Echo of Sponge Phone

Echo: Sponge Phone

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Tracking, Diagramming, “A Life”

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.

textures of (computationally aided) diagrams

Just reading Pia’s great article on Textures of Diagrams where she fruitfully, daringly and differentially compares diagrammatic texturing in Francis Bacon and Greg Lynn. What I really love about this article is the way she gets in with the diagrammatic….I think Grant wrote in his post something about what the diagram might ‘look’ like from within. And  I think Pia gets at this via texture rather than vision. The diagram’s ‘from within’ is  granular (non) synthesis, a crunchy stretching, a silky knotting across…except that there is no across, as given ground, to traverse. Only the production of texture through generating, spatializing. The architectural processes of Lynn are interesting because one can see a kind of constant struggle in his spatializing, to be taken up by, to smooth and surrender to nonhuman elements of computational code and to the life and death of information. This then really resonated for me with Deleuze’s primacy of affectivity in power:

‘We can therefore conceive of a necessarily open list of variables expressing a relation between forces or power relation, constituting actions upon actions: to incite, to induce, to seduce, to make easy or diiftcult, to enlarge or limit, to make more or less probable, and so on.’ ( from Foucault, 70)

I thought I’d just throw these images of Lynn’s up here as we might want to reference them when working ‘in accompaniment’ with Pia’s text on Thursday during the Sydney workshop. The first are Lynn’s ‘blob’ animations for ideas for the Korean Church; the second an image of the built church from 1999:

Synchronous Objects

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.

Sonic Electricity and the Diagram

Intensive Thinking has a very nice post on Sonic Electricity … which begins with this quote from Deleuze and Guattari (A Thousand Plateaus):

[A technological] plane is not made up simply of formed substances (aluminium, plastic, electric wire, etc.) or organizing forms (program, prototypes, etc.), but of a composite of unformed matters exhibiting only degrees of intensity (resistance, conductivity, heating, stretching, speed or delay, induction, transduction …) and diagrammatic functions exhibiting only differential equations or, more generally, “tensors”.

A series of great videos follow (Alva Noto, Ryoji Ikeda etc), so it’s worth following the link above. Here’s one of those videos here, from Ryoji Ikeda’s work (I really love this work, though I’ve never seen it in a gallery).