I begin this article with a discussion of the links between architecture and the male body and nature and the female body as the lone shooter paradigm confuses the valences of technologically designed space and nature. Certainly, the shooter is the technological conflation of weaponry and architectonic spaces whereby he hunts his prey, as they cower from him, trapped within the concrete walls waiting in fear. Katz had apparently lost a game in the tournament earlier that day and was angry so he returned to the tournament ready to kill his competition as people inside the Jacksonville Landing bar scurried to safety.
Architecture is both the virtual space for gamers to enter and safely compete within the enclosed walls within which they potentially face their mortal enemy. Simulated exteriors, football fields, and artificial skies, this competition offered the technology of the video game montage all set within the architectural trap established by the gunman. Jacksonville is not the first of these incidents in the U.S. or in Florida for that matter. We have seen the murder of 17 people at Marjory Stoneman Douglas High School in Parkland, earlier this year; five people were gunned down at the Fort Lauderdale airport last year; and 49 were shot dead at the Pulse nightclub in Orlando in 2016. The site of the constructed space is the death knell for what is a certain technological violence on many levels.
What we see when we step away from the personal narratives and the video screens of other worlds are the vast explanations as to why the shooter shot this group of people. Everything is reduced to a sound byte and a camera angle of people fleeing buildings as one lone shooter controls the constructed space. And w we begin to see that there is a pattern of violence by guns, we more clearly see a pattern of violence by males with guns. We have constructed a massively obfuscated social narrative that attempts to ignore the technological violence of males who trap their victims in and around buildings as if a livestream of murder for all to later watch at home. All the while, the architecture of sex is clearly established to cater to the social fantasies that these men imagine of themselves, women and men fleeing—or attempting to flee—the buildings where the gunman has come for them too.