Hi, I’m Lone (not Andrew’s wife Lone, though 🙂 and I’m based in Aarhus, Denmark where Andrew is currently a visiting prof. The brief version is that I research and teach digital aesthetics and culture and that my PhD, completed three years ago, was on mobile interface culture. In my teaching I like to make students make all kinds of diagrams — although until recently I would not have called them that. One example is to make a subjective map, another is to update the Situationist derive to include a mobile phone and document it. Personally, I like everything with yarn; the tactility of the texture/structure/fabric is fascinating. On a boring note, this is my official uni online presence and this is my horribly un-updated personal website.
hi all. I’m super excited about participating in this event! Wading through the thick, headiness of jetlag, I’m sorry it’s taken me a while to post. I just got back from Montreal after soaking up the magic that is the SenseLab. I’m a PhD candidate in theatre and performance studies at UNSW writing about the work of director Barrie Kosky (Andrew Murphie is my supervisor – hi Andrew!). i’m rethinking catharsis through affect in light of his performances (Kosky, not Andrew – though that could be interesting… i hear he moonlighted as a director for a while and staged a production of hamletmachine). Thinking through diagrammatic praxis, I’m interested in how diagrams move in a theatre performance context. all this talk of affect and forces is making me think of the diagram in performance through an Artaudian prism…My minimal experience but maximum enthusiasm in approaching digrammatic discussions fuels a speculative intrigue!
While in Canada I went to Niagara Falls, and I would say the power of the falls in diagrammatic; discombobulating, enticing a ‘flexible segmentarity’, neither subject nor object. blurred ontology. ontogenetic mist.
John Tonkin is a Sydney based media artist who has been working with new media since 1985. His work explores interactivity as a site for physical and mental play.
and, swapping into first person . . . I lecture within the Digital Cultures Program, at the University of Sydney and am undertaking a practice based PhD at COFA, UNSW. I am currently building a number of nervous robots that embody computational models of mind and responsive video environments that explore situated/enactive models of perception.
As a practising artist I often make diagrams in the thinking through and making of work. The current areas of interest that I am researching; including cybernetics, computational models of mind, embodied cognition, often use diagrams and flow charts to explain and illustrate concepts. At Ars Electronica in September I watched Humberto Maturana draw a series of somewhat indecipherable diagrams on an overhead projector. They showed the structural coupling between an organism and its niche. Another series of flowcharts that interest me at the moment are from attachment theory. They model affect regulation in adult romantic relationships.
I guess I’m interested in how we might diagrammatically represent minds.
Hi, I’m Kate. And very belatedly introducing myself to the rest of the group. I’m based in Sydney (at the moment, for awhile, possibly a long time). I was once an architect, and am still immensely fascinated by the urban. At this point in time I work around citizenship, migration and borders – but always through the city and how they are reworked in place. I’m also working on logistics, and how logistics is redefining spatio-temporal relations and producing new forms of governance. To that end, I’ve been starting to flirt with the topological. This workshop, and the emphasis on relations and diagrams seemed like a good deviation from this other work, and a way of coming back to ongoing conversations that I’ve been having about the space between representation and invocation. I’ve spent a lot of time working with sound and video artists, thinking through ways of conveying place.
The reason that I am so late in posting is that I’ve been trying to acquire a diagram. My intention was to reimagine a piece of sound recorded somewhere else by someone else as a diagram of “a life”. I have permission to repurpose this friend’s sound as a diagram, but the sound is yet to arrive. It might arrive in the next few days, or not, depending on the vagaries of internet connections and disjunctive skype connections across time zones. So instead, I have a description of a recording that I had hoped would become a diagram.
Earlier this year I was in Calcutta for a research project. In the midst of our wanderings to get to know the city, Sophea switched from recording the sounds that we could all hear to recording the electro-magnetic radiation that we (mostly) couldn’t. As she moved through the streets, her equipment made audible the intersecting fields of radiation that we couldn’t otherwise hear. The sonification of silent fields was a surreal representation of a particular place and a particular body that moved within it.
Thinking about “a life” as relations and forces, I remembered how Sophea became a central point in those fields through the act of recording. And I wondering if her literal recording fields and forces could be reimagined as a diagram of abstract fields and forces – the diagram of “a life”.
So instead of a diagram, I present something that isn’t quite yet a diagram. The not-yet diagram exists somewhere else as a representation of a moment in time and place. Would embedding it here have been enough to make it a diagram, or would it have remained a representation of a specificity? And either way, could the process of trying to obtain the recording and the brief emails and conversations be considered a process of diagramming, even if the recording was untranslatable, and the diagram is still absent? Or is the diagram of “a life”, as Scott so nicely pointed out, really just the absent-diagram?
“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…
Hallo . I am a PhD candidate at COFA, University of New South Wales (Sydney, Australia). I am presently working on an Augmented Reality art-as-laboratory project to research the augmentation of perception during locomotion, and the resultant altered logic of movement and spatio-temporality.
My question at the moment, in relation to thinking about body movement as diagrams, is how can the body expand, if not escape, from the strictures of its bipedal body and its single-fronted vision – so as to re-frame locomotion.
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?