Spatial experience and creative thinking: Glitch

Architectural design process is a process that realizes itself with creativity. This process begins with designs in architect's mind. Spatial designs evolve from thought to representation, then from images to production. All of these turn into physical space which has all thinking process in its layers. All in all, in every experience moments, these spatial layers have been fictionalized by individuals. In this process, physical space goes beyond its boundaries and become a living space. Every individual experience forms the living space differently. In the process of turning physical space into a living space, creative production continues. Every design has its own bounds: Space, creates bounds as providing guidance together with its physical bounds. This adds space a power of controlling individual's experiences and everyday life. Experience is a whole structure with internal and external stimulants and it is a creative process. In extend of control power of space, experience is being controlled. Individual experience forms with this power as affected by individual's imaginary world and intelligible world. Intelligible world is impressed by individual creativity. Creativity losses the precedence in daily life when thoughts and experiences are under the control of space. This situation has been observed in metropolises and individual's daily life experiences in these towns mostly. Decreasing of the dose of the creativity in individual experiences can be studied by searching of spatial potentials of inducing creativity. For this studying, we have to examine the creative experiences and thinking process. This research is focuses individuals live in metropolis and their daily life routines. In this context, for examining creativity in thinking process should be analyzed through the relations between space and daily life. Space and time are separate concepts in literature, but in real life experience they are connected insomuch that they create one another. Accordingly, it is not useful that analyze the creative experience without the flow daily life. Daily life has the rhythm that makes people desensitization. Disruption in the rhythm and parenthesis in the flow are needed time concepts in creative experience. This time perception can be named short circuit. Individual can build its own space or dimension by associations and bending time through memories in this process of time. Creative experience: Reconstruction of the space, images in mind, mergence of images and movement, new collages production… this experience is like a glitch on the screen, outsider audio and image appearance, or unexpected movements as in astronomy. Thus, in this thesis, glitching becomes a metaphor to state creative activities. To scrutinize the context of glitching, creative thinking is needed to be defined. Every component of the collages which are made in glitching process can be seen as parasite. Ideas evolve in time; act as if they are cells. They increase like segmentation, create tissues, effects other cells while in control of creativity. In that case, we can say that the creative thinking cells are parasites in the ordinary tissues. This cell metaphor improves one of the basic statements of the thesis. Research's glitch theory is grounded by the explanation of the parasite cells. The parasite cell is a cause of the glitch process. It is an outsider image on the glitched screen, association in mind which effects present experience. The parasite cell is a thought that breaks and reconstructs the web of ideas. It extends the web in different form and leads the way of thinking. In time, it demolishes itself for the creation of the newborn cells. It opens to change and rebuild. Cell as a secondary metaphor in this thesis form the thought-cell definition. Components of cells are being matched with thinking and glitching matters. Creativity and imagination forms the cell nucleus. Game is the energy source of the thought-cell, in place of mitochondria which provides the power of creative production. Perception-strainer is the determiner of the point of view. It works like a cell wall and create a surface to touch the world. Cell nucleus is full of creativity but it uses this source in small quantities in everyday life. When the process of glitching, the creativity takes hold the cell's control. But first, the perception-strainer should interact with the parasite in the physical space. It determines what the parasite is, and what the ordinary is. Or, if the space is open to be glitched, the perception-strainer turns the place into parasite or makes it full of parasites. Glitching process needs different time size as short circuit. In this period, the parasite cell play games in space. Every experience is a creative production while playing. Game is an area in the daily routine to gain experiences with free will. Game theory is a key to this section. Huizinga's and Agamben's thoughts are used as a base and linked to the process of glitch. Game theory explains why people play or what playing provides. To understand the core of the play, first we should consider why people think. We want to understand ourselves and the universe we live in. Curiosity starts a fire in our minds to think about existence. So, humanity creates a language to set up the universe in our minds. Everything has been given a name to be thought. Thinking with the names provides to make sentences, webs of ideas, and our own microcosmoses. This way of thinking builds a world inside us and its named game since then. Its most important purpose is to turn intelligible world into living spaces in physical spaces. At this point, we should state that world has different parts in game theory's thinking process. These parts have major role to explain thesis' argument of relation between architectural design and creative experiences. In Agamben's world explanation, physical world is a perceptible world, world image in mind is an intelligible world and there is a world between perceptible and intelligible worlds. Tt is named imagined world and it is where the game occurs mostly. All these narrations make us understand the pattern of the glitch. Thereby, we can examine the spaces which provide opportunities to glitch. Searching for glitching possibilities and its conditions leads us to create the parasite spaces. In this research, spaces are considered under the periodic topics as they are affected by the zeitgeist. In this thesis, not only architectural but also science fictional productions are being put into perspective to extend the spatial examination. Science fiction has resemblance to architecture in many ways. Both of them need to use forms as spatial geometry and also affected by the conditions of the period. They use materials to shape their thoughts. They speculate the present and offers new worlds, livings and perspectives. The conclusion section of the thesis argues the outputs of thinking with a metaphor and glitching metaphor's itself. Glitching shows itself in different ways in spaces. Sometimes materials are parasites which make us glitch or spatial organization and geometrical forms are a glitching factors. The process of the research composes a parasite narrative in itself with exploration of thinking with metaphors and creating a web of parasite ideas. From this point, the thesis is being determined as a parasite and glitching process. It offers an open ending to cause new glitching experiences.