We went across the road to the Stor Centre Nord (the big north shopping centre), which is conveniently across the road from the university. Jonas and Lone ended up captured by the number 5 as a cue, and afterwards we discussed ways of responding to eg commercial cues in a shopping centre without necessarily being captured by them at a micro level (that is, in continuation to purchase etc). This was followed by some interesting conversation about attention.
Meanwhile Jette and I tried to work out system of cues and primes .. relational cues that kept us in some kind of relation along with a second set of cues and primes that were to do with the environment. Flocking was also an inspiration (and by the way this is kind of interesting in these terms). This led to a strange kind of dance outside the Stor Centre Nord, between the nearest trees and stones, hopping with yellow, skipping backwards with red, etc. Very much an experiment.
I’m still hopeful for a relational cue’d dérive as as kind of dance that everyone could do, although here of course you’d have to watch out for bicycles as well as cars, and the Situationists have been doing this kind of thing for ages (as have others such as Kate).
And actually, a few weeks ago Anna Munster pointed me towards this great organization Spurse, who do some interesting work on diagramming (Time Drills). There’s so much of this around when you look for it.
Jette and I tried to diagram what happened. Here’s a blurry picture.
In response to Lone’s previous post on iPads and tracking, here is a diagram of “a life” during the Generating the Impossible workshop that Senselab ran at Meekos in the Quebec countryside in July.
This is a photo of the surface of an iPad—you can see the roof of the log cabin reflected on the screen. In what sense is that a diagram? Is it just a tracking (a kind of wild or complete surveillance, although it speaks no language, despite being the record of interface, codes, writing)? It seems “abstract”, yet it’s about as concrete a recording as there could be—and it’s an asignifying semiotic if ever there was one. What is the relation of the tracking of a past and a diagramming directed toward the future? Or, when do maps or trackings become diagrams (when they become relational, not representational?). It’s certainly a recording of “a life” during a short period of this workshop. I guess now I’m “playing” this recording as part of a diagramming of the future—an asemiotic tracking coming into a diagramming of a concept (of “the diagram”). In any case, this can be taken as my diagramming “a life” #2.
For those engaging with Erin’s ‘Choreography as Mobile Architecture’ reading, it’s very well worth going to the Synchronous Objects site (you’ll certainly enjoy it—it’s really very interesting from all kinds of angles—great for data freaks and sceptics alike in a way). It’s also worth going to her own site, here, and clicking on both “textiles” and “Volumetrics”. These are the works she discusses towards the end of the chapter.
One of many nice things to happen so far is that we’ve been connecting up with others not involved with the workshop, but who are “Diagrammer Friends”. An interesting diagramming in itself. Two of these are @naxos, from Spain, who fabulous blog Inmanencia seems one big web of diagrams in itself. Just then, Nicola Morton contacted us to link up to her diagramming of Capitalism including ‘an activity decoding and recoding a bicycle in the late capitalism machine‘—I haven’t had time to watch the videos as yet but they certainly look interesting. Nice to develop these “differential relations” with people in Spain and Indonesia.
And, thinking about these new connections after just finishing chapter three of Brian’s Semblance and Event for the workshop (I think for the third time), I’m realising how well it describes what’s happening in the workshop (well, ok it describes most things that happen pretty well actually). I’m thinking of lines, figures etc, of the swerve away from judgement and ideals (we hope, at least in part, at least their suspension for little durations). I’m also thinking of abstractions as the extracting of potentials and concrete as also always abstract in precisely this sense. Of the ongoing diagrammatic movements, non-relational relation/contrast between concrete and abstract. If you look at Naxos’ psychedelia or Nicola’s bicycle I hope you might see what I mean.