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.