“Parasite *.SR”

I started working on my “Parasite *.SR” in 1995, in the framework of the international project called Working Space II, which was given The Genes of Architecture subtitle. We studied the phenomena within the limits of computers that simulate how an architectural construction becomes a sculpture in the virtual space of the computer.
Bringing an alien element into my own work had a destructive effect making a heap of ruins out of the building I had made. What actually happened was that I made maximum use of the possibilities offered by a computer and a 3D animation programme, and thus it could not perform a newer command. Without any command, the programme made points (numerically 9212 vertices and 19153 faces, whereby the machine was capable of making itself independent) in this virtual space, and even connected them by a system unknown to me; I thus became witness to the making of a totally new construction.
This was how Charles Babbage (1792–1871) described the Odd Loop that according to him could only come into being when a machine interfered in and modified the programme it contained.
The phrase Odd Loop implies the concept of infinitude, for what is a loop but a finite representation of an infinite process.
With the assistance of animation, it became visible how I had knotted further Maurits Cornelis Escher’s absurd loops around the building of the Belvedere. I managed to catch him in the act of his construction tricks and to think the space shown through. I expanded the 75 degree perspective used in panel paintings and increased it to infinity (the heightening of a simple theme to infinity in Johann Sebastian Bach’s “Die Kunst der Fuge”). As in the case of the pictures M. C. Escher, we are indebted to Achilles and the Tortoise (D.R. Hofstadter: Gödel, Escher, Bach) for the wandering around in virtual space.