The colorful graphics making up the scene of Tokyo are composed of a vast quantity of processed data. The same is true of all of the world's most advanced cities.  All contemporary cities are composed of the processed data that defines their appearance, the data only differing more or less from one city to the next.  Some might object: what about the unique historicality of each?  Doesn't that give the scene special characteristics apart from the data processing?  But what is historicality today?  No more than a portion of the data that gets procossed.

 

In this sence, the name "Tokyo" is not even the proper name of given place. T.O.K.Y.O. is probably an abbreviation for a certain program.  Perhaps, like A.I.D.S., the acronym for a certain disease. And after all the city known as T.O.K.Y.O. is something like a syndrome, marked by a failure of immunity against pleasure.  Anti-euphoria Immunization Deficiency Syndrome = T.O.K.Y.O. Fatal in the long run, for certain. A.I.D.S. attacks the DNA by which the human body is supposed to define itself, and in this respect T.O.K.Y.O. is precisely analogous.

 

The desire of the city brought into view here is perhaps also the form of a completely new architecture.  These architects will have shown a mode of the world which cannot be conceived or interpreted through static forms.  Yet the process of deviation from economic rationalism, that is, accumulation, excess, expenditure-without-reserve, is the same process by which panic is triggered.  T.O.K.Y.O.= Anti-euphoria Immunization Deficiency Syndrome is beyond doubt a sickness unto death.  Which is why is has also the intensity of life.  In other words, the utterly new form of architecture shown here may also be architecture's final form.  Architecture's newest scene may also be its last scene.