ALEPH
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chapter A
Aleph is.. Autonomous Laboratory for Exploration of Progressive Heuristics
Hosted by Interactive Media Design, KABK The Hague A cross-academic, multi-disciplinary initiative, which aspires to connect scholars and students to their research and education in a radically different way. This laboratory provides a social platform for connectivity and exchange, challenging its participants to gain from and contribute to a constant flux of knowledge, insight, art, experiment, text, design and production.
ART TEXT DESIGN EXPERIMENT PRODUCTION CROSS-ACADEMIC MULTI-DISCIPLINARY INITIATIVE PLATFORM SCHOLARS & STUDENTS KNOWLEDGE SHARE AND GAIN INSIGHTS INTRINSIC RELATION MEDIUM AFFORDANCE AFFECT DELEUZIAN SCHOLARSHIP AFFECTIVE APPROACH
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Marc Boumeester Renkse Maria van Dam Ellemieke van Vliet Andrej Radman
chapter A
Aleph is.. Autonomous Laboratory for Exploration of Progressive Heuristics
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chapter A
Aleph is.. Autonomous Laboratory for Exploration of Progressive Heuristics
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ALEPH is a cross-academic, multi-disciplinary initiative which aspires to connect scholars and students to their research and education in a radically different way. This laboratory will be providing a social platform for connectivity and exchange, challenging its participants to gain from and contribute to a constant flux of knowledge, insight, art, experiment, text, design and production. This group of researchers will include post-doctoral scholars, PhD- and undergraduate students, all dedicated to sharing their insights and gaining new at the same time. Follow and lead, learn by teaching, teach by learning. Designers work with the sensation as the material. They design affordances and not forms. The field of research is demarcated by the intrinsic relation between the medium, affordance and affect. The research will be directed towards the exploration of the role of the media in an interplay between what was formerly known as perception and the independent force of desire, rendering obsolete the anthropocentric hegemony of the will. Originating in the Deleuzian scholarship, the research will depart from what is currently referred to as the Affective Turn. The affect theory is a way of understanding domains of experience which fall outside of (or refuse to fall within) the prevailing paradigm of representation. These experiences are coextensive with our own, yet irreducible to them and as such independent of any signifying instrument. The lab currently resides at the Royal Academy of Arts in The Hague and is organized by the Department of Interactive /Media /Design. In order to secure an interesting variety of theoretical influx to the lab, several partners have been found who are willing and able to contribute in a significant way. The initial partners are: dr. Andrej Radman, Delft University of Technology, dr. Sjoerd van Tuinen, Erasmus University Rotterdam, dr. Rick Dolphijn, University of Utrecht, and several heads of departments of the Royal Academy of Arts The Hague.
chapter A
Aleph is.. Autonomous Laboratory for Exploration of Progressive Heuristics
Working in the lab is an intensive experience enabling participants to develop a completely new toolkit for their work in the arts and design. AÂ series of lectures, readings, discussions, presentations and guided workgroups will be offered on a weekly basis. Participation in the lab is not a passive experience. Working by the principle of give-and-take, all members are asked to contribute what they can and take what they need.
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chapter A
Aleph is.. Autonomous Laboratory for Exploration of Progressive Heuristics
Marc Boumeester — Program Director Marc Boumeester worked for various major television and film producing companies and actualized dozens of audiovisuals in a range from commercials to feature films. He is appointed as researcher and lecturer at the Delft University of Technology, theory section at the faculty of Architecture and he has co-founded (and leads) the department of Interactive / Media / Design at the Royal Academy of Art in The Hague. He lectures in the field of media philosophy and design theory. His research focuses on the liaison between affect, socio-architectural conditions and instable media, in particular cinema.
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Team
Renkse Maria van Dam Renske Maria van Dam currently works as architect and ‘earthly minded philosopher’ for her own atelier Spices. With interests in between thinking and making she completed her studies in architecture at the Delft University of Technology in 2013. Her research focuses on the mechanism of non-local resonance (affects) in the experience and design of place to gain insights on ‘how to build the intangible’?
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Aleph is.. Autonomous Laboratory for Exploration of Progressive Heuristics
Team
Ellemieke van Vliet
Andrej Radman
The final research Ellemieke van Vliet did for her master in Architecture at the Delft University of Technology focused on the use of Affective Theories in the practice of design. The research of the practice of these theories has continued working as a design and philosophy teacher and educational designer for the Royal Academy of Arts in The Hague and several other primary and secondary schools.
Andrej Radman is a licensed architect. Andrej Radman has been teaching design studios and theory courses at TU Delft Faculty of Architecture in The Netherlands since 2004. His current research focuses on radical empiricism in general and J.J. Gibson’s ecological approach to perception in particular. He is a member of the National Committee on Deleuze Scholarship.
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chapter B
Aleph content
Originating in the Deleuzian scholarship, the research departs from what is currently referred to as the Affective Turn. The affect theory is a way of understanding domains of experience which fall outside of (or refuse to fall within) the prevailing paradigm of representation. These experiences are coextensive with our own, yet irreducible to them and as such independent of any signifying instrument.
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AFFORDANCE AFFECT ASSEMBLAGE ASIGNIFYING HEURISTIC ENERGETICS EXTERIORITY DETERRITORIALISATION TERRITORIALISATION RETERRITORIALISATION AESTHETIC EPIDYNAMIC LANDSCAPE IRREDUCIBLE SINGULAR RELATIONAL INTENSIVE ECOLOGICAL GILLES DELEUZE MANUEL DELANDA BRIAN MASSUMI BRIAN ENO LARS VON TRIER GREGORY BATESON FÉLIX GUATTARI SANFORD KWINTER JAMES JEROME GIBSON
chapter B
Aleph content
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chapter B
Aleph content term 01
Deterritorialisation (Three Ecologies)
The ENVIRONMENT, the SOCIUS and the PSYCHE ought to be placed on the same ontological footing. In mapping out reference points for the three ecologies, ALEPH abandons pseudo-scientific paradigms. The reason behind this is not simply the complexity of the entities under consideration. More fundamentally, the three ecologies are governed by a different logic from that of ordinary communication between speakers and listeners (ego-logic). In the words of Guattari: Their logic is not that which makes possible the intelligibility of discursive sets, […] it is a logic of intensities […]. Whilst the logic of discursive sets seeks to delimit its objects, the logic of intensities - or eco-logic - concerns itself solely with the movement and intensity of evolutive processes. Process, which I here counterpose to system and structure, seeks to grasp existence in the very act of its constitution, definition, and deterritorialization […] 1 In other words, the time has come to unyoke the architect/artist from Newtonian physics and Cartesian metaphysics in favour of the ECOLOGICAL approach (Thesis of Nonlinearity/Emergence). The traditional chasm between the ‘two cultures’ - quasi-objective SCIENTIFIC and quasi-subjective HUMANISTIC, as well as the categories of the KNOWER and KNOWN - become obsolete. ALEPH starts from the MIDDLE (milieu) instead, between the too abstract (infinity) and not abstract enough (finitude). Hence the importance of the current AFFECTIVE TURN.
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1
See: Félix Guattari, The Three Ecologies, trans. Ian Pindar and Paul Sutton (London: Continuum, [1989] 2008). See also Gregory Bateson, Steps to an Ecology Of Mind; Collected Essays in Anthropology, Psychiatry, Evolution, and Epistemology (New York: Ballantine, 1972).
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Interview with Meillassoux, http://steveharris.blogspot.com/2010/02/interview-withmeillassoux.html (accessed April 10, 2012).
chapter B
Aleph content Deterritorialisation (Three Ecologies)
term 01
Most importantly, therein lies a possibility of pursuing a genuine politics of DEFATALISATION. Resetting ourselves in a metaphysical perspective, as Meillassoux suggests, permits us to reconstruct our existence beyond FAITH alone or the sole opportunism of INTEREST. 2
Renske Maria van Dam
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chapter B
Aleph content term 02
Territorialisation
The world self-generates from potential. The primitives of the system are lived abstractions that have a nature of the qualitative CONTINUUM, and not BITS of information. As we have seen above, the logic of coexistence (relation) is different from the logic of separation (discreteness). What is truly remarkable in the eco-logic is that the order of MOVEMENT and SPACE is reversed, as explained by Massumi: Movement no longer connects the preexisting positions on a set of a coordinate grid; it is no longer subordinated to position. Positions are derivative of movement and the grid is derivative of the emergence of position. So it is the movement of mapping that makes its own territory and territory is made entirely out of sensation; out of experience, out of qualities and differential experience: literal world of sensation. 3 To put it simply, under the ALEPH approach it is the logic of sensation that leads to the logic of relation. Consequently, an assemblage can be characterised by ongoing processes of DETERRITORIALISATION and TERRITORIALISATION that either destabilise/dissolve or stabilise/consolidate its identity. In the words of DeLanda: [T]erritorialisation must first of all be understood literally [as] processes that define or sharpen the spatial boundaries of actual territories. Territorialisation, on the other hand, also refers to non-spatial processes which increase the internal homogeneity of an assemblage, such as the sorting processes which exclude a certain category […]. 4
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3
See: Brian Massumi, “The Virtual” Experimental Digital Arts lecture (EDA, 2000), http://design.ucla.edu/eda/archive/ serve.php?stream=/mnt/video/design/ video/041700_massumi.rm (accessed June 25, 2008).
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See: Manuel DeLanda, A New Philosophy of Society Assemblage Theory and Social Complexicity (London: Continuum, 2009), p. 13.
chapter B
Aleph content Territorialisation
term 02
Ursus Wehrli
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chapter B
Aleph content Reterritorialisation
term 03
Architectural design is action at a distance in a profound sense. 5 If ASSEMBLAGE has been the core concept of Deleuze and Guattari ever since A Thousand Plateaus (1980) then what they call a TERRITORY is simply its limit condition (striation). 6 Any subsequent de-territorialisations and re-territorialisations are to be considered as mere dimensions of the very assemblage which is beyond the absolute control of the designer. Given the asymmetry between the territory and the assemblage, it should not come as a surprise that: “What holds an assemblage together [what gives it integrity] is not the play of framing forms or linear causalities but, actually or potentially, its most deterritorialised component.” 7 We have learned the (PoMo) lesson, and painfully so, that it is not true that anything goes. We have yet to learn that there is a difference in kind, and not merely in degree, between the ACTUAL and VIRTUAL. In the words of Deleuze, “Forms interact not with forms but with their background which is the system of all forms even before they had separate existence.” 8
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See: Robin Evans, The Projective Cast: Architecture and Its Three Geometries (Cambridge, MA: MIT, 1995), p. 363. See: Gilles Deleuze and Félix Guattari, A Thousand Plateaus (London, New York: Continuum [1980] 2004), p. 337. “Just as milieus swing between a stratum state and a movement of destratification, assemblages swing between a territorial closure that tends to restratify them and a deterritorializing movement that connects them to the Cosmos. Thus it is not surprising that the distinction we were seeking is not between assemblage and something else, but between two limits
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of any possible assemblage, in other words, between the system of strata and the plane of consistency.” Deleuze and Guattari’s ‘Refrain’ is Nietzsche’s ‘Eternal Return’. It does not allow for the return of identity, since this would ultimately come down to a final stasis, but must instead stand for the eternal return of differentiation. See: Gilles Deleuze and Félix Guattari, A Thousand Plateaus (London, New York: Continuum [1980] 2004), p. 374. See also: James Williams, “Deleuze’s Ontology of Creativity: becoming in Architecture” in Pli (no. 9, 2000), pp. 211-212.
chapter B
Aleph content Reterritorialisation
term 03
The idea which has persisted for the last four hundred years of a variably deformable OBJECT in a complex vector FIELD as being the main principle of design needs to be challenged. By contrast, only force can be related to another force. 9 To put it bluntly, action on action, not action on object, is the formula upheld by ALEPH.
Ellemieke van Vliet 15
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See: Gilles Deleuze, Difference and Repetition (New York: Columbia UP, [1968] 1994), p. 87. See: Gilles Deleuze, Nietzsche and Philosophy (New York: Columbia University Press, [1962] 2006), p. 6.
chapter B
Aleph content Asignifying
term 04
Semiotics is only one of the many regimes of signs and certainly not the most important one for architecture. After all, NATURAL stimuli cannot be understood by analogy and with reference to SOCIALLY CODED stimuli for that would be like putting the cart before the horse. 10 A SIGN, according to Spinoza, can have several meanings, but it is always an EFFECT. An effect is first of all the trace of one body upon another, the state of a body insofar as it suffers the action of another body. Therefore, for ALEPH, singularities come before identities and participation precedes cognition. If we want to escape the hegemony of the linguistic signifier, who best to turn to than the ‘greatest classifier of signs’, Peirce. Deleuze credits him with propagating the ASIGNIFYING SIGN which is not formed linguistically, but aesthetically and pragmatically, “as a condition, anterior by right to what it conditions.” 11 Peirce treats semiology (his term for semiotics) as a PROCESS. 12 His signs are modes of sensation, the AFFECT. The (non-correlationist) autonomy of this asignifying sign is paramount if we are to define a body not by its form, nor by its organs or functions, but by its capacity for affecting or being affected. 13 The limit of something is the limit of its action and not the outline of its figure.
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10 See: .James Jerome Gibson, “The concept of the stimulus in psychology” in American Psychologist (Vol. 15, No. 11, November 1960), p. 702. 11 See: Gilles Deleuze, Cinema 2; The TimeImage (London: The Athlone Press, [1985] 1989), p. 28. See also: Charles S. Peirce, Selected Writings (Dover Publications, 1958), p. 368. 12 Guattari draws the line between those who relate semiotics to the science of language, - à la de Saussure - and those who consider
language as merely one of many instances of the general semiotic. Semiotics, particularly in Europe, has generally followed de Saussure’s lead and paid more attention to cultural than to natural signs. However, semiotics in the American context was a far more general enterprise and a means of unifying science (psychology, physics and biology). See: Félix Guattari, “Towards a Micro-Politics of Desire” in Molecular Revolution: Psychiatry and Politics (London, Penguin, [1975] 1984), pp. 87, 96.
chapter B
Aleph content Asignifying
term 04
Ursus Wehrli
13 Deleuze gives an example which, at first, seems counterintuitive and proves just how much we are accustomed to Aristotelian categorisation. There are greater differences between a work-horse and a race-horse than between an ox and a work-horse. This is because neither the race-horse nor the work-horse has the same affects or the same capacity for being affected; the work-horse has more affects in common with the ox. Things are no longer defined by a qualitative essence, ‘man as a reasonable animal’, but are defined
by a quantifiable power. See: Gilles Deleuze, Spinoza, Practical Philosophy (San Francisco: City Lights Books, [1970] 1988), p. 124.
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chapter B
Aleph content Affordance
term 05
Under this key-word we explore the legacy of J. J. Gibson, whose highly innovative concepts developed over thirty years ago continue to stir controversy even among the scholars of the Ecological School. Gibson was well aware of the difficulties in challenging orthodoxies that he himself admitted to have contributed to. 14 His neologism AFFORDANCE, akin to the affect, is perhaps the most important for our purposes. It is a key element in ecological theory of direct perception (and action) which constitutes an alternative to the information-processing paradigm. 15 It is not merely a new term; it is a new way of organising the logos. What it signifies is that a mode of existence never pre-exists an event. It would be difficult to imagine a more elegant shift of focus from the extensive space of PROPERTIES to the intensive spatium of CAPACITIES, or in Deleuzian parlance, from longitude to latitude. This is how Gibson explains the shift from the metaphysical experience of space (always and for everyone) to the relational space of experience, which is both synaesthetic and kinaesthetic, that is, dynamic:
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The affordances of the environment are what it offers the animal, what it provides or furnishes, either for good or ill. The verb to afford is found in the dictionary, but the noun affordance is not. I have made it up. I mean by it something that refers to both the environment and the animal in a way that no existing term does. It implies the complementarity of the animal and the environment [...] 16
14 A vast quantity of experimental research in textbooks and handbooks is concerned with snapshot vision, fixed-eye vision, or aperture vision, and is not relevant to understanding ambulatory vision. 15 This did not prevent it from being excessively (mis)used in Human-Machine Interaction (HMI) research. 16 See: James Jerome Gibson, The Ecological
Approach to Visual Perception (New Jersey: Lawrence Erlbaum Associates, [1979] 1986), p. 127. In keeping with the Assemblage Theory, capacities do depend on components’ properties but cannot be reduced to them (externality of relations). See: Manuel DeLanda, A New Philosophy of Society Assemblage Theory and Social Complexity (London: Continuum, 2009).
chapter B
Aleph content Affordance
term 05
Ellemieke van Vliet
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chapter B
Aleph content Assemblage
term 06
The virtue of the term which emphasises the inseparability of AGENCIES and ARRANGEMENTS has recently been explained by Callon as follows: The term agencement is a French word that has no exact English counterpart. In French its meaning is very close to “arrangement” (or “assemblage”). It conveys the idea of a combination of heterogeneous elements that have been carefully adjusted to one another. But arrangements (as well as assemblages) could imply a sort of divide between human agents (those who arrange or assemble) and things that have been arranged. This is why Deleuze and Guattari proposed the notion of agencement. Agencement has the same root as agency: agencements are arrangements endowed with the capacity of acting in different ways depending on their configuration. This means that there is nothing left outside agencements: there is no need for further explanation, because the construction of its meaning is part of an agencement. A socio-technical agencement includes the statement[s] pointing to it, and it is because the former includes the latter that the agencement acts in line with the statement, just as the operating instructions are part of the device and participate in making it work. 17 In other words, “The minimum real unit is not the word, the idea, the concept or the signifier”, explains Deleuze, “but the assemblage.” 18
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17 See: Michel Callon as quoted in Karl Palmas, “Deleuze and DeLanda: A new ontology, a new political economy?” Paper presented on 29 January 2007 at the Economic Sociology Seminar Series, the Department of Sociology, London School of Economics & Political Science.
18 See: Gilles Deleuze, “On the Superiority of Anglo-American Literature” in Dialogues (New York: Columbia UP, [1977] 1987), p. 51. “The utterance is the product of an assemblage - which is always collective, which brings into play within us and outside us populations, multiplicities, territories, becomings, affects, events.”
chapter B
Aleph content Assemblage
term 06
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Jean Paul Goude
chapter B
Aleph content Heuristic (trial and error)
term 07
The INTENSIVE space of experience is antecedent to the engendered experience of EXTENSIVE space. The Part to Whole relationship (mereology) - which is suitable for the realm of the extensive - needs radical upgrading to become capable of capturing topological transformations (continuous variation). But what the ALEPH advocates is not a new (computational) model. Quite the opposite, any technological (over)determination needs to be kept at bay. 19 What is required instead is a leap of imagination, a new minor heuristic practice which will allow following potentials by attending to the implicit forms of matter and developing operations that bring forth those potentials. 20 The general lesson of the LOGIC OF RELATION (LoR) is that the stable regularities we see in actuality might not have specific causes that can be demarcated and isolated but may only be understood as a dynamic cascade of MANY processes operating over TIME. 21 The Ethico-political lesson of the LoR is that Everything is CONTINGENTLY obligatory and not LOGICALLY necessary.
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techniques that direct attention toward 19 For an example of functional determinism see: Christopher Alexander, Notes on the Synthesis discovery. His advice was that we should direct of Form (Cambridge: Harvard UP, 1964). our efforts to describing stimulus information Gibson’s Ecological Approach is heuristic in that had not yet been discovered.” 20 this sense. See: Albert Yonas, “A Personal View 21 See: Sanford Kwinter, “Hydraulic Vision” in of James Gibson’s Approach to Perception” Mood River, ed. Jeffrey Kipnis and Annetta in Cognitive Critique (Vol. 1, 2008), pp. 31-34. Massie (Columbus, Ohio: Wexner Center for “What Gibson was doing was providing, the Arts, 2002), pp. 32-33. to those who would listen, heuristics or
chapter B
Aleph content Heuristic (trial and error)
term 07
Venice Biennale, 2012
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chapter B
Aleph content Energetics
term 08
This is how the architect Moussavi of the FOA contemplates the implications of the Affective Turn in architecture: 22 Affect, according to Deleuze, is distinct from affection. Affection, such as feeling, emotion or mood, relates to the status of the body caused by the encounter. Since affection has to be enveloped by the human body, it is subject to personal, biographical or social mediation (we do not know what meaning is being created in each individual). An affect, on the other hand, is a matter of intensity. Affections are endogenous, whereas affect is impersonal or pre-individual and unmediated (exogenous), and can therefore generate different affections in different people. 23 For this reason, as Moussavi concludes and ALEPH recommends, architects need to focus on AFFECT (affordance), rather than MEANING. This is not because meanings are irrelevant, rather because they are not produced by architects but by individuals themselves. To give an account of the non-dialectical difference which makes a difference (energetics), Deleuze and Guattari reinvigorated the anti-manichean molecular (revolution). 24 This is how Guattari explains their concept of ‘desire’:
24 22 See: Farshid Moussavi and Daniel López, The Function of Form (Barcelona: Actar, 2009). Steven Shaviro in his “Simondon on 23 Individuation” draws attention to Simondon’s theory of becoming that influenced Deleuze: “The individual, as (continually) produced in a process of individuation, is never an isolated Self. It is always coupled or coordinated with a milieu; the individual can only be understood together with its milieu, and cannot subsist as a unity without it. The contact between
individual and milieu is mediated by affect. Affectivity comes in between inside and outside, just as it comes in between sensation and action. Just as sensation gets oriented along a series of gradients in order to become perception, so (unconscious or preconscious) affect gets oriented along a series of processes of becoming in order to become (conscious) emotion.” http://www.shaviro.com/ Blog/?p=471 (accessed April 10, 2012).
chapter B
Aleph content Energetics
term 08
[D]esire is everything that exists before the opposition between subject and object, before representation and production. It’s everything whereby the world and affects constitute us outside of ourselves, in spite of ourselves. It’s everything that overflows from us. That’s why we define it as flow. 25
Renske Maria van Dam 25
24 The term “manichean” is widely applied (often disparagingly) as an adjective to a philosophy or attitude of moral dualism, according to which a moral course of action involves a clear (or simplistic) choice between good and evil, or as a noun to people who hold such a view. See: Félix Guattari “A Liberation of Desire” in 25 Soft Subversions: Texts and Interviews 19771985 (Los Angeles: Semiotext(e), 2009), p. 142
chapter B
Aleph content Exteriority of Relations
term 09
The EXTERIORITY of relations fostered by ALEPH is perhaps best understood in contrast to the exact opposite, namely, the relations of INTERIORITY germane to Platonism, Cartesianism, Individualism, Representationalism and Computation(alism). The pragmatic logic of ALEPH transcends the relation between the whole and its parts; it is reducible to neither. “This exteriority of relations is not a principle,” explains Deleuze, “it is a vital protest against principles.” 26 After all, empiricists have no principles. They prefer experimenting (aesthetics) to interpreting (hermeneutics). Equally, pragmatists have no theory of truth. The virtual and the actual are constituted in the course of what Simondon called a TRANSDUCTIVE relation, one which constitutes its terms so that neither precedes the other because they only exist in the relation. Bluntly put, the basic idea is that we know the real through objects, but the real itself is not an object: “[...] we know INTENSITY only as already developed within an EXTENSITY, and as covered over by qualities.” 27
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By focusing on visible properties (purely actual) we neglect the temporal process and functional integration. Instead, the emphasis should be on the process of ‘unfolding’ and not on the contrast between the implicate and explicate orders. The urban architecture cartography of the ALEPH is attuned to this pre-articulate expressibility tending toward a determinate expression - yet to come - caught in the middling of the event. 28 Ask not what’s inside your head, rather what your head’s inside of. 29
26 See: Gilles Deleuze, “On the Superiority of Anglo-American Literature” in Dialogues (New York: Columbia UP, [1977] 1987), p. 55. 27 See: Gilles Deleuze, Difference and Repetition (New York: Columbia UP,[1968] 1994), p. 223.
28 See: Erin Manning and Brian Massumi, “Coming Alive in a World of Texture: For Neurodiversity”, keynote talk-performance at Dance, Politics & Co-Immunity Thinking - Resisting - Reading the Political (Giessen,
chapter B
Aleph content Exteriority of Relations
term 09
Conrad Waddington, Epigenetic Landscape
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November 12, 2010), http://www.dance-tech. net/video/brian-massumi-erin-manning (accessed April 10, 2012). 29 See: William M. Mace, “James J. Gibson’s Strategy for Perceiving: Ask Not What’s Inside
Your Head, but What Your Head’s Inside of ” in Perceiving, acting and knowing; Toward an ecological psychology, ed. Robert Shaw and John Bransford, (Hillsdale, NJ: L. Erlbaum Associates, 1977), pp. 43-65.
chapter C
Aleph education
The shift from traditional Cartesian discourse to Ecological thought triggers to approach art and design in a radically different way. Within this course you will train and explore a new toolbox with techniques for art and design to sense the virtual (open up to other realms – three ecologies) and build the insensible (design affordances instead of capacities; relational in possibility of emergence.)
TEACH BY LEARNING LEARN BY TEACHING FOLLOW AND LEAD NEW TOOLKIT ARTS & DESIGN SHARE AND GAIN INSIGHTS LECTURES WORKSHOPS READING GROUP DISCUSSIONS PRESENTATIONS INTENSIVE EXPERIENCES SENSE THE VIRTUAL BUILD THE INSENSIBLE TEXT - OBJECT OBSTRUCTION SIX SENSES
28 “What Is Relational Thinking?”1 “Parables For The Virtual: Movement, Affect, Sensation.” 2 “The Five Obstructions” 3
1 Didier Debaise 2 Brian Massumi 3 Lars Von Trier
chapter C
Aleph education
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chapter C
Aleph education 6-Minute-Workshop
Aleph provides active theory & design education. Working within Aleph is an intensive experience enabling participants to develop a completely new toolkit for their work in the arts and design. 6-Minute-Workshop “Sensation is the mode in which potential is present in the perceiving body. Perception is never only impression. It is already composite.� Brian Massumi To experience this start of human perception from sensibility, this workshop explores all the senses in a separate minute: 1 Minute of First Impression 1 Minute of Vision 1 Minute of Audio 1 Minute of Touch 1 Minute of Smell 1 Minute of Taste
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This tool to Map the repellers and attractors of the environment, offered by Aleph, reveals a critical understanding and interpretation of association in experience; how memories and molding sensibility constitute our perception.
chapter C
Aleph education 6-Minute-Workshop
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chapter C
Aleph education Text / Object
Aleph provides active theory & design education. Working within Aleph is an intensive experience enabling participants to develop a completely new toolkit for their work in the arts and design. Text/object Text/objects contain elements that highlight a particular concept or problematic as derived from the lectures or readings under discussion. The text/object is not intended as an ‘illustration’ of the arguments made; it should, by the nature of its construction and the process exhibited in its ‘making’ reveal a critical understanding and interpretations of the theories under discussion. The text/object can be produced in many ways: either a fairly refined computer gene-rated layout, a hand produced collage, or a three-dimensional object to name a few.
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chapter C
Aleph education Obstructions
Aleph provides active theory & design education. Working within Aleph is an intensive experience enabling participants to develop a completely new toolkit for their work in the arts and design. Obstructions Inspired by the film ‘The five obstructions’ by Lars von Trier, obstructions became part of the given design task in the studio of Aleph. Obstructions are intended to ‘shake from the inside’ and ‘kick our habits’. As we are used to live an think in traditional - Cartesian manner, it is good to sometimes remind yourself to look from another perspective. Since it is impossible to multiply your perspectives from within, given obstructions are intended to confuse and work as enabling constrains to enrich your design.
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chapter C
Aleph education Reading group 1
Initiated by dr. ir. Andrej Radman every semester Aleph hosts a reading group in which one specific text is discussed. The ultimate goal of each session is to assist the participants to develop reasoned and convincing argument as inspiration for art and design. During the first semester Aleph’s reading group was in the theme of Brian Massumi’s text; ‘Parables for the virtual: Movement, Affect, Sensation’ in his book The Political Economy of Belonging - and the logic of relation.
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chapter C
Aleph education Reading group 2
Initiated by dr. ir. Andrej Radman every semester Aleph hosts a reading group in which one specific text is discussed. The ultimate goal of each session is to assist the participants to develop reasoned and convincing argument as inspiration for art and design. During the second semester Aleph’s reading group was in the theme of Dider Bebaise’s text ‘What is relational thinking’. Due to the short length of the text, it was possible to even have a close-reading per sentence.
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chapter C
Aleph education Spatial Installation
Collaboration between Graphic Design student Tereza Rullerovรก and Interior Design student Sophia Zoon coordinated by Renske Maria van Dam and Ellemieke van Vliet. Spatial Installation Team developed concept & design together as one equal level of Aleph education. This semestral course was an intensive experience an interesting insight in different design methodologies.
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chapter C
Aleph education Spatial Installation
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chapter D
Selected student work
Margot van Bekkum Luke Boorman Victoria Douka-Doukopoulou Ioannis Karalis Sophia Klinkenberg Lauren Spencer Tereza Rullerovรก
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COLLECTIVE FEELINGS EXPERIMENT GUY DEBORD PROCESS PERFORMANCE DATA COLLECTING EXPERIENCE DECODING RECODING FREEDOM QUESTIONING WHY SPACE DESIGN CREATING HARD TO THINK USE OF LANGUAGE
chapter D
Selected student work
D 39
chapter D
Selected student work Sophia Zoon Tereza Rullerová
SPATIAL INSTALLATION
Spatial Installation This semester Interior Design student Sophia worked, together with Tereza from Graphic Design department, on concept of a spatial installation and publication. Working within ALEPH’s theoretical framework and combining two disciplines was an intense learning experience in which both students where challenged to ‘ kick their habits’ and adjust their traditional ways of working and thinking.
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Inspired by reading group with Andrej Radman and lectures by Hiryczuk & Van Oevelen, Agnieszka Anna Wołodzko and Katharina D. Martin we selected few keywords: individual is so fragile ethic of future experiment is to experience no rationality without emotions plane of immanence constant modulation absolute deterritorialization intelligence comes late first comes relation expand our space for thinking logic of sensation perception is produced, not communicated codes of society face is code, face is a map Euclidian essence of space
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Selected student work Sophia Zoon Tereza Rullerovรก
SPATIAL INSTALLATION
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chapter D
Selected student work Margot van Bekkum
The Opposite Of A Bunny the something there is for then there is something not nothing is never nothing to be seen for never to be grasped only senses feel feelings intertwined for the fused you is to be collective as one
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THE OPPOSITE OF A BUNNY
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Selected student work Lauren Spencer
PSYCHOGEOGRAPHY
Psychogeography This film is about two psychogeograpies. On conducted by myself and one by a friend who I did not explain psychogeography. What I wanted to show is that psychogeographies are not just made up but actually work. I also wanted to do it as an experiment to show how hard it is to think in the way of psychogeography. As a resut you can see how hard it is to really think beyond what you actually see, hear, smell or taste. Psychogeography, developed by Guy Debord in 1955, is a method to excersize the brain in really observe a surrounding. Not just by what is directly seen, heard or smelled, but more about the links that the place give you. What do you taste, what song do you hear? Questions as those could be asked. After doing the 6-minute workshop and the workshop of Lena Shafir, I came to the idea of doing a psychogeography. From these wokshops I was inspired to observe in ways I had not done before after reading works from Brian Massumi. The discussion raised that if we as human beings know that there are smarter ways to think, then why don’t we? Why do we always choose the easy way out. This really fits with why I did this psychogeography to become more aware. Another quote that really inspired me was The body is the movement by Rick Dolphijn. The whole idea of that the process is what works is something that really is true for me and has also been very usefull in my psychogeography to find out more about how hard it is to actually think in this way.
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chapter D
Selected student work Luke Boorman Victoria Douka-Doukopoulou Tereza Rullerová
THE COFFEE EXPRIENCE
The Coffee Exprience The cofee interactive performance was created as a text/object response to the question: How can you “art creating an axis from the middle ? — provoked by the passage mentioned above from Brian Eno’s A Year With Swollen Appendices. After the coffee interactive performance, the group was given the obstruction of ‘doing the opposite’, starting with the output of the experience and getting to ‘coffee’. The obstruction project developed to a semester long research project, that dealt with the designing and conducting questionnaires that aimed to collect data and then use them to get the answer ‘coffee’. When enough data were collected, the group moved forward, into sorting them, and visualizing them as a text-object installation, under the notion of steering away from illustrating them but rather creating something that reflects them, the text-obect installation included a sound piece , that translated into sound of all the gathered data along side with their visuals. The audience was able to experience the installation, with or without knowing that it was about coffee, the final output was more of a translation of the large and diverse collected data rather than just coffee. It was, like the coffee experience interactive performance, an experience rather than just an object.
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Selected student work Luke Boorman Victoria Douka-Doukopoulou Tereza Rullerovรก
THE COFFEE EXPRIENCE
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chapter D
Selected student work Ioannis Karalis
COLOR WAVES MELTING FIGURES
Color Waves “The power of control is decoding and deterritorialization, delivered (ready for catalysis, into a potentialization-and-containment in a new space; ready for recoding/ recodification and reterritorialization).” Brian Massumi, The Political Economy of Belonging and the Logic of Relation. Melting Figures “Whenever a duality starts to dissolve, those who felt trapped at one end of it suddenly feel enormous freedom they can now redescribe themselves.” A Year with Swollen Appen- dices - Brian Eno’s diary, Axis Thinking
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Selected student work Sophia Klinkenberg
DRINKABILITY
Drinkability I have started my research about ‘drinking’ with an ‘axis way of thinking’. This has led me to all different kind of topics concerning drinking, not only for humans but also for animals. It also has involved research on the movements that different species make to drink from different sources. And questioning why drinking is done and what sort of process belongs to that. For instance dogs drink as much water as they have just lost after doing an exercise. Also the way liquids can be absorbed by a body has been a very important part of the process. Eventually I got inspired by the way saltwater and freshwater fish are able to absorb water through their skin and how different types of water can affect their body systems. This has to do with the amount of salt the water contains. Some fish can survive either in salt or freshwater and also live in both waters during their life. This has led me to do several experiments on mingling fluids. As a result of this, the fluids showed various ways they could react on each other. Mostly influenced by the percentage of fat each fluid contained and the amounts of fluid, which has been poured in a glass. Different areas within the glass were divined by the content of different fluids. I have translated the areas created by the fluids, in a transformable ‘text/object’ and questioned myself: What would happen if space with several people coming in, would be analyzed like this? How does the amount of people transform a space and what effect does space have on the people?
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Selected student work Victoria Douka-Doukopoulou
6 SENSES
6 senses After experiencing Den Haag Centraal with all 6 senses, notes of my discoveries were made on paper; going through them makes you notice the use of language for illustrating a sensory experience. Aiming to abstract that the words the brought down to what their made of, letters, like the space was brought down to what it provides, a multi-sensory experience.
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Selected student work Victoria Douka-Doukopoulou
6 SENSES
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chapter E
Aleph network
In order to secure an interesting variety of theoretical influx to the lab, several partners have been found who are willing and able to contribute in a significant way. The initial partners are: dr. Andrej Radman, Delft University of Technology, dr. Sjoerd van Tuinen, Erasmus University Rotterdam, dr. Rick Dolphijn, University of Utrecht, Lena Shafir, Sjoerd van Oevelen & Elodie Hiryczuk, Katharina D. Martin and Agniezka Anna Wolodzko, University of Leiden.
RESEARCHERS PLATFORM ‘RIKEN NO KEN’ POST-DOCTORAL SCHOLARS PHD STUDENTS CROSS-ACADEMIC MULTI-DISCIPLINARY INITIATIVE STUDENTS INTERACTIVE MEDIA DESIGN REALITY KABK THE HAGUE UTRECHT ROTTERDAM DELFT LEIDEN REPRESENTATION
50 Royal Academy Of Arts, The Hague University Of Utrecht Erasmus University Rotterdam Delft University Of Technology University Of Leiden
Elodie Hiryczuk & Sjoerd van Oevelen Agnieszka Anna Wołodzko Katharina D. Martin Lena Shafir
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Aleph network
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Aleph network Hiryczuk & Van Oevelen
THE DETACHED GAZE
The Detached Gaze On the Representation of Space Since the ‘discovery’ of perspective in the early 15th century our understanding of space is guided by optical laws. This visual knowledge we’ve inherited and we’re imbued with still determines how we – in the West – perceive and represent space: as homogeneous, unified and absolute. The extensive use of photographic images nowadays constantly re-affirm the very same optical laws. Our world is conveniently ordered by this visual system but is it possible to know how the world looks like in reality, to modify our gaze, as it were, and lift the veil of its own predefined visual habits? And if so, can representations which use alternative ways of depicting space help us to see things differently? How does this in turn act upon our experience and understanding of the world around us? During a two-fold lecture and a workshop entitled The Detached Gaze we presented a broad collection of sources on visual perception and analyzed alternative ways of representing space within the realm of photography and painting. The title of the workshop refers to the Japanese term ‘Riken no ken’ which means literally ‘looking in an unprejudiced way’. For centuries it has been used in Japanese garden making as an important empirical method to perceive the garden space to its fullest extend.
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Elodie Hiryczuk (FR, 1977) and Sjoerd van Oevelen (NL, 1974) work collectively since 2001. They both graduated from the Gerrit Rietveld Academy in Amsterdam and later attended respectively the Sandberg Institute in Amsterdam and the AA Architectural
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Association School of Architecture in London. They have received a Red Dot Award and were nominated for the 13th Van Bommel Van Dam Prize. www.hiryczukvanoevelen.com www.thedetachedgaze.com
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Aleph network Hiryczuk & Van Oevelen
THE DETACHED GAZE
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Hiryczuk & Van Oevelen
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Aleph network Sjoerd Van Oevelen
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WHAT DOES IT MEAN TO HAVE AN IDEA?
What does it mean to have an idea? intuition vs intellect According to his most famous sonnet, Michelangelo held that “the best artist has no concept [concetto] which some single marble does not potentially enclose within its mass, but only the hand which obeys the intellect [intelletto] can accomplish it.” This is usually interpreted in hylomorphic terms as saying that the content lies waiting within the marble for its form to be hewn out. Of course, the authority of mannerist texts on art has led to precisely such an interpretation, which is idealist insofar as it would be the task of the intellect to recognize the form of this content and of the obeying hand merely to free it from the surrounding mass. It was precisely in these Aristotelian terms that Benedetto Varchi, a pupil of Michelangelo’s, described the task of the sculptor as an inducing of “form” into “matter,” as a drawing forth of “real” from “potential” existence. But when he complimented his master, “Signor Buonarroti, you have the brain of a Jove,” Michelangelo responded “but Vulcan’s hammer is required to make something come out of it.” 1 The passage from the intellectual concetto to the hand that realises it entails much more than just a hylomorphic passage from matter to predetermined form, because the idea of the whole composition must constantly be rehearsed in a painstaking process of experimental construction. In fact, the genesis of any experimental work of art should not be longer be interpreted in the classical terms of the real and the possible, the latter somehow resembling and limiting the former. In reality, as Henri Bergson argues, possibility means only an “absence of hindrance,” which the human intellect retrospectively turns into “pre-existence under the form of the idea”: 2 “For the possible is only the real with the addition of an act of mind which throws its image back into the past, once it has been enacted.” 3 In Aristotelian terms: energeia is prior to dynamis, the actual is prior to the potential. In order to understand what a truly creative act is, we therefore need an alternative to classical aesthetics in which thought precedes
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Aleph network Sjoerd Van Oevelen
WHAT DOES IT MEAN TO HAVE AN IDEA?
expression, and thus also to its scientific representative, art history or the rationalised study of creative processes. Creativity knows no retrograde movement, only intelligence does. 4 Indeed, the more general an idea is, i.e., the more possibility it contains, the emptier it is. 5 Poetic acts simply cannot be submitted to the reversible historical rationality of conditions of possibility. No zeitgeist, psychosocial or economic milieu, or technical development enables us to predict a priori what an act of generation will bring. However, let us remember that Bergson distinguishes human intelligence, as the faculty of a posteriori remembrance, from the mind or spiritual life, which is the faculty of intuition. To see something is not necessarily to know it. While the eye takes its legitimacy from the general idea, the mind takes its legitimacy directly from the singular and unforeseeable becoming of the visible itself. Intuitive ideas are generated in the mind’s faculty of fantasia, a sub-rational but all the more speculative faculty of the mind, and therefore lack the generality of Platonic ideas. If things exist in time as much as in space, as intuition tells us, then we also see in time as much as in space. The intuition is the visionary ability to contract a multiplicity of abstract tendencies that enables the mind to recapitulate the constitutive elements of a concrete situation in “a simple thought equivalent to all the indefinite richness of form and color.” 6 As French cinematographer Robert Bresson says, to have a visionary idea is not to see what you are already thinking, but to think about what you see and to be the first to see what you see, the way you see it. The idea is no longer an ideal condition of possibility, but rather a material condition of reality, a condition of the new. To have an idea is to move into, or adhere to, the poiesis of reality itself. 1
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Michelangelo Buonoarroti as cited in Robert J. Clements, Michelangelo’s Theory of Art(New York: New York University Press, 1961), 35. Henri Bergson, The Creative Mind: An Introduction to Metaphysics, trans. Mabelle L. Andison (New York: Dover Publications, 2007), 83, 10.
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Bergson, The Creative Mind, 81. Bergson, The Creative Mind, 10-11, 73, 75, 84. Bergson, The Creative Mind, 81. Bergson, The Creative Mind, 196, original emphasis.
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Aleph network Agnieszka Anna Wołodzko
AFFECTIVE WAYS OF BIOART
Affective Ways of Bioart When Aesthetics melts with Ethics One of the main reason why today in view of many crises there is such a need and urgency to talk about affect is that is starts form the lack of hierarchical distinction between bodies: human and non-human. This does not mean, however, that there is no differentiation between bodies but only that the notion of agency can belong to any kind of body, sentient/insentient, organic/inorganic, human/nonhuman. Thinking in terms of affect allows us thus to go beyond the anthropocentric privilege of human as the only carrier of agency and meaning. This turn to affect analyses not only influences studies on bodies and non-human notion of agency but it also leads us to necessity for redefinition of the specificity of art. Grounded in Deleuze and Guattari’s studies, art becomes a total emancipation from representation and narration, finding its way as preservation and creation of sensations, of affects and percepts: “Affects are precisely these nonhuman becomings of man, just as perceptsincluding the town - are nonhuman landscapes of nature … We are not in the world, we become with the world.”1
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Relatively recent emergence of bioart as art that losses distinction between what can be traditionally defined as biological and artistic medium, is a particular example of already embedding affective relationality in art. By working on living, moist materials such as DNA, tissue, cells, bioartists apply tools of the life sciences in the arts expanding and redefining existing paradigms in both fields. What is more, bioartists in their practice not only stretch boundaries of medium specificity, but they also seem to redefine the contemporary notion of materiality of the body, life and what it is to be human today. Here the materiality of the body is not only deprived of its fixed function, systematization and characteristic. Being in the constant state of contingency, where growth is indetermined and contingent, prone to affect from and within the environment, the body is
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Aleph network Agnieszka Anna Wołodzko
AFFECTIVE WAYS OF BIOART
also deprived of Genus, species distinction. What counts are the intensities of matter, how it affects and is affected by, and how matter generates rather than express, meaning. To understand this art the traditional iconological approach would miss thus the vitality and ambiguity of its experience. Through affect therefore we can map bioart in terms of intensities that it generates and implication it evokes. Bioart becomes thus a way to explore new notions of philosophical idea of matter that is no longer opposite to form. The carnality of the body here becomes a carrier of agency that opens the body so that it melts with the other. However, through this affective relationality the new ethical questions present themselves. This acknowledgment of affect within art analysis is thus not enough. Bioart works already indicate how the process of affect transmission has an ethical, aesthetical and political implications for the hierarchical distinctions between bodies, its meanings, use and function in contemporary world. There is thus a need to explore what role the works of bioart play within meaning generation rather than representation, in other words, how bioart can affect and be affected by becomes an aesthetical and ethical inquiry. The understanding of the implications of affect for art studies would reach thus not only the art itself but also would mean addressing the question of human and non-human relationality, their shared notion of materiality and life.
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Gilles Deleuze and Félix Guattari, What is Philosophy?, trans. by Hugh Tomlinson and Graham Burchell, New York: Columbia University Press, 1994, p. 169.
Orlan, Harlequin Biopsy
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Aleph network Katharina D. Martin
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THE FACE WITHIN THE DIGITAL MILIEU
The Face within the Digital Milieu In A Thousand Plateaus, Gilles Deleuze and Félix Guattari have introduced the notion of the “abstract machine of faciality,” which produces the code of the face. They conceive of the system of the white wall and the black hole as an inescapable code. Deleuze and Guattari clearly state, the face is an interface for a dispositive – and hence a net of political strategies. 1 The visibility of the face is a daily fact and normality. To hide, camouflage, or mask it in public space is a social exception and regulated by law. In the process of face recognition, photos will be searched in cascades, to count and match black and white pixels, in order then to confirm an area which shows a human face. The artist Adam Harvey 2 invented a form of expressive interference through face makeup and hairstyling as a way to deceive the software. A photographic image showing a face painted with black and white makeup presents a face that is undetectable to computer vision algorithms. Since the first step of identification is the localization of a face, this “camouflage” disturbs the whole computing process from its very first step. This practice is called CV Dazzle, or Computer Vision Dazzle, and refers to camouflage technology at sea invented during World War One. The striped black-and-white patterns do not make a ship disappear, but they undermine the calculability of its location. As a result of this deceiving of the enemy’s gaze, the vessel is spared because of the enemy’s incorrect assumptions about the ship’s course and position. 3 Similarly, the dazzle painting on the face does not make the face disappear in its surroundings; instead, it renders it digitally undetectable in the sub-representable area. This technology is governed by certain technical requirements, involving the realm of algorithms operating within the digital setting. An algorithm consists of clear commands that will cause a problem or class of problems to be solved. The different programs switch back and forth between the reference values and databases, founding their own, in numerous domains’ stratified realm. In the process of face detection, we end up with a formula, which represents the successful verification of a person. The black and white makeup, on the other hand, leads the algorithm of the computer vision to its exit
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Aleph network Katharina D. Martin
THE FACE WITHIN THE DIGITAL MILIEU
point. As no face has been detected, the decision is made to end the search, thus bypassing the concluding formula for identification. The digital and mathematical imperceptibility can be understood as a transcoding. For Deleuze and Guattari it is the act in which one milieu overlays another, or individuates within it. Transcoding is always rife with meaning, as it involves establishing additional strata. Despite lacking a demand for direct political change, the undetected face is acting successfully within the digital milieu and as such it should be understood as social-political potential within a net of power relations.
Adam Harvey, CV-dazzle
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Gilles Deleuze and Félix Guattari, A Thousand Plateaus, Capitalism and Schizophrenia, [Milles plateaux, capitalisme et schizophrénie 1980]. Trans. by Brian Massumi, (Minneapolis and London, University of Minnesota Press, 1987) See http://ahprojects.com/projects/cv-dazzle/ accessed 1st April, 2014
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Birgit Schneider, “Gefleckte Gestalten: Die Camouflage von Schiffen im ersten Weltkrieg,” in: Struktur, Figur Kontur Abstraktion in Kunst und Lebenswissenschaften, ed. Claudia Blümle and Armin Schäfer, (Zürich, Diaphanes 2007) www.kdmartin.eu
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Aleph network Lena Shafir
FROM AMBITION TO ACTION FORM THEORY TO PRAXIS
From Ambition to Action form Theory to Praxis Creating a passage from a theoretical frame to an artistic/design process The focus of this workshop was to experiment and play with concepts of the Affect Theory e.g. type of space, sense of space, and space of event. Through observation of a shared domain finding out which actions a space provokes? Can you identify the spirit of space? How do people act/ use that specific space? What is the energy of that space? What can you add or remove from there? Can you trigger action? Work Process - Observing a space - Exploring the observations/data - Connecting the data and generating ideas - Translating ideas into design or intervention proposals My connection to Aleph I belief in ongoing innovation in design education and I actively contribute to these developments. Aleph offers an open innovation by infusing inter disciplinary dialog between research, science and art.
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chapter E
Aleph network Lena Shafir
FROM AMBITION TO ACTION FORM THEORY TO PRAXIS
FOS paints light into a gray street
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Scott Eady “Kick me”
Colophon
Aleph catalogue
Aleph Catalogue Cover image: Renkse Maria van Dam all content (if not specified otherwise) by ALEPH: Marc Boumeester, Renkse Maria van Dam, Andrej Radman and Ellemieke van Vliet Editors: Ellemieke van Vliet and Renske Maria van Dam Aleph Network: Elodie Hiryczuk & Sjoerd van Oevelen, Agnieszka Anna Wołodzko, Katharina D. Martin, Lena Shafir, Sjoerd van Tuinen Graphic design: Tereza Rullerová, www.therodina.com Typeface: Lyon Text, Akkurat Mono Pro Paper: Arctitc papers, Munken Lynx Print and bind: The Rodina, Colourdigital.nl Release: 23. 04. 2014 Autonomous Laboratory for Exploration of Progressive Heuristics hosted by Interactive — Media — Design The Royal Academy of Art The Hague, Netherlands All rights reserved
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