aesthetics, communication, mathematics, technology


Nils Guadagnin, Hanging stone, 2014 Mousse polyuréthane, bois, électroaimant, 28 x 28 x 125 cm

Nils Guadagnin, Hanging stone, 2014
Mousse polyuréthane, bois, électroaimant, 28 x 28 x 125 cm

Demodulation. There is always a monadic resonance to which a repetition is coupled in order to form a motor or compose an operational line, assembling at the limit a free phylum of machine interconnectivity. Every machine an operator or operand of another functional aggregate, assigned to an eternal repetition of variability, sweeping out a transversal trajectory through a self-constructing milieu of heterogeneous forces. The abstract machine injects new consistencies into turbulence, extruding flowing lines of fusion and mixture or extracting curved planes of development and organization; filtering out novel functions, concepts or compositions, refactoring or creating in contact with an outside. But does the abstract machine not express mutability in another way — by extending and exponentiating the variadic series of genetic practices (art, science, philosophy…)? Decrypting the image of thought again, in a virtual torsion of equal depth and power — art, science, philosophy, x…? Yet again is it not also the shadow falling upon the modulation of knowledges, eclipsing every enclosed topology determining discursive territories or structuring disciplinary forms? An abstract machine is indeed the shadow of a people to come, of a cosmic science-art-philosophy; unleashing at least in its virtual potentiality a deimaged and meteoric creativity, with a future beyond the terrestrial continuum of variadic practices and discourses.

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becoming, Deleuze, guattari, horizon, machine

Abstract for DeleuzeConf


Alexi K, Cognitive Polygraph (Woman Disrobing), 2013 (Pen & Ink)

This is the abstract for the paper I will be presenting at DeleuzeConf 2014, “Technoscience and Expressionism: On Deleuze and Computability”.

Deleuze, in his 1992 essay Postscript on Control Societies, describes technology as concretely expressing forms of social consistency. Technoscientific machines are collective assemblages “easily matched” with modes of consciousness and styles of composing realities.

A technological stratum relates to conceptual, referential or compositional capacities and tendencies. Yet technologies are neither causes nor effects of social transformations. Technologies do not engender new folds; rather societies continuously discover capabilities for specific machine components to be made use of or constructed, or to be related in new ways. Technologies at all scales, degrees of materiality and visibility are swept up and reshaped by abstract machines which dynamize new styles of thinking, feeling, living.

In Chaosmosis Guattari outlines the operation of the abstract machine which extracts singular possibilities from the components of technical and social machines. An abstract machine is installed transversally to every other machine component and stratum, capable of relating the heterogeneous levels of materiality, cognition, affection and sociality. The abstract machine effectuates, donates existence to components or withdraws it, assembling functional ensembles of virtual and constituted elements.

In contrast with structuralist theories which indicate signification and hence semiological microtechnologies as the vectors unifying expressive economies, Guattari differentiates protomachines (simple instruments or ‘least-structured pieces’) from the ensembles out of which effects and sense actually emerge. Even sophisticated machines such as robots (“which will soon be engendered by other robots”) are nothing without these complexes, machinic assemblages to which they belong.

Artificial intelligences and expert systems, despite all the negativity, totalization and servitude to which they are inevitably linked, do not simply subtract from human thinking: they also “relieve thought of inert schema”. Computer-aided forms of thinking are mutant, capable of relating to “other musics, other Universes of reference.”

Has an outdated mode of science-fiction overtaken speculation about the future? Opposite metaphysical and religious objections to increasingly-extreme technoscience, singularitarianism indicates the dramatic extent to which it is possible to internalize an indifferent love for oppressive machines, while accelerationists frame their centrist interventions under the curious aegis of remembering the future.

I would argue that beyond these intense positions the emergence of artificial general intelligence (machines decoding expression) is in turn expressive in Deleuze’s sense. Which consistencies do they effract, what new folds do they effectuate? Planetary culture is in the throes of becoming-computable, marked in part by an extremization of technoscience — on the one hand stripped of purity and degraded to mere invention; on the other newly devoted to reverse-engineering noetics and genetics (at the limit, to a bifurcated ‘transcendence’ of the biosphere and noosphere.) D+G’s machinic philosophy offers a critical alternative to singularitarian and accelerationist images of the future. Their emphasis on abstract machines illuminates the expressive potential of the virtual assemblages actualized in general purpose computing.

Nietzsche once asked after the meaning of science. Today this question points beyond the involution of the technical within globally-integrated capitalism. I will indicate in what way software may be considered a humanity or people-to-come.

acceleration, becoming, inhumanity, language, machine, ontology, radiation



Richard Long, “Walking a circle in mist” (Scotland, 1986)

Beyond telepathy. At long last, after centuries if not millennia, and perhaps only if conditions will have it such that the voice may reach its fullest expression and height, we may foresee it finally passing; into the imperceptible. In this future beyond the future, the noontide of vocal expressivity; the death, or at least becoming invisible, through an unrecognizable transformation, of speech. At the outer limit of writing, beyond telepathy, an opening onto new luminous substrates of expressivity.

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