what connects thinking to imagination, imagination to drawing, drawing to building, and building to our eyes is projection in one guise or another, or processes that we have chosen to model on projection. all are zones of instability. i would now claim that the engaging questions of architecture's relation to geometry occur in these zones. composition, which is where the geometry in architecture is usually sought, may still for convenience be considered the crux of the matter, but it has no significance in and of itself. it obtains all its value via the several types of projective, quasi-projective, or pseudo projective space that surround it, for it is only through these that it can be made available to perception.
The most strategic component of fixed capital would not be the machines themselves but rather the software that drives them
despite appearances, puzzling is not a solitary game: every move the puzzler makes, the puzzle-maker has made before; every piece the puzzler picks up, and studies and strokes, every combination he tries, and tries a second time, every blunder and every insight, each hope and each discouragement have all been designed, calculated, and decided by the other
A desire to reinvent the real materially
writing is purely and simply a process of combination among given elements
consider the project in terms of two opposed notions: that of the programme, as exemplified to some extent in the computer programme, which, once set up, requires an impassive operator rather than enthused subject; and that of play or freeplay