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.
“It’s like the moment compared to staring at pictures of it” Illy, It Can Wait, 2010
“The more an image is joined with many other things, the more often it flourishes. The more an image is joined with many other things, the more causes there are by which it can be excited.”
(Spinoza Ethics Part V, Proposition XIII, Proof)
I also am eagerly anticipating this week’s diagramming workshops, despite tardily introducing myself, and contributing to the blog. In RL I’m usually referred to as Scott East… At the moment, I am a hermit in the final stages of a PhD (hopefully – I’ve never done one before, this may explain my tardiness) at the Centre for Cultural Research, University of Western Sydney. I also am a sessional tutor & lecturer at COFA as well, and it was through this network that a colleague mentioned to @amunster that I might be interested in this super-exciting workshop.
My PhD research developed in the context of an Australian Research Council Linkage grant Hot Science Global Citizens: the agency of the museum sector in climate change interventions. I became interested in the work of diagramming (or as I have thought about it in my writing prior to this workshop: figuration, following other guides such as Donna Haraway, Rosi Braidotti and Ulrike Dahl), as one tactic to avoid thinking of academic labour as always a secondary practice of writing about something that is already (dead) over. I have often jokingly referred to my doctoral research as Chasing Deleuze through the Museum.
Given that my thesis is dominating my life at the moment, and chasing that joke for a moment, the diagram that I would like to propose for a life, is one of me literately chasing Deleuze through the museum in a game of tag. The image below is a modified image of Marcel Duchamp’s intervention at 1942 Surrealist Exhibition (usually now referred to as Mile of String or as it was originally known his string). The ghost of Deleuze is placed here, both as the informer for our collective thinking of a life and as an interlocutor. Duchamp famously installed along with the paintings several miles of string. At the opening Duchamp arranged for Carroll Janis, a young boy at the time to run around and play ball in the galleries with his friends. Disrupting the expectations of the civility usually expected in such a space provides an evocative figure for life and its (unexpected, collaborative, & open-ended) movements.
It is difficult to know, whether Carroll and his hired troupe, whose natural tendencies for spontaneous play may’ve quickly lost interest with the ball and began another game, perhaps even “tag” or “it”. Tag consists of seemingly infinite variations; however, most versions don’t have an end point, teams, scores or prohibitive equipment requirements. Just for the thrill of the chase one or more players pursue other players in an attempt to tag or touch them. A tag makes the tagged player it and the game continues indefinitely. In this ceaseless pursuit of connections, what else could a life be (?), I have enrolled in this workshop… and look forward to multiplying the connections with you all…
Greetings everyone. I look forward to meeting you all next week. I Am currently in the middle of a PhD. I have been exploring systems of ‘durational’ stewardship as an ethical aesthetic response to an uncertain and unsustainable future in Houghton Bay, Wellington, NZ, where I live. I do this by deploying a dialogical approach when engaging with neighbours which has generated several projects. A large event (an archaeological dig) is planned for this summer. It will be carried out by an Archaeologist on the rubbish tip of the first diary farm. The site is beside a park, that was built on a city rubbish tip (landfill). As artefacts are uncovered, traces leading to angles, cross-overs and overlays will emerge using lime wash in the park, and artefacts discovered in the farm tip will be laid over the city tip.
When creating diagrams I always want to put myself in, not at the edge or outside the zone, but somewhere near the middle. However they never seem to work. So a question that i often ask is, what does a diagram look like from within?
“However lonely in appearance, a color is in the company of its kin—all its potential variations. The spectrum is the invisible background against which ‘a’ color stands out. It is the ever-present virtual whole of each color apart” (Massumi, Semblance and Event: Activist Philosophy and the Occurrent Arts, 87).
Hello everyone. I am looking forward to participating in this workshop-event, as it moves across space-time zones. I am interested in how we will all assemble across the various locations (Denmark, Finland, Australia, and Canada) in order to actualize meta-diagrams – diagrams on diagramming the diagrammatic. I will be particularly interested in how the various groupings will find ways to overlap, interact, and link-up together. What will be the relations that arise as these diagrams on the diagram emerge? If they do indeed emerge? Will we all feel a diagrammatic incipiency? I am not-yet one of the enablers at the Sense Lab in Montreal, but I want to be reaching towards these incipient feelings of the diagrammatic to come.
I am always becoming-Troy-Rhoades. This is because I am constantly effected and affected by the incipiency of events that emerge with me and around me. “Into the Diagram” is just one such event that will be doing this. But this workshop is also enabling several other events to emerge again, diagramming differently, and re-affecting me in my continuous becoming. Through the Sense Lab, I have met and worked with many of the people who are participating in the various locations. I have collaborated with several of the participants in Denmark and Sydney through Sense Lab events that have taken place over the past five years. Some of the other participants of this workshop, I only emerge-with through Twitter, such as @Eventmechanics and @karppi. Finally, in Montreal, I work with Bianca Mancini, Erin Manning, Brian Massumi, Toni Pape, Leslie Plumb, Alanna Thain, and a whole host of others at the Sense Lab. The emergent events that are generated with them occur several times a day. Each of the events that has risen from these various interactions and collaborations continually affect my becoming and effect the incipient diagramming of this workshop.
Like colours, I can never be alone and isolated. I will always be becoming anew by those that surrounds me. Their vibrations will affect me, sometimes in way unbeknownst to me.
Below is a video of mine titled “flow” from 2005. This is a diagramming of colour and sound that emerges from the same seventeen seconds that have been layered thirty times. Each layer has be slightly altered, either slowed down, sped up, flipped, or reversed, generating a sonorous and visual flow that was always there.
You can see some of my other videos here.
I am also on Twitter under @troyrhoades.
At the risk of being labelled a damn hippy (having already posted links to dolphins and new-agey aphorisms) – i’m eternally fascinated with the Kalachakra Mandala and the strange desire and various projects to extrapolate it in new media forms – an echo of the techno-utopian promise of virtual reality and the way it came to be figured as a space for the extrapolation of an internal/conscious/sub-conscious mindscapes -its as if our minds were more at home in representation than in the body/world… – I love the way it ends up looking like a garish mc-mansion when rendered in 3D..
You can see those renderings here: http://kalachakranet.org/mandala_kalachakra.html
The ritual rendering in sand here…
John Cage’s diagrams are not simply or even visual but more importantly generators of music and sonic process. The image below is a flattened score made up of 20 pages of notations and relations. Here the diagram’s relationality is both worked on and released. To perform the sounds one has to generate the relations of the score vertically through an implied ‘z’ axis and then extensively to sonic properties (pitch, volume, timbre etc) in a determined manner ( but which also allows for the indeterminate becoming of the diagrams relations). This seems interestingly connected to Guattari’s notion that both mathematics and music are asignifying systems not at all related to language but rather are purely made up of forces and functions.
Here’s an extract of text from the Media Art Net online database about the image below which is a flattened diagram of Cage’s score for ‘Fontana Mix’ from 1958:
“«Fontana Mix» consists of a total of 20 pages of graphic materials: ten pages covered with six curved lines each, and ten sheets of transparent film covered with randomly-placed points. In accordance with a specific system, and using the intersecting points of a raster screen, two of the pages produce connecting lines and measurements that can be freely assigned to musical occurrences such as volume, tone color, and pitch.”