work — has to be seen as a design research model. I don’t mean that it is about producing designs as such, but I am talking about the general intellectual approach. Capitalism is obviously a non-disciplinary phenomenon, and so the design research approach offered me a way to grasp together distinct kinds of knowledge.

JT: Are you saying that it is analogous to design research, or is it actually design research in itself?

JG: I would say that it is actual design research.

JH: But did your research begin more explicitly as a process in which you intended to produce design projects?

JG: Yes, that’s true — my thesis was always framed in an open way to collect together many things, and in order to allow its path to develop according to what I discovered.

JT: I agree that parts of your thesis are based on design research, but this is not applied consistently in every chapter. Could you not have more explicitly used the design research method in, for instance, your chapter on nature?

JG: I agree that some chapters are less based on the design research method, but I see the latter as working its effect across the thesis as a whole, not in every chapter/section.

JT: However, this means it is harder for the reader to follow. If you take the 6-stage analysis of Marxist thinking given on p.29, could you not have used that as a structure, or something similar? Don’t you need a clearer ‘road map’ of what the research methods are across the thesis in order to meet the requirements for a PhD?

JG: Yes, I could have done that, but I decided early on that I didn’t want to follow just one linear research method due to the complexity of the subject matter.

JT: OK, but what then is your actual research question? That is essential for a PhD, surely.

JG: I see my research question as having two aspects: What does it mean to think about architecture within a set of different disciplines? And how can we then establish a framework of terms which arise out of those disciplines that can be used to illuminate architecture?

JH: What is the relationship between Part 1 and Part 2 in your thesis? How important is that division? And does it not work against your intentions by appearing to categorise things in binary terms?

JG: I must confess that the very first page of the thesis, which clusters the list of chapters into those two parts, was only added hurriedly on the morning of printing! There had previously been a hint in my conclusion that there might be seen as two parts to the thesis, but it wasn’t really worked out properly. On reflection, I probably shouldn’t have included that Part 1/Part 2 on the first page.

JT: Could it perhaps be read as meaning that Part 1 is based on more grounded knowledge whereas Part 2 is more speculative? In any case, I would have liked to see more sections in the thesis that related your argument back to typical architectural approaches. Your structure could have been far more synthetic in always returning to your stated research question of what all of this means for architecture.

JG: Yes, I would agree with that.

JH: What you have produced is in effect a sort of Deleuzian-style marshalling of a ‘constellation’ of analytical tools which haven’t been brought together in this way by other writers before. My sense is that there is not a Part 1 or a Part 2, and indeed the different sections could have been organised in a different order and it wouldn’t really matter. The problem with that approach, however, is that there tends to be a lot of repetition of points and cross-referencing to other chapters.

JG: But that was deliberate — I introduced the cross-referencing to link the material together as it was so complex and interconnected.

JH: This however means that the thesis has become perhaps too long? It also means that certain other aspects maybe have been squeezed out. Jeremy has mentioned the relative lack of architectural analysis; I would like to point out the missing aspect of the human body.

JT: To follow that point up, i.e. in terms of the thesis length, could you not have taken out Chapter 6 and the whole thing still wouldn’t collapse?

JG: Perhaps that chapter might have been omitted, but I do feel that its content is necessary for my overall argument. In terms of your point, Jonathan, I wanted very much to take bodily relationships in hand and show the relation to the human brain and neuroscience. I aimed to give a different reading of the relations between body/space/technology than is found in the usual texts on the body in architecture. I also felt there were key innovations in cognitive science which are helpful in thinking about space/architecture, and so Chapter 6 is there to build a bigger picture of analysis.

JH: But that only highlights a missing middle-ground around the human body in your thesis, as otherwise the reader has to make a major leap between the stuff about the brain and the stuff about the ecosystem. Perhaps bodily practices could have been brought into your analysis, such as by looking more at Merleau-Ponty? I just feel the subject of the ‘body schema’ has been omitted.

JG: My view was that there has been a lot of work done in that subject area, so I just wanted to let it stand. Also, my chapter on empathy does include a lot about the body, human perception, etc.

JH: But your explanation about empathy is still too much about the brain! My view is that even the subject of empathy can be explained a lot more through bodily studies .It’s worth thinking about.

JT: For me the big question around your subject is that of intentionality. In other words, do such theories always lead to a certain inevitability about our aesthetic understanding/experience? The danger of cybernetics, surely, is that it turns us into passive subjects. So I want to ask where or what is the difference between human agency and precious subjectivity?

JG: Yes, that is a major issue which animates my thesis. Bateson was indeed a co-founder of cybernetics and systems research, but his intellectual project was always about showing the dangers of such thinking in its tendency towards conceiving closed systems. He, plus a few others, wanted to show that human systems are always open and can never be fully controlled; thus they can be directly affected by human agency. My thesis also argues that too much systems theory has been incorporated into thinking and policies that are closed systems, and hence are too technocratic. Instead, following Bateson, my aim was to formulate ways of thinking that reinforce the open systems method. This, when coupled with Marxism and political ecology, gives my project a radical edge as well as a clear purpose and sense of agency.

JT: That’s a very good answer, but how then does your thesis link it back to the analysis of the human mind and aspects such as ecology? How can one possibly look at empathy in terms of the radical systems approach that you advocate?

JG: I share your concerns. A major problem is the reductive nature of the language that we have available to ask these questions. Both the terms ‘mind’ and ‘matter’ are insufficient, yet they are the necessary terms to use because they are the words that we have. However, we can also start to question them. In fact, this was what Marx and Engels were doing; for instance, they declared that they were materialists while at the same time they questioned the existing meaning of ‘materialism’, since they could see its weaknesses. In my thesis I therefore looked at Bateson, Bohm and others to see how they had attempted to get over these conceptual problems. And what I am arguing is that architectural knowledge can contribute to our understanding of terms like ‘mind’ and ‘matter’, and the problematic distinctions we try to make between them, because architecture enacts the division of labour between ideas and buildings in its very practices. We can also realise that our complex understanding of architecture is very much based on the physical and spatial embodiments of the problematic mind/matter dualism that we have inherited.

JT: But are you not selling yourself short by saying that? On p.335 you offer a quote about the act of design being something which ‘reveals’ an understanding of the world, but is that really enough of a purpose for architecture? What about the act of creation or changing the world?

JG: I was quoting Pickering at that point, and what you ask for is in fact what he was talking about — i.e. that humans need to be active and creative in the world to survive. So he was using the term ‘revealing’ in a wider, active, creative sense, and not just about mere passive understanding. And I also meant it as an affirming embrace of the act of design that is not about closing down things. Systems in the end are always reductive, even in architecture, and so far more interesting is the continual need to open them up again.

JH: Once you talk about agency as a distributed system, then what is the role of the individual designer? Where is free will in all of this? Does what you argue take away the scope of the individual person — in this case the architect –to be creative?

JG: I agree that the problem of the role (or indeed existence) of the individual designer becomes a problem in the systems theory approach, but I would argue that this in fact helps to open up the issue of creativity and how it can be enacted.

JH: How does this impact on what it means for the individual agent/architect to act in the world? Might your thesis have talked more explicitly about our notions of self?

JG: Again I agree with you, and that is why I tried to keep away from the fuzzier and more generalised versions of open systems, which tend to omit the role of individuals.

JH: In terms of tracing the history of systems theory in architecture, is your use of Alberti as the first one — due to his uses of ‘part’ and ‘whole’ — really supporting the idea of open systems? Does not their very openness and fluidity refute any notion of a whole? Also, if you are following that particular historical trajectory back in time, could you not have gone even further to interpret Vitruvius, or even certain pre-Socratic thinkers, as the original systems theorists on subjects like architecture?

JG: I agree that Alberti is not perhaps a major example, and that one could possibly trace these ideas to earlier writers. However, it was just that when reading Alberti I was especially struck by how much he had thought in proto-systems theory terms, and how he had used this approach to link buildings to aesthetics and cities and the cosmos. As to the relationship between ‘part’ and ‘whole’, I regard it as the first systems problem in philosophy!

JH: Elsewhere in the thesis you say that you see Maturana and Varela as providing a ‘labour theory’ of living matter and human cognition. Can you explain this a bit more?

JG: If you are trying, as I am here, to update Marxism, ecological thinking and cybernetics, one comes to realise that they are all trying to think about how people live and sustain themselves. They all end up with a similar model which holds that, within a system, any actor that is able to recognise the need to act is a link between life and mind. In other words, the act of impacting on one’s environment in order to produce oneself — and this doesn’t matter what species one is — is akin to Marxist labour theory. So one arrives at a labour definition whenever one tries to define or describe metabolism. I think it’s an important point, but I don’t think anyone has written it before me!

JT: Yes, it seems to me that the passage on p.58 is the real change in the thesis. That is where you say that autopoesis is not just a closed process, but that it is always framed in terms of its relation to external systems. Hence it is always essentially dialectical. Is that too an original insight?

JG: I think so, and what I am arguing here is that autopoesis is not just a closed loop of self-generation as it is so often written about. Any process of self-generation can only occur if matter and energy are present, and produces itself in contact with them; therefore all production only exists in relation to external forces. Therefore one can say that in some ways that architecture is a closed loop, but that condition is only sustained as a result of production by, and interaction with, a whole host of external matters such as economics, ecology, etc.

JT: In that case, how does what you say relate to the current theory of autopoesis being promoted by someone like Patrik Schumacher?

JG: As far as I understand it, Schumacher’s work is heavily derived from Luhmann, who is a third-generation neo-cybernetician interested in social sciences, and who in turn took much of his analysis from Maturana and Varela and also Stafford Beer. What Schumacher writes is of interest as he is someone who happens to be returning to neo-cybernetic analysis to ask questions such as what is the nature of architectural knowledge, and what constitutes the architectural profession? However the real disappointment in his book is that ‘parametricism’ is somehow the answer to all of these questions! I therefore don’t think that Schumacher gets us anywhere.

JH: I was struck by the diagram that you reproduced on p.57 which has a chair that is seemingly expressing feelings or emotions. Does a chair have agency?

JG: In my thesis I use a really good quote from Latour about how the objects around us should be seen as a continuum of agency, and in this sense every object can offer affordances.

JH: I think that’s important, but could you not have written more about agency and affordances, especially in relation to the idea of bodily presence put forward by Merleau-Ponty, Gibson, etc? In other words, humans have a bodily grasp of the world before we even start to think about it in intellectual terms. Such a view would help to link your ideas more to architecture.

JG: I certainly tried to do this when I was writing about the idea of affordance as being part of our relationship to the surrounding world.

JH: Yes, but are not the detailed kinds of affordance that you talk about in your thesis — i.e. surface pattern and texture — too much of a side-step when dealing with this aspect? Surely there is a more basic and broader, and thus more important, reading that can be made of affordances in architecture, especially in their influence on how people relate to and understand architecture?

JG: I did have some material on that point in relation to Van Eyck’s Amsterdam playgrounds, but I took it out. I probably should have kept it in, given that what you say is correct.

JH: If I can pick up on another point, was Bateson not too influenced by the idea of information flows — in cybernetic terms, of how information had ‘lost its body’ — and as a consequence he undervalued physical, lived, bodily reality?

JG: Yes, but that in a sense what all the cyberneticians were trying to do in focussing on information streams as the expression of language differences in their dispersed modern state.

JH: Is there not a real danger in splitting off the mental concepts in language from the body, even if one also acknowledges that language at an early stage of human development came out of bodily practices? Surely we still need, even today, a much tighter embodiment of language as a social practice in which bodily practice is equally vital. For me, this is the point where cybernetics falters.

JG: I agree that we need to put the body back into our thinking, especially in light of the impact of prosthetics and other forms of extension. Interestingly, this kind of integration seems to be returning into the latest theories and designs in robotics, which hitherto had tended to be very mechanical in conception.

JH: The issue is how to avoid becoming trapped in the kinds of binaries that language presents us with, such as the matter/pattern division that you criticise. Can one not look at the information systems that create pattern while always keeping in mind the actual ‘stuff’ of matter? In other words, embodiment always encompasses information, and hence practices of information flow — even in our digitally enhanced age — inherently have a bodily construction and a form of bodily participation. I guess what I am suggesting is that there is a danger in an over-emphasis on language!

JG: I totally agree, and in my thesis I was trying to state the dialectical process of recognising the separation of ‘part’ but always returning to the ‘whole’, which would include bodily practices.

JH: I think your thesis should definitely become a book, but in that instance I would suggest that you mention more about the bodily schema and associated social practices. You could for example take Bourdieu in the way that he extended Merleau-Ponty to include the analysis of economics, social systems, etc. This would also help to get your thesis away from the science laboratory set-up that is perhaps too strong in some chapters. I also think you should link the insights from neurology far more closely to your ecological readings.

JT: A final point I would make is that you should stress more that what you are saying offers a chance to deal with, and impact on, systems in the world if indeed the political control over us is really as intractable as writers like Harvey and Swyngedouw claim. These urban pessimists seem to be saying that there can only ever be change if there is full-scale social revolution! Does not your more integrated reading offer us more hope for action?

JG: I admire Harvey’s co-evolutionary strategy as it complexifies the idea of struggle/resistance, and thus gives us a sense that at any moment one can act and labour in such a way that contributes to potentially disruptive changes in capitalism. Hence left-wing thinking needs the sort of intellectual work that I have carried out in my thesis, as otherwise it can be accused of not having progressed much in recent decades. Fundamental epistemological work needs to be done even before we start to think about politics, which is what Bateson said. I would like to take this strategy but also make the political critique far more explicit.

JT: We need to take seriously the links between the political and the ecological, and indeed one can argue that it is the latter aspect which tends to be downplayed in the work of Swyngedouw and others in the field of urban political ecology. In other words, they have too much of the politics and not enough of the ecology!

JG: Again, I couldn’t agree more.






JH/JT: We think that this is an excellent, indeed amazingly original, piece of work and so it is clearly a pass. It should definitely be developed into a book; bearing that in mind, we decided against asking you to add in more text about the methodology of your thesis, since that is precisely what would then be taken out by the publisher when it becomes a book! However, there are (as ever) some minor typos which we will notify you of and which need to be corrected quickly before the thesis is bound and put into the library.





Filed under: ecology, research

Bateson, Beer and Pask: Emergence of an Eco-Materialist Aesthetics

I will be giving a paper at next year’s Society of Architectural Historians (SAH) conference, which will be in Detroit. My paper abstract is as follows:


Andrew Pickering has noted that “the ontology of cybernetics is a strange and unfamiliar one, very different from that of the modern sciences”. He argues that the modern ideology and practice of science is fundamentally representational, but that within post-war cybernetics there was a radical and marginalised research interest, which staged a non-representational approach, based upon a “hylozoic wonder”, and a “reciprocal coupling of people and things”, and which tried to develop a new philosophy and science of material process. Across an ecology of practices – art, architecture, psychiatry, robotics, biological computing, cognitive science and even management theory – we find in this research the beginnings of a reformulation of the project of western knowledge, and a different way of thinking about what “things” are, and what we can know about them. Binary oppositions that continue to structure much thought, such as matter and pattern, nature and culture, subject and object, were profoundly re-imagined here, not just conceptually, but through real experimental projects.

In this paper I focus on Gregory Bateson’s conceptions of an ecological aesthetics and an ecology of mind, and Stafford Beer and Gordon Pask’s ideas around biological computing. All of these thinkers engaged in architectural or urban issues in various ways. Bateson tried to make available the insights of complex systems theory to NY planners, Pask famously collaborated with Cedric Price, and worked at the AA, whilst Beer fantasised about designing factories that were managed by complex systems in the local environment!

I review these more obvious engagements with architectural and ecological knowledge, but will also ask what kinds of questions and possibilities this neocybernetic research – which staged a very novel conception of time and agency – poses for the practice and knowledge of architectural historiography, an eco-materialist aesthetics and critical-political urban ecology.

Filed under: ecology, research

David Harvey on the Communist Hypothesis today

David Harvey at the World Social Forum in 2010:


Contemporary attempts to revive the communist hypothesis typically abjure state control and look to other forms of collective social organisation to displace market forces and capital accumulation as the basis for organising production and distribution. Horizontally networked as opposed to hierarchically commanded systems of co-ordination between autonomously organised and self-governing collectives of producers and consumers are envisaged as lying at the core of a new form of communism.  Contemporary technologies of communication make such a system seem feasible. All manner of small-scale experiments around the world can be found in which such economic and political forms are being constructed. In this there is a convergence of some sort between the Marxist and anarchist traditions that harks back to the broadly collaborative situation between them in the 1860s in Europe.

Filed under: ecology, research

Rheomode and Aesthetics; Towards a Science of Consciousness

I will be giving a paper at the forthcoming Towards a Science of Consciousness conference to be held in Stockholm in May. My paper is titled: Rheomode and Aesthetics: Towards An Ecological Cybernetics Of Mind. These conferences are legendary (this is the eighteenth), and they bring together an exceptionally wide group of disciplines, beliefs and practices. I attended my first last April in Tucson, and was delayed there with many others by the Iceland volcano. I meet neurologists and philosophers, quantum physicists and psychologists, AI researchers and Buddhists, artists and synaesthetes, including quantum consciousness theorist Stuart Hammeroff, artists Robert Pepperell and John Jupe, roboticist Riccardo Manzotti, neuropsychologist Henrik Ehrsson.

I am looking forward to the coming event, notably Henrik Ehrsson (of Stockholm’s Karolinska Institute, producing fascinating work on how we have a sense of owning a body), Roger Penrose (mathematician and theoretical physicist), Paavo Pylkkanen (philosopher and leading scholar on physicist David Bohm) and Stuart Hameroff (quantum consciousness theorist) among others.

My paper proposal:

Rheomode and Aesthetics: Towards An Ecological Cybernetics Of Mind

The quantum physicist David Bohm suggested that many of the contradictions and paradoxes that arise when we try to formulate accurate descriptions of both matter and mind, arise from the structures of everyday western language, and the ideology of modern reductive scientific method. For Bohm, western languages privilege nouns, and construct for us a perceived world of discrete subjects and objects. Our language obscures the fundamentally dynamic and interconnected process based nature of reality.

Bohm imagined a new verb-based form of language, which he called the rheomode (from the Greek flow). He hoped this might make it easier for us to see and conceive of a dynamic unfolding wholeness. In this thinking, Bohm was influenced by two philosophical schools: Whiteheadian process thought, and Hegelian-Marxist dialectics. Bohm suggested that if it were possible to reformulate quantum theory in rheomodic terms, it might move beyond the paradoxes that characterised the standard interpretation: indeterminacy, non-locality, wave-particle duality, the role of the conscious observer etc.

Describing the internal relations of an unfolding dynamic system does not just re-imagine matter. Bohm insisted that rheomodic thought necessarily redefines the other half of that old dualism: mind, or consciousness. He described his holistic account as “more quantum organism than quantum mechanics”, and in his process based concepts such as “active information”, “implicate ordering” and “holomovement”, mind and matter are radically and mutually enfolded; this thinking resonates with panpsychic, hylozoic and radical externalist approaches.

Bohm’s joint work with David Peat developed new conceptions of order and creativity that had as much to do with aesthetics as they did with science. In this paper I will extend this line of thinking, and suggest that new rheomodic approaches can be found within some art and design based research, specifically a series of experimental projects associated with the work of neocyberneticians Gregory Bateson, Stafford Beer and Gordon Pask. In his recent The Cybernetic Brain, Andrew Pickering argues that in their work “cybernetics drew back the veil the modern sciences cast over the performative aspects of the world, including our own being” and through “hylozoic wonder” and “nomadic science” staged a “a vision of a world.. in which reality is always ‘in the making’.”

Although most contemporary neurological research tries to reduce correlates of consciousness to ever smaller elements, as Alva Nöe has noted, “the phenomenon of consciousness, like that of life itself, is a world-involving dynamic process,” which must have “external correlates” too. As Bateson argued, cognition is a radically ecological “system whose boundaries do not at all coincide with the boundaries either of the body or of what is popularly called the ‘self’ or ‘consciousness’.”

At TSC Tucson 2010, several speakers proposed to explore new unification models, to bring together insights from recent neurological, psychological and philosophical research. I suggest that without a renewed (and necessarily political) appreciation of Bohm’s rheomode, and the development of a language of dynamic ecological aesthetics, such a task is impossible. Indeed, in an important sense, the project of a ‘science of consciousness’ is impossible without a dialectical aesthetics and politics of mind (and matter).

Filed under: ecology, research

Gregory Bateson, Critical Cybernetics and Ecological Aesthetics of Dwelling, in Field Journal

I have a paper in the new issue of the excellent Field Journal on Ecology, which can be downloaded online. My paper is titled “Gregory Bateson, Critical Cybernetics and Ecological Aesthetics of Dwelling”. The synopsis follows, and other papers are also listed below. It looks like a great issue, though I have yet to read the other contributions thoroughly. Other issues of the journal are also well worth downloading. Field is an important  young online peer reviewed architectural theory space … one  of the few.

Gregory Bateson, Critical Cybernetics and Ecological Aesthetics of Dwelling: Synopsis

In the last decade there has been a shift in our understanding and awareness of the scale and profundity of the global environmental crisis that industrial capitalism, combined with a certain cultural hubris regarding our ‘relation to nature’ (see below), has instantiated. Ecology, a term that emerged into popular consciousness in the 60’s as a byword for radical ‘holistic’ and ‘systemic’ thinking, has returned to prominence in recent years across all kinds of fields – once again as a way of signalling an attempt to engage with broader environmental questions.

Within the natural sciences, ecology is above all characterised by a non-reductive holistic approach that focuses on the organisation and internal/external relational dynamics of ‘wholes’ or ‘assemblages’ (such as ecosystems). This is in contradistinction to the orthodox ideology of modern scientific practice, which is based upon a reductivist analysis of phenomenal wholes into ‘fundamental’ parts. Through the twentieth century ecology co-evolved with associated disciplines such as cybernetics and systems theory, and many important theorists – including for example Ludwig von Bertallanfy, Gregory Bateson and James Lovelock – migrated between these different areas, making contributions to all. Outside of the biological sciences, ecology has come to signify something closer to a paradigm rather than a specific discipline, as a culture and holistic science of systemic interconnection in general.

As a discourse, ecology brings together many contradictory roots. It exists as a hard scientific discipline, yet it also has allegiances with the environmental movement and ecocentric theory in a wider sense that gives it an irreducible complexity; combining many of the insights of modern science but mixed together with intellectual, religious and romantic legacies, ideas and practices that are from beyond the enlightenment (either predating it, and/or from remote cultures). For example, ecocentric thinkers might typically assert that the western scientific method and ideology promotes views of the natural world as something to be exploited and experimented upon. They then go on to cite scientific evidence collected as proof of this damage!

Today, ecology as a suffix is frequently used to signify a general systems theory (often combined with environmental awareness) based approach to any complex area. Think for example of the growing plethora of disciplines such as human ecology, social ecology, deep ecology, industrial ecology and political ecology, to name but a few. In architectural theory and in design teaching especially, there have been proposed an ever-expanding series of ecology-based concepts: cybernetic ecologies; machine ecologies; stealth ecologies; performance ecologies and so on. Clearly, the role of ecological analysis in articulating the stresses that contemporary industrial systems are placing upon the biosphere has been a particularly important area of development. Below I focus on two such strands within ecological theory.

Understanding socio-economic-ecological systems in relation to social justice has become a key task of urban political ecology – perhaps the most important extension to ecological theory to emerge in recent years. In this paper I will explore some of the precursors of contemporary urban political ecology (UPE) in the basic relations between ecology, economics and the architectural-urban. In particular, I will turn to consider the thinking of the British post-war anthropologist, cybernetician and ecologist Gregory Bateson. In Bateson’s work we can find one the most innovative and important re-conceptions of the overall project of ecology – and I suggest that the work of this maverick thinker might have some important contributions to make to the development of urban political ecology today.


field: volume 4, issue 1 (December 2010)


Ecology Renata Tyszczuk and Stephen Walker


The perfect worlds of ecology Irénée Scalbert

Ecology and the Art of Sustainable Living David Haley

Gregory Bateson, Critical Cybernetics and Ecological Aesthetics of Dwelling Jon Goodbun

Ethics VS Aesthetics Architectural Design 1965-1972 Steve Parnell

Ecology without the Oikos: Banham, Dallegret and the Morphological Context of Environmental Architecture Amy Kulper

Learning from Ecosystems: The Deployment of Soft Systems in the

Canadian Arctic Neeraj Bhatia and Maya Przybylski

Cultural Ecology in the New New Orleans Benjamin Morris

The Lost Decade? Lisa Tilder

Bonjour Tristesse: Study for an art project. Cerdagne, France 2010 David Cross

The Edible City: Envisioning the Continuous Productive Urban Landscape (CPUL) Katrin Bohn and Andre Viljoen

Squatting My Mind – Towards an Architectural Ecosophy

Catharina Gabrielsson

Review Articles:

ECOLOGY Theory Forum Judith Sakyi Ansah and Robert Sharples

RHYZOM Doina Petrescu

SPATIAL AGENCY Tatjana Schneider

ATLAS of Interdependence Joe Smith and Renata Tyszczuk

Filed under: ecology, research

PechaKucha: ‘Re-imagining the Possibility of Planning’

This is my PechaKucha presentation – ‘Re-imagining the Possibility of Planning, or, How to Become an Urban Ecologist – for Rip It Up and Start Again given at The Gopher Hole on Weds 2nd March 2011. I was asked to speak about the future of architecture and the university.. Apparently there will be audio recordings to follow on their site…

Filed under: ecology, research, teaching


rheomode is the research lbase of Dr Jon Goodbun

I have a background in architectural theory, design research and practice, which over the last two decades has focused ever more on environmental and ecological research and practice, and what this means for how we think about space. or spacetime, as a semiotic mediating field of material, biological and mental worlds. This has led me to work with ideas and thinkers who present challenges to some of the very premises of modern science, and the divisions between both the natural, social and political sciences, and between the sciences and humanities… divisions which are the legacy of western enlightenment thinking. I have pursued this work both in mainstream academic institutions such as the RCA, but also non-orthodox institutions such as Schumacher College, the Pari Institute and Burning Man, as well as in activist political arenas, and a series of independent educational and research initiatives.



You can reach me:
jcgoodbun (a) mac.com

Twitter Feed @jongoodbun

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