top of page

(ILR) Maure Coise: Belief in Diagramming

Updated: 4 days ago


Case Study

In this library in New Art City: https://newart.city/show/turquoise-library, portals to PDFs stored on Google Drive are in positions in a virtual space. The space and somatics of the library differ from an index. The location of an item impacts how the item is known and accessed in search. There are differences in embodied movement between searching a stack of books and scrolling through Google Drive. As an experiment, I tried placing poetry written by AI in the New Art City space. Starting with a Miro board diagram with tokens for each PDF, arrange them, not following an alphabetical sequence by author or any subject prediction, but moving them around and making a shape. You might call this a personal aesthetic choice, an association, or finding compatibilities. Following the line from one item to another, to say "this relates to that" might be considered a symbolic gesture not lacking in meaning or intention.


In information retrieval, generally, there is a signification of a text. It might be an icon or hyperlink, a way of noting a particular class of items by assigning a token to a text. The token retains significance in a significant grouping, such as a folder of texts that share a publisher. How are the semiotics of a collection different when the association means following a line of movement/thinking? Indices often start with diagrammatic schemas to specify narrower and broader terms. For example, algorithmic information theory is a subcategory of complexity science. Database design begins with an ER or entity-relation diagram, to say a text about algorithmic information theory is an item and a text about complexity is an item, and the former might be an excerpt from the latter, a relation defined as isFrom. 


Diagramming for berry-picking in a space differs because the line from one item to another is not necessarily a predication of a subject and object; the goal for this NewArt.City library was to believe I was walking in a library, not the image of walking in a library. 


If I want to verify that I remember something, for example, a poetic moment I read somewhere, I need more remembering. I gauge my confidence in my ability to describe by measuring how it will correspond to my willingness to act. Do I search for the book in this or that direction? It requires memory. It takes time to know why there is a desire to remember. Looking for a book, I should know why sometimes I have this feeling that I believe a book describes and sometimes I do not. The weight of connections between descriptive events and the universe is not dependent more or less on observations or measurements. I may not consciously remember what I felt, and I want to feel it again when I read what I read. When trying to remember, I start walking. I think, "Oh, I will look here," but then, if I don't see anything, "Oh, I thought I'd look there."


New Art City navigation is not so different from Google Drive. Both use the computer as the instrument and the computer, whose design comes from a history of scientific management with specific theopolitical commitments (efficiency maximization). In the conceptual framework Emily Dolan calls new organology, an expanded concept of the instrument or performance medium, a twist on technologies of the self (as well as fourfold causality and worker alienation), an instrument is described in four sections: 1. The material elements that make the instrument. 2. The relationship of the instrument and the instrumentalist, or the instrument's relationship to the activity or work of performance. 3. The relationship to times and places or social milieus, or the relationship to society through institutions or locations. 4. The purpose evoked in the activity (what it is for). Associational compatibility, what Aby Warburg called living and not a mechanism- in a spatial library- is the fourfold description of the social life of the instrument. New organology moves from an encyclopedia of musical or scientific instruments and their material elements to describing ranges of activities. A flute has certain morphological conditions that differentiate it from a drum, and it is also the mediation of relationships and their social potential and multiple intentions and senses. The instrument directs the breath to decisions about the shape and its situations with other shapes, exposing different angles on the performance event as specifying access to rhythms. Knowledge becomes shareable or retrievable through libraries of instruments or spatial and gestural constraints.


Throughout this residency, I want to work toward creating a living archive. What is the role of instrumentation in institutional remembering? Are you or I instruments of intelligence, love, and revolution? Websites run on coal for electricity. All computation has physical infrastructure. Written documents are only one way of archiving. There is also the archive of soil, songs, dances, stories, hunting, growing plants, healing practices, painting, pottery, weaving, carving, imaginal work… The goal of establishing living archives is to abolish the notion that the Earth is exploitable. A poetic description of a performance medium can avoid remembering as a representation or narrative if it is neither rationalizing nor empathizing. The first living music archive will catalog music scores by instrument to facilitate the use of the collection for continued performances of the material. These performances lead to the addition of scores to the collection. Selling scores from the collection funds the events. Next, I am planning an art and research library for Foreign Objekt.

41 views0 comments

Comentarios


bottom of page