That's not a utopian vision. It is a set of ideas that we think are important to discuss. Those ideas largely have to do with sustainability of cities. The ability of cities to, over time, remain in balance with the resource streams that are available to them, and they have to do with social justice and equity of the fundamental conditions of satisfactory citizenship.
American cities are kind of difficult contexts to work in. They are politically complex. There are a lot of different interest groups. It takes immense political skill to get anything done at all.
Automobile is one of the most successful inventions of all time, but in my view, it is thoroughly obsolete already. And so by fundamentally rethinking the automobile, thinking of it as a robot on four wheels, essentially, something that can communicate with other intelligent devices, it can operate in a coordinated way, you can really start to fundamentally rethink urban personal mobility.
Exile is a series of photographs without texts.
...people have always known, at least since Moses denounced the Golden Calf, that images were dangerous, that they can captivate the onlooker and steal the soul.
There is no magical solution because urban traffic congestion arises from the fact that a lot of people want to be in the same place at the same time often.
We [MIT Smart Cities research group] try to identify the fundamental underlying design assumptions that everybody takes as a sort of given and unchallengeable when you think about solving these problems. And we try to challenge those assumptions.
An interlude of false innocence has passed. Today, as we enter the post-photographic era, we must face once again the ineradicable fragility of our ontological distinctions between the imaginary and the real, and the tragic elusiveness of the Cartesian dream. We have indeed learnt to fix the shadows, but not to secure their meanings or to stabilize their truth values; they still flicker on the walls of Plato's cave.
The essential characteristic of digital information is that it can be manipulated easily and very rapidly by computer... Computational tools for transforming, combining, altering, and analyzing images are as essential to the digital artist as brushes and pigments to a painter.
What we need is a critique of visual culture that is alert to the power of images for good and evil and that is capable of discriminating the variety and historical specificity of their uses.
Everybody thinks an automobile needs an engine. Well, an automobile doesn't necessarily need an engine. What we do is shift electric motors into the wheels of our automobiles and so we have a completely different kind of thing where we have four independent intelligent wheels rather than a traditional internal combustion engine and power train and so on.
Photography is and is not a language; language also is and is not a photography.
We are surrounded by pictures; we have an abundance of theories about them, but it doesn't seem to do us any good. Knowing what pictures are doing, understanding them, doesn't seem necessarily to give us power over them.
The relation of photography and language is a principal site of struggle for value and power in contemporary representations of reality; it is the place where images and words find and lose their conscience, their aesthetic and ethical identity.
Imagine a kind of system where you have lightweight electric vehicles relatively small battery capacity, and then picking up charge wherever they park. You never have to worry about filling up your car, never go to the gas station, never plug it in, never do any of these things.
