This paper argues for the absenting presence of an embodied theoretical architecture of materialist harmonious dialectic in Hubert Damisch’s engagement with Chinese art and architecture around the cloud. This connects with recent media studies discourse where environment both conditions and is being with an alternative architecture that is different from a centralized elevated arche. At the same time, the essay positively explores the decolonizing structural potential for displacing Eurocentrism and idealism in the making of theory and art and architecture history by opening up to global collaborative knowledge formation and reconnecting theory with practice.

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