Write the text of your article here!ecember 13th, 2007


Edited by Marcus Trimble*Bennett and Trimble

Megascale Engineering of the TranshumanistsEdit

Tuesday, 25th September 2007Edit

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The Lifeboat Foundation has published a list of the Top Ten Transhuman Technologies. It is a most interesting list. It postulates that if humans are able to think of something then, it is a matter of time before the idea is realised.

“Transhumanists tend to take a longer-than-average view of technological progress, looking not just five or ten years into the future but twenty years, thirty years, and beyond. We realize that the longer you look forward, the more uncertain the predictions get, but one thing is quite certain: if a technology is physically possible and obviously useful, human (or transhuman!) ingenuity will see to it that it gets built eventually. As we gain ever greater control over the atomic structure of matter, our technological goals become increasingly ambitious, and their payoffs more and more generous.”

Making up the top ten are Cryonics, Gene Therapy, Self Replicating Machines, Molecular Manufacturing and so on. It is as you may imagine mostly interesting stuff, and at number three sits ‘Megascale Engineering’. YES.

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A world of enormous planet dwarfing structures supplying infrastructure to the exponential growth of the human and transhuman peoples. Obviously, the construction of these behemoths would require more than man power however we are told that, with the help of some good ol’ self-replicating robots

“the production of such large structures could be done largely by autonomous drones, with intelligent agents only managing the highest top-level functions and architecture. Considering that mankind’s long-term future is in space, and that space right now is pretty devoid of any structure useful or habitable to humans, we have a lot of work to do, and if you can make the projects megascale, why not?”

Indeed, why not? Tow of the references mentioned in particular, caught our eye - Globus Cassus and the Dyson Spheres. Globus Cassus - literally Hollow Sphere - is a proposal by Christian Waldvogel and formed a part of the Swiss Pavilion at the 1994 Venice Biennale.

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It takes the form of a compressed icosahedron that surrounds the point where the earth once was. The inside of the sphere forms the habitation, with two large continents facing each other across the empty centre.

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The structure is made by gradually excavating the earth’s crust, mantle and core, which are transported outwards via four symmetrically placed space elevators. The gradual excavation of the earth results in the melting of the ice caps, all water vapourises and condences on the inner surface of the sphere forming rivers and lakes (Don’t ask, okay. It just does.) leaving the inner surface of the sphere fit for human habitation. The process leaves earth as the second largest planet in the solar system.

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The Dyson Sphere (although proposed 35 years earlier) steps it up a notch to propose a network of solar powered satellites surrounding a star, capturing its entire energy output.

While Dyson only ever speculated a ring or a swarm of such satellites, others have extended the idea, speculating that such a network would eventually become so dense that it became a solid shell completely encompassing the star.

Celebrate the Great American Wiknic in 20+ cities around June 23. =Globus Cassus=

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Globus Cassus is an art project and book[1] by Swiss architect and artist Christian Waldvogel presenting a conceptual transformation of Planet Earthinto a much bigger, hollow, artificial world with an ecosphere on its inner surface. It was the Swiss contribution to the 2004 Venice Architecture Biennale[2] and was awarded the Gold Medal for the "best designed books from all over the World" at the Leipzig Book Fair in 2005.[3] It consists of a meticulous description of the transformation process, a narrative of its construction, and suggestions on the organizational workings on Globus Cassus.

Waldvogel describes it as an "open source" art project and states that anyone can contribute designs and narratives to it on the project wiki.[4]

[2][3]A top and side view of the Globus Cassus
{| border="1" cellpadding="0" cellspacing="0"
Globus Cassus to Earth comparison
Globus Cassus Earth
Diameter 85,000 km 15%
Diameter with cables 318,000 km
Diameter of Moon'sorbit 768,000 km equal
Total mass 5.973×1024 kg equal
Water mass 1.35×1018 kg equal
Average depth of sea 3250 m 3960 m
Atmosphere 5.1×1018 kg equal
Average (structural) density 827 kg/m³ 667%
Total (inner) surfacearea 9.620×109 km² 2.22%
Covered with water 7.223×108 km² 47%
Habitable area 5.413×108 km² 11.11%



 [hide] *1 Properties


The proposed megastructure would incorporate all of Earth's matter. Sunlight would enter through two large windows, and gravity would be simulated by the centrifugal effect. Humans would live on two vast regions that face each other and that are connected through the empty center. The hydrosphere and atmosphere would be retained on its inside. The ecospherewould be restricted to the equatorial zones, while at the low-gravity tropic zones a thin atmosphere would allow only for plantations. The polar regions would have neither gravity nor atmosphere and would therefore be used for storage of raw materials and microgravity production processes.

[edit]Geometric structureEdit

Globus Cassus has the form of a compressed geodesic icosahedron with two diagonal openings. Along the edges of the icosahedron run the skeleton beams, the gaps between the beams contain a shell and, where there are windows, inward-curving domes.

[edit]Building materialEdit

Earth's crust, mantle and core are gradually excavated, transported outwards and then transformed to larger strength and reduced density. While the crust is mined from open pits in the continent's centers, magma and the liquid mantle are pumped across transfer hoses. The core is dismantled from the surface.

[edit]Planetary scaleEdit

Since the stationary cables would stay clear inside the moon's trajectory, the construction of Globus Cassus would not alter the Earth-Moon system. However, on a planetary scale the proportions would be altered, with Globus Cassus being only slightly smaller than Saturn, the Solar System's second-largest planet.

[edit]Construction processEdit

Starting at four precisely defined points in the geostationary orbit, four space elevators are built. Eventually they become massive towers, each measuring several hundred kilometers in diameter and extending to a length of about 165,000 km. The towers contain elevators which are used to transport silicate building material to the construction sites at geostationary orbit.

[edit]Skeleton and shellEdit

The building material is converted into vacuum-porous aggregate and used to form the skeleton. It is built retaining constant symmetry and balance at every moment and will ultimately span around all sides of the earth. Then magma is pumped towards the skeleton, where it is used to form thin shells in the skeletal openings. Eight of these openings are fitted with large, inward-curving window domes made out of silicon glass.

[edit]The Great RainsEdit

Having been used up to a large degree, the Earth has shrunk, the polar ice caps have melted and the Earth's mass and therefore gravity has declined. This leads to the sudden loss of the atmosphere and hydrosphere, which wander outwards towards the new World. Globus Cassus' equator zones are equipped with a system of trenches and moulds that will become rivers, lakes and seas as soon as the water has settled. The transfer process of atmosphere and hydrosphere is called "The Great Rains".


The moment the Great Rains start, the Earth becomes uninhabitable. Along with massive amounts of seed for all existing plants, the regions of high cultural value, that need to be conserved and reapplied on Globus Cassus have been stored in the skeleton nodes which touch the towers. Humans and animals rise in the towers to await the end of the rains and start settling on the two equator regions.

[edit]Plant growthEdit

The remaining Earth core is dismantled to build the shells that lie in the pole regions. During this process, the massive heat radiation of the core accelerates plant growth and therefore aids the process of establishing a functioning biosphere.

[edit]See alsoEdit


[4][5]Book cover

Globus Cassus, Lars Müller Publishers, with contributions by Boris Groys, Claude Lichtenstein, Michael Stauffer and Christian Waldvogel. Awarded the Gold Medal in international competition "Best designed books from all over the World 2004", (ISBN 3-03778-045-2)


  1. ^ Waldvogel, Christian; Boris Groys, Claude Lichtenstein, Michael Stauffer. Globus Cassus. Lars Müller Publishers. ISBN 3-03778-045-2.
  2. ^ "9th International Architecture Exhibition in Venice, Italy, 2004".
  3. ^ Globus Cassus Philosophy
  4. ^ Waldvogel, Christian. "International Globus Cassus Society". Globus Cassus website. Archived from the original on 2007-12-17. Retrieved 2008-04-06.

[edit]External linksEdit

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[6]There are interesting and wonderful possible applications for a Space Elevator and then there are ideas which just don’t seem to rise even to the level of fantasy.

From the article: “…a brave new world could be built from the remains of our current one. The circumference of this construction– dubbed Globus Cassus, or ‘hollow sphere’ in Latin– would be comparable to the giant planet Saturn. During the multi-million year assembly period, massive hoses would worm deep into the Earth’s fiery bowels and suck liquid metal and magma into orbit through four space elevators sited at equal distances around the equator. This material would be squirted out and transformed into a lattice framework to support the rest of the edifice. As the Earth gradually shrivels and shrinks under this onslaught, its gravity would weaken. Over generations, the skies would darken with the relentless encroachment of the enormous structure above.”

Even though the author (yes, you can buy a book about this) seems serious, I’d put this one down in the “you must be joking” category.

The drawing is from the “Damn Interesting” website, the website where I found this article on (click on it for a slightly larger version). I highly recommend ”Damn Interesting”, it truly has some very interesting articles on all sorts of strange things…

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|- height="80" | height="80" style="font-size:11px;"| {| align="center" bgcolor="#EEEEEE" border="0" cellpadding="0" cellspacing="0" class="intro" width="800" | width="1414"|

Alan Bogana Memoire 2007-08

|- | align="center" colspan="3" valign="top"|

Cet entretien avec l'artiste et architecte zurichois Christian Waldvogel, auteur du projet "Globus Cassus", a été effectué par e-mail entre janvier et mars 2008. Je le remercie encore pour sa généreuse contribution et sa disponibilité.

This interview with the swiss artist and architect Christian Waldvogel, author of the project "Globus Cassus", has been realized via e-mail beetween january and mars 2008. I thank him again for his participation.

Voici quelque référence pour mieux connaitre ce travail: Some references about this work: WALDVOGEL, Christian (2004). Globus Cassus. Basel, Lars Müller Publishers.

Your project has a protean structure and articulates itself through theoretical illustrations, diagrams, calculations and tests. I perceived a stimulating detachment in these illustrations, which are absent of the emotions characterizing a lot of the utopian and futuristic images produced during the XX century (I’m thinking for example of the Sci-Fi illustrators, to the illustrations of the colonies in the space of NASA). How did you proceed in illustrating this project? What function do your "landscapes" illustrations have? The whole "communication work" in this project is about storytelling and imagination. Everything in its illustrated corpus aims at relaying the Globus Cassus story to the beholder/reader. It is worked out in the highest possible level of detail in order to stimulate the thinking about the projects implications and deeper meaning.

You are right with the absence of emotions. Globus Cassus is not about emotions, but the beholder's/reader's emotions should be triggered by it. There's a discussion that's rather revealing on this aspect at

I developed Globus Cassus in the mindset of an architect who received a commission for reconstructing the Earth. The emotionless drawings and illustrations aim at communicating "fact" and leave, in their abstractness, space for imagination. (For a few exhibitions I have used drawings that are even more emotionless: architect's construction drawings.)

As for the connection to Sci-Fi I am very reluctant. The Sci-Fi-esque look and topic comes out of the fact that Globus Cassus is a project in planetary scale, and so its backdrop is the stars and so it is read as Sci-Fi. Taking apart the word "Sci-Fi" andapplying it to Globus Cassus I find that Globus Cassus' "science" is rather "pseudo-science" and wishful thinking (which is worked out using "real" scientific methods and precision), while its plot s more imagination, fact and philosophy than "fiction" (for the sound of it one would be tempted to say "fantasy" instead of "imagination" ...).

How do you think your images relate to the aforementioned popular and enthusiastic visual past of the XX century?

I am sure that you can work it that out far better than I.

In the working process, I try to never think about referential works, but rather let the project's inherent aestethics generate the look.

As I mentioned above, such work is about storytelling, and so the choice of scenes depicted comes out of the search for the key situations in the chain of events. Each illustration's content results from its place in the storyline, details come from the wish to inject small ideas "subcutaneous" into the beholder's mind...

Has the "Globus Cassus" project evolved since its publication and exposure? If so, in what way? It has -- mostly in the way it is narrated and distributed. I have programmed it into Celestia, a freeware 3D Universe Simulation program. You can find the plugin and a link to the Celestia download site at

Currently I am producing a 7 minute short movie, which focuses more on the philosophical implications of the thought model.

Besides that, there exists a sequel to the Earth transformation story, but unfortunately, and understandably I hope, I cannot tell you more about it right now.

Technological development has always been guided by the interest of its applications (I’m thinking of the military, of the space conquest, finalized by potential raw materials, etc). Do you agree with this assertion? How can artists influence the course and the use of science and technology (in several ways the applied arts and the cultural industry engender technological development)? I agree with your assertion to a certain degree only. We should not forget the inventors, who treat the world and the human civilsation's achievings as an enormous riddle, which offers many solutions to an incountable number of partial-problems. But of course, every development costs money and is only undertaken in prospect of profit or when primordial fears are at work.

The economy person would be satisfied with this system, since the taxpayer pays the military to develop new technology which then, with a lapse of a decade, becomes available for the public. She would call this a Win-Win situation.

The idealistic person would argue, that things should be done for and jugded by their primary use, and therefore military expenses, for example, would probably qualify rather badly for the technological predecessor of baby diapers.

I think that we see today -- with the emergence of concepts such as crowdsourcing, open source and works in the public domain -- a democratisation of knowledge and therefore one of inventive power and potential. Anyone who participates in the world-wide information society dance can backfeed ideas and join "compatriotes" who share their interests and aims.

Artists are (or should be!) intelligent, sensitive and decision-friendly persons who understand and question the workings of our world and society, and dream of other, better ways and worlds. They invent methods of analysing, commenting and communicating any situation or concept. In terms of technology use, artists have always been among the "early adopters".

In this sense I think that artists are destined to explore new technologies and, when suggesting new ways of how to use them, implant ideas in the respective developers minds.

Artists therefore can trigger development. Artists can see themselves somehow as "beta testers" for the workings of our society: they conciously use, understand and document, and then report and critisise the system the live in.

The ideology of modern art was to build a better society (I refer to the statements of the avant-gardes, to the Bauhaus, to the subcultures of the Sixties and Seventies, etc). Do you think that art contributed in the fulfillment of this mission? How do you view these models today?

I think that we first have to distinguish between the different kinds of art that exist today (this list does not claim to be complete!):

First there's art which is mainly oriented towards itself and its ancestors. It's the kind of art that functions in relation to art that has been made before, that draws its themes and techniques from references. It is often claimed that this kind of art is innovative in the sense that a new form of recombination yields something entirely new.

Second there is art.

Utopia in general is the expression of a critique of the present by the means of drawing a perfect world. Utopias effect is never to become real; to be kind of not realizable is fundamental for a utopia. This is true for social utopias (like Thomas Moore for example). Do you see a difference in the way artists are working with utopias? In the sense that the representation of the (artist) utopia becomes real as an artwork. So finds its place in the real world? (See for example Constant). Especially the point not only to create an artwork, but a whole world is what makes artist utopias something different. Do you agree with that? I'd say that the core expression of any utopia is the wish for something new, an imagination which is freed from all constraints that "realistic" projects for a real and immediate future hold. I agree with you saying that utopia will never come real, more so because every utopia is generated out of living in and experiencing a distinct world. progress normally strives towards aims which, in many cases, have been formulated as utopiae before. so any utopia changes the future of the time in which it was conceived. but with the time changing, the premises for the utopia change aswell, which renders inapropriate the original utopia, which in consequence needs to be replaced with a new one...

Speaking of artist utopiae, i would'nt say that they become more real than an utopia conceived by an architect, engineer, writer or politician. the difference we see though is the kind and directness of representation: since an artist's job is to communicate, often visually, he will probably lay more weight to recounting and representation than an engineer and so create a utopia which is easier to access for a random beholder.

Concerning the degree of reality of any imaginary construct, i would say that anything which is part of a narrative becomes manifest in the reality of that narrative. the world of blade runner is much more real than bruno taut's crystal mountaintop cities.

Utopia, in its tradition, is something which is perfect but at the same time motionless, something that leaves no room for evolution and that, in its implementation throughout the XX century, has been synonymous with disaster. How can we still establish a dialectic between the desire of a radical change (the image of utopia) and a dynamic and progressive image of a future which is still tied to the present? Do you think that the "utopian desire" is part of the development of society? I generally consider utopia to be some sort of ideal, far away and unreachable ideal, which is, as you say, motionless. what moves is the succession of utopiae, like i described it in the answer to your previous question: the process of designing utopiae and striving towards them and then adjusting the utopiae according to the new present states. disaster is only applicable if we measure against a single utopia, and not against the succession. since any single utopia is by definition unreachable, only disaster waits when trying to do so anyway.

sanford kwinter desribed today's way of thinking dynamic, multidiemnsional spaces with the way fighter pilots deal with dogfights. they extrapolate both their own and their counterpart's trajectories, overlay it with the timing and trajectory of a travelling bullet and so are able to project this multidimensional ballet into a logic that allows them to win the dogfight.

if this thinking model is applied to our succession of presents, utopiae, progress and redesign than we can easily navigate in the semantic field you mentioned above.

we have to raise our point of view into another dimension, analogous to the habit in today's business world, where not the degree of profit that a business generates is measured, but the rate with which is profit growth is accelerated (2nd deduction).

Do you think it possible to visually represent utopia? What is it that enables a visual representation of utopia to show a certain social evolution and not only to highlight a technical one? Since utopia is ideal, new, not existing, it should have a look which is unfamiliar. Very few succeed in depicting "the new / the ideal utopia" without obviously disclosing the style from the time they work in. It is somewhat natural to function in a referential way and so it is possible to deduce the references and sources from every depiction.

On top of that (or besides that, or nevertheless) we run into the problem, that we cannot correctly decode something unfamiliar that we see / haven't seen before. That means that in order to communicate the unfamiliar, we have to use the means and codes that we know -- a paradox.

This is probably why technical utopiae are often described visually, whereas social utopiae are mostly handled in litterature. A textual description is an abstraction and often focuses, besides the transformation of an image into words, on the workings and other invisible aspects of the subject.

The image is often stripped of the multidimensional, precise, descriptive aspects that text is able to deliver. in order to visually represent a social utopia, we probably need to crossbreed image and text, add more dimensions, work with series and sequences of images (animation, film), induce time, feelings, dreams, wishes, build up a narrative.

I think that the key to all this is that utopia is about "vermittlung" (comunication - mediation NDLR), not depiction.


ecember 13th, 2007

[7]There are interesting and wonderful possible applications for a Space Elevator and then there are ideas which just don’t seem to rise even to the level of fantasy.

From the article: “…a brave new world could be built from the remains of our current one. The circumference of this construction– dubbed Globus Cassus, or ‘hollow sphere’ in Latin– would be comparable to the giant planet Saturn. During the multi-million year assembly period, massive hoses would worm deep into the Earth’s fiery bowels and suck liquid metal and magma into orbit through four space elevators sited at equal distances around the equator. This material would be squirted out and transformed into a lattice framework to support the rest of the edifice. As the Earth gradually shrivels and shrinks under this onslaught, its gravity would weaken. Over generations, the skies would darken with the relentless encroachment of the enormous structure above.”

Even though the author (yes, you can buy a book about this) seems serious, I’d put this one down in the “you must be joking” category.

The drawing is from the “Damn Interesting” website, the website where I found this article on (click on it for a slightly larger version). I highly recommend ”Damn Interesting”, it truly has some very interesting articles on all sorts of strange things…


23:08:05 Demiurge, dignity and power of art piracy

Villö Huszai

The very first panoramic image of Saturn's moon Titan came not from the ESA or NASA, but by the Swiss artist Christian Waldvogel. The titanium-image is a net art piracy, which is related to forest bird big project "Cassus globe."

That the first panoramic image of Titan was created by a private person, the communication network is due. On Friday, 14 January this year, entered the Huygens probe into the atmosphere of Saturn's moon Titan. Among the data that came from Huygens to Earth, were the first close-up of the moon around 1000. The others involved in the Space Project University of Arizona presented the data for five minutes in error into the net, and thus involuntarily to the general public. Christian forest bird panoramic image of Saturn's moon Titan. speaks Waldvogel from the "wonderfully rapid reaction of the Internet community to the leak, "the five minutes were enough for a small group of amateur astronomers to copy the images. Forest bird found on Sunday afternoon in the network and immediately set out to assemble from disparate frames a panorama: "It was a very small group of people who started on the puzzle work. For a short time unless we had the best local knowledge on Titan, perhaps the employees of ESA and NASA. "Waldvogel his image sent to the private homepage of the Belgian biologist Anthony Liekens who put all the image compositions into the net. The Press . takes the picture , but forest bird panoramic won the race. It was finally the first frame of titanium, which were the readers of the Times of London to face robbers pistol as part of the art , the Times described the ad hoc community, was joined on the forest bird, as "amateur space enthusiasts".

If you want to understand but now forest bird image as art, as Lagadinos said the artistic touch that? In the tradition of the young forest bird net art image fits well, however paradoxically it once more in those first strand of the net art, the image is not oriented. For this strand is characteristic that the final product in a less artistic than is in the communicative process. Yes, the nerve of this art form is often in the adventure stories that abound about individual actions. Forest bird picture, assembled on a Sunday afternoon in solitude and demiurgenhafter in a race against time, is one such story, the potential importance and charm, not by looking at the picture opens. But Waldvogel, who from 1992 1999 studied architecture at the ETH Zurich for many years and even worked as a web designer and programmer, describes itself not as a media and certainly not as a net artist. His self-description is:. Artist, architect and musician plundered earth, gods of free sky , the artistic character of forest bird main project "Globe Cassus" (cassus = hollow, empty) is open to light. Instead of only a fine game with photo realistic expectations, as it is present in the composition of the titanium-image is, Waldvogel in "Globus Cassus" the sense of possibility equal to greater freedom. From the ancient Earth's mass will create the new world Cassus. "Globe Cassus" is the boldest architectural Imagination: From the conventional globe with a diameter of 12,000 kilometers will be a hollow body with a diameter of 85,000 kilometers. 

This calls for four towers that rise each 150,000 kilometers into space. From these towers from the New Earth as a hollow sphere is stretched to the old and the inner surface of the hollow sphere formed by the new surface. For the old world is gutted, so that after completion of the new world whose center is the seat of the ancient world, is empty. The sky of the new world appears not more than immense, mountain gods forming the universe, but is very limited ground of the inner surface of the 150 kilometers thick Erdschale. That sounds like a cornered, but just the opposite of wild bird calculations of the case: the people have "the absolute freedom of choice of housing and living room guarantees" on the perforated with giant windows "Globe Cassus" On the contrary, much more space, such as forest birds writes.

Globe Cassus is a utopia. Millennium Project 2003, Waldvogel his utopia three times in the form in front of an exhibition in 2004 represented "world Cassus" at the Architecture Biennale in Venice, Switzerland, and on this occasion is the utopia of the experimental as prestigious Lars Müller Verlag published in book form .The occasion of the Leipzig Book Fair earlier this year as the second most beautiful book in the world excellent publication is currently at the heart of "Globe Cassus": in a first part, the formation of the hollow world tells a creation myth, the second is the same event as a technical and architectural event simulation . This is followed by a small collection of texts to be decided by the essay "Under the sky of the modern age" of teaching in Karlsruhe art theorist Boris Groys. "Far away there are no more", 2004, Lightjet behind acrylic glass, 475 x 267cm. to Modern Groys is not just for the fact that the gods are locked in a limited forest bird earthly firmament. To modernity is a new type of artist: This artist does not draw more ready-worlds talk consummate art, but maintains projects.

This type of artist can not be like the biblical God of creation to withdraw classy, ​​but remains as a project which is further in the game. The implementation of forest bird utopia, on the "globe Cassus" to create a better world is possible Waldvogel and his successor, "take a few millennia claim" equal, Groys.Forest Bird Project is a textbook case of modern art. utopian moment of the 90s , it's been a few years ago that same Groys has an essay in the journal "you" dreamed in the 90s great future of Internet art in doubt as an independent art genre. Especially that line, who works less image-oriented than process-excited, yet his doubts. The development has him right.And can still claim to be an important factor in contemporary art - artistic forest bird, however, shows that the communication media create Internet not a quasi art-house genre, let alone own Künster type. For "world Cassus" the network is important in at least two points. The first issue relates to forest bird courage to create a utopian space. Waldvogel is one of the small group of architects, the 1996 exhibition "Hello World" organized in the gallery of the Museum of Design Zurich. The exhibition was the only just popularized Internet bring a major public as a cultural phenomenon and is in retrospect a moving testament to the enthusiasm and hopes that sparked the new medium at that time. In "Globe Cassus" has something to preserve the former fireworks of utopian thinking, but condense artistically, especially in very separate ways. phenotype OpenSource

The second point is more concrete, because in addition to exhibition and book, there is the long-term project "Globe Cassus" since 1998 Also on the web. Waldvogel describes this artistic strategy of media Vielsträngigkeit as the ratio of genotype and phenotype. An artistic idea as that of the "Globe Cassus" (genotype) may lead to various forms (phenotypes) lead. As / globus-cassus is the project of "open source way", which invites you to participate. After all, Waldvogel has created with its bold design a sort of hollow form of utopia, which can be further designed and intended. The open source concept and the orientation of the Linux model are obvious. As forest bird community to the project, delusional acts of the 90s, it might be an outstanding issue. But just the Titan panorama image can bear in mind that forest bird net version of the "Globe Cassus" anything but an arbitrary phenotype. Rather, it seems beside the traditional artist's existence as a single fighter in the open source idea and working in community contexts in forest bird career, his way of working and finally created his art as another option.Data for five minutes in error into the net, and thus involuntarily to the general public.

Web designer and programmer, describes itself not as a media and certainly not as a net artist. His self-description is: artist, architect and musician.

Globe Cassus.


Christian Waldvogel: Globus Cassus. With texts by Christian Waldvogel, Michael Stauffer, Claude Lichtenstein and Boris Groys. German / English. Baden: Lars Müller Publishers, 2005, 182 pages, 30 Euro/45 CHF.

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