Folksonomy | Dialectic is a structured repository of digital culture and creative practice. en-au Creative Commons License: (cc), Simon Perkins Fri, 14 Nov 2014 10:45:00 +1000 Fri, 14 Nov 2014 10:45:00 +1000 Constellations 2.0 60 Smooth and striated interactions between sound and digital technologies In the plateau 1440 The Smooth and Striated from their book A Thousand Plateaus Capitalism and Schizophrenia Deleuze and Guattari propose a distinction between smooth and striated space Presenting a dialectical construction of space in which the two spaces in fact exist only in mixture they argue smooth space is constantly being translated transversed into a striated space striated space is constantly being reversed returned to a smooth space 46 In particular the technological model of smooth and striated space Deleuze and Guattari put forward serves as a useful construction of the interaction between sound and digital technologies Using the example of fabric Deleuze and Guattari explain a conception of striated space in which there are two kinds of parallel elements in the simplest case there are vertical and horizontal elements and the two intertwine intersect perpendicularly 47 Performing different functions one of these remains fixed the other mobile as demonstrated by one piece of thread remaining in place while another interweaves or transverses it or by the x ndash axis of time in a digital sound buffer which remains linear straight as its corresponding y ndash axis of amplitude simultaneously traces and diverges from it It is crucial that a striated space of this kind is necessarily delimited closed on at least one side as fabric can be infinite in length but not in width and though time does not constrain sound the limited headroom of digital audio means amplitude must 48 Technological striated spaces are constructed with top and bottom as belied by the seams of fabric or bit depth of digital sound 49 Digital sound involves a constant process of translation in which sound moves between the smooth phenomenal space of actualized sonority and the striated space of potential that is the digital domain while still presenting a smooth space of its own and so is itself nothing more than a functional abstraction Ben Byrne 2009 Byrne B 2009 Digital Sound On Technology Infidelity and Potentiality Totally Huge New Music Festival Conference Edith Cowan University Perth Fri, 14 Nov 2014 10:45:00 +1000 Radical Museology Working the Collection Drawing from Claire Bishop s recently published Radical Museology Or What s Contemporary in Museums of Contemporary Art and taking place against the backdrop of our reading of the Arts Council England Collection this roundtable focuses on the economic historiographical geopolitical and wider societal stakes of public acquisition and collection display Focusing on museums that offer non ndash conservative and critically ndash reflective models Participants include Jes uacute s Carrillo Museo Nacional Centro de Arte Reina Sofia Madrid Francesco Manacorda Artistic Director Tate Liverpool and Marta Dziewanska Museum of Modern Art Warsaw Chaired by Claire Bishop Chaired by Claire Bishop 22 May 2014 Nottingham Contemporary Tue, 07 Oct 2014 16:23:52 +1000 Adorno s ambitions for the constellation 17 But I am eliciting these implications of Adorno s reservations about Gestalt because what they imply is what Adorno leaves unsaid here namely the contrast with his ambitions for the constellation I should caution here that Adorno sometimes uses the word constellation to designate historically given that is already familiarized ideological arrays or Gestalts for example Critical Models 138 260 my usage henceforth will connote constellation in the sense Adorno valorizes as a device with the potential to be turned in somewhat the manner of the Brechtian V ndash effect against such familiarizations though just this dissident potential of course is what mid ndash century avant ndash gardists were seizing on in Gestalt And as we ll see the word s antithetical reversals of meaning are themselves indices of the dialectical ndash ness of Adorno s immanent critique We might say that these antithetical meanings ndash ndash constellation as unconscious ideological synthesis versus constellation as consciousness ndash raising estrangement constellation as object of critique or as subject of it ndash ndash are themselves a kind of constellation implying or encoding concealing or de ndash familiarizing a narrative that of the classic Enlightenment project summarized by Freud in the formula making the unconscious conscious Adorno may repeat an over ndash familiar constellation and then reliquify or Medusa ndash like petrify its congelations or he may present an unfamiliar and even shocking juxtaposition whose estrangement is to provoke a new and heightened consciousness of the ideological condition in which we are entrapped The historical image that results ideological and critical all at once appropriates the critical force we saw Adorno ascribing to the Benjaminian dialectical image turning it immanently to estranging or defamiliarizing sc critical or Hegel negative purposes Steven Helmling 2003 Steven Helmling 2003 Constellation and Critique Adorno s Constellation Benjamin s Dialectical Image Postmodern Culture Volume 14 Number 1 September 2003 10 1353 pmc 2003 0030 Fri, 27 Jan 2012 23:06:55 +1000 New Directions in Interdisciplinarity Broad Deep and Critical Before interdisciplinarity in either the disciplinary producing or disciplinary ndash circumscribing senses could manifest itself disciplinarity itself had to take on its peculiarly modern form Any assessment of interdisciplinarity ndash multi ndash and trans ndash noncritical and critical ndash will benefit from an appreciation of this background Prior to the modern period learning exhibited a kind of unity that might be called predisciplinary Aristotle it is true introduced distinctions between logic physics and ethics but these were never of a kind to raise the possibility of cross ndash disciplinary formations such as physical ethics During the Middle Ages the division of the artes liberales into grammar rhetoric dialectic the trivium arithmetic geometry astronomy and music the quadrivium ensured that the education of free men included all the knowledge and skills needed to exercise their social roles Insofar as it existed disciplinary specialization was present more in the servile arts of artisans and tradesmen Not even teachers of the liberal arts became specialists in their different branches because the idea of for example possessing arithmetic without grammar would have been considered a deformation of the mind In the monastery schools the unfettered pursuit of knowledge was viewed skeptically criticized as curiositas and therefore subject to disciplinization in a premodern behavioral sense Only at the end of the Middle Ages as the infinite pursuit of disciplinary knowledge took on the character of a spiritual activity would Renaissance men become necessary to cross boundaries and synthesize diverse areas of learning Robert Frodeman and Carl Mitcham 2007 p 508 1 2 Frodeman R and C Mitcham 2007 New Directions in Interdisciplinarity Broad Deep and Critical Bulletin of Science Technology amp Society 27 6 Sat, 01 Jan 2011 17:43:45 +1000 Theodor Adorno 39 s constellation model juxtaposed rather than integrated cluster of changing elements Theodor Adorno borrowed the 39 constellation 39 term from Walter Benjamin It signifies a juxtaposed rather than integrated cluster of changing elements that resist reduction to a common denominator essential core or generative first principle Jay pp 14 ndash 15 This concept can be seen in Adorno 39 s writing style Adorno seeks to enact a negative dialectic in which concepts are not reduced to categorical understandings By preserving the contradictory and irreconcilable differences of arguments and observations in his work Adorno maintains the tension between the universal and the particular between essentialism and nominalism Jennefer Callaghan Emory University Atlanta Martin Jay 1984 Adorno Cambridge Mass Harvard University Press Wed, 31 Aug 2005 18:10:15 +1000 Generative Art Rule-based Artwork Geoff Cox University of Plymouth 39 Generative art 39 is a contested term but for my purposes refers to artwork that is broadly rule ndash based a further understanding of which has been informed by the co ndash curation of the touring exhibition a href http www generative net generator title GENERATOR show organised by Spacex and STAR target blank Generator a with Spacex Gallery UK 1 The exhibition title 39 generator 39 describes the person operating system or thing that generates the artwork shifting attention to the interaction not separation of these productive processes Significantly once the rules have been set the process of production is unsupervised and appears self ndash organising though only if knowledge of other aspects is suspended As a result although generative art might appear autonomous and out of control my argument is that control is exerted through a complex and collaborative interrelation of producer s hardware and software The relations of production within generative artwork are thus seen to be decidedly complex its operations not open ndash ended or closed as complexity theory and dialectics would verify Like the programmer the code that lies behind a generative artwork remains relatively hidden and consequently difficult to interpret Thu, 21 Apr 2005 00:54:44 +1000