Abstract

The dynamics and fusion of multiple media into one space has been thoroughly studied by Frederick J. Kiesler. His investigations into a multi-dimensional, space are in fact the beginnings of what would become a radically new concept of form and content appropriately called ‘Endless Space’. In the 1930s entitled the ‘Correalist Theory’ believes that the essence of reality is not in the ‘thing’ itself, but in the way it correlates and orders itself to its environment, to its spatial dynamics and to its atmosphere. Kiesler also deemed that it was essential to disregard the boundaries that separate the different arts and media. These boundaries needed to be dissolved and proclaimed that painters, sculptors and designers, driven away by functionalism, would return from exile to be welcomed by architecture. Since his death in 1965, his notion of Endless Space and his studies ‘On correalism and biotechnique’ in particular, have resurfaced in recent art discourse. New technologies have emerged that are now provoking different questions regarding the techno-ethics of integrated biotech and post-digital tectonic potentials that withhold the concept of an ubiquitous and synaesthetic space.