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Thesis Bibliography
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—————. 2016. “Andy Clark on Prediction, Action, and the Embodied Mind”. Podcast (BSP 126), Brain Science. Accessed online 4 March 2018: http://brainsciencepodcast.com/bsp/2016/126-andyclark
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—————. 2017. “Extended Cognition and the Possibility of Extended Personal Assault”. Philosophical Disquisitions Blog. Accessed online 4 March 2018: http://philosophicaldisquisitions.blogspot.co.uk/2017/05/extended-cognition-and-possibility-of.html
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—————. 1994. Difference and Repetition. New York: Columbia University Press
—————. 1995. Negotiations:1972-1990. Trans. M. Joughin. New York: Columbia University Press
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—————. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. London: Continuum
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—————. 2016c. “Music’s Role In A Transhumanist Future”. Synchblog (Hyperbot). Accessed online 5 March 2018: http://www.hypebot.com/hypebot/2016/11/musics-role-in-transhumanist-future.html
—————. 2016d. “PROJECTING TRENDS: Moving Beyond the Static Music Experience”. Synchblog. Accessed online 5 March 2018: https://www.synchblog.com/projecting-trends-moving-beyond-the-static-music-experience/
—————. 2017a. “Streaming wars for superfans”. Getrevue. Accessed online 4 March 2018: https://www.getrevue.co/profile/basgras/issues/streaming-wars-for-superfans-how-generative-music-works-blockchain-startups-to-watch-82903
—————. 2017b. “Four of the Biggest Opportunities for the Future of Music Consumption”. Music Tech Future. Accessed online 4 March 2018: http://www.musicxtechxfuture.com/2017/08/13/four-of-the-biggest-opportunities-for-the-future-of-music-consumption/
—————. 2017c. “Online Music is About to Experience Another MySpace Moment”. Music Tech Future. Accessed online 4 March 2018: http://www.musicxtechxfuture.com/2017/04/17/online-music-is-about-to-experience-another-myspace-moment/
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Vignettes’ Participants Bibliographic References
Matthew Whiteside
W1: Whiteside’s questionnaire response.
W2: 2015. “Interview with Matthew Whiteside”. M Magazine. Accessed online 8 March 2018: https://www.m-magazine.co.uk/features/interviews/interview-matthew-whiteside/
W3: 2015. “Two Worlds Collide”. R-Space Gallery. Accessed online 8 March 2018:
W4: 2015. “When Two Worlds Collide Walk Around”. YouTube video. Accessed online 8 March 2018: https://www.youtube.com/watch?v=8LZJ8Dh6TFo
W5: 2018. Matthew Whiteside, Spotify collection. Accessed online 8 March 2018: https://open.spotify.com/artist/5O6zANkIw2xYdZV9oWnpeC
W6: 2016. “Matthew Whiteside; Biography”. British Music Collection: Accessed online 8 March 2018: https://britishmusiccollection.org.uk/composer/matthew-whiteside
W7: Bruce, K., 2016. “Music review: Cappella Nova sing Echoes and Traces in Stirling Castle Chapel” The Herald. Accessed online 8 March 2018: http://www.heraldscotland.com/arts_ents/14719762.Music_review__Cappella_Nova_sing_Echoes_and_Traces_in_Stirling_Castle_Chapel/
W8: 2014. “Culture Night 2014: Matthew Whiteside / Joanna Nicholson: An extract from the premiere of Matthew Whiteside’s ‘Three Pieces for Bass Clarinet and Electronics’, performed by Joanna Nicholson”. Vimeo video. Accessed online 8 March 2018: https://vimeo.com/111059821
W9: Rockson, G., 2015. “Classical CDs Weekly: Adams, Bliss, Matthew Whiteside: Great contemporary Americana, English piano music and electro-acoustic sounds from Glasgow”. The Arts Desk. Accessed online 8 March 2018: http://www.theartsdesk.com/classical-music/classical-cds-weekly-adams-bliss-matthew-whiteside
W10: Dooley, S., 2016. “Alt Notes #9 | Matthew Whiteside”. Headstuff: Music. Accessed online 8 March 2018: https://www.headstuff.org/music/music-features/alt-notes-matthew-whiteside/
W11: Whiteside, M., 2016. “Why New Music? by Matthew Whiteside (composer)”. Sound Scotland. Accessed online 8 March 2018: http://sound-scotland.co.uk/explore/why-new-music-by-matthew-whiteside-composer
Mihailo Trandafilovski
T1: Tandafilovski’s questionnaire response
T2: 2018. Mihailo Trandafilovski: Personal website. Accessed online 8 March 2018: http://www.trandafilovski.com
T3: Kreuzer Quartet (Peter Sheppard Skaerved, Mihailo Trandafilovski, Neil Heyde, Eve Heyde ,with Roderick Chadwick) (Composer: Mihailo Trandafilovski) Five. CD recording. London: Innova (#914). Accessed online 8 March 2018: https://www.innova.mu/albums/mihailo-trandafilovski/five
T4: Mihailo Trandafilovski, Spotify Collection. Accessed onlone 8 March 2018: https://open.spotify.com/artist/1ZsEDzjMLtYO352B3ZSFpV
T5: Heaton, R., 2013. “Magnets, lava, crystals: clarinet quintet by Mihailo Trandafilovski.”. Library audio catalogue. Bath Spa University Library. Accessed online 8 March 2018: http://researchspace.bathspa.ac.uk/1616/
T6: The British Museum, 2016. “Performance Music from Alexander the Great’s empire”. Concert advertisement. Accessed online 8 March 2018: http://www.britishmuseum.org/pdf/events/2930_1036_Music_from_Alexander_the_Great’s_empire_programme_140616.pdf
T7: 2012. Mihailo Trandafilovski: Chamber Music. (Perf. Odaline de la Martinez, Kreutzer Quartet) Presto Classical. Lorelt. LNT132. Accessed online 8 March 2018: https://www.prestoclassical.co.uk/classical/products/8005157–trandafilovski-chamber-music
T8: Trandafilovski, M., 2006. Introducing Elements of Contemporary Music in the Process of Violin Teaching. DMus thesis. Centre for Performance Scieence, Royal College of Music, London. Summary accessed online 8 March 2018: http://www.rcm.ac.uk/cps/archive/people/trandafilovski/
Julian Broadhurst
B1: Broadhurst’s questionnaire response 1
B2: Broadhurst’s questionnaire response 2
B3: Broadhurst’s questionnaire response 3
B4: Broadhurst’s questionnaire response 4
B5: Julian Broadhurst: Drowning Circle. Website. Accessed online 8 March 2018: http://www.drowningcircle.com
B6: 2018. Julian Broadhurst: Bandcamp Collection. Bandcamp. Accessed online 8 March 2018: https://julianbroadhurst.bandcamp.com
B7: “The Measure of Autumn”. Music recording by Tetlow & Broadhurst. Bandcamp. Accessed online 8 March 2018: https://tetlowandbroadhurst.bandcamp.com/album/the-measure-of-autumn
B8: 2018. “British Library Upload Data: julian Broadhurst – Uploading Guide to order, with suggested cross references and Links, the volumes of my DCM Edition.” Personal corespondence.
B9: 2018. “English Contemporary Composer and Percussionist – Director of Drowningcircle music – DCM” Biography. Encore Music. Accessed online 8 March 2018: https://encoremusicians.com/Julian-Broadhurst
B10: 2018. David Dhonau. Website. Accessed onloine 8 March 2018: http://daviddhonau.co.uk/index.php
B11: 2015. “Julain Broadhurst: Journey’s End”. Plainly Painting: David Manley. Blog. Accessed online 8 March 2018: https://davidmanley.wordpress.com/tag/julian-broadhurst/
Alex McLean
M1: McLean’s questionnaire response
M2: TOPLAP website. Accessed online 8 March 2018: https://toplap.org/about/
M3: Algorave website. Accessed online 8 March 2018: https://algorave.com
M4: McLean, A., 2017. “Algorave: algorithmic dance culture”. TEDX, Hull.
YouTube video. Accessed online 8 March 2018: https://www.youtube.com/watch?v=nAGjTYa95HM
M5: 2018. Yaxu, Website. Accessed online 8 March 2018: https://yaxu.org
M6: 2018. Alex McLean: Making Music with Text[ure]. Website. Accessed online 8 March 2018: https://slab.org
M7: 2018. Algomech Festival. Website. Accessed online 8 March 2018: http://algomech.com/2017/
M8: 2016. McLean, A. and H. Redler. “Data as Culture exhibition: Thinking Out Loud”. Open Data Institute. Accessed online 8 March 2018: https://theodi.org/event/data-as-culture-exhibition-thinking-out-loud/
M9: Magnusson, T., 2017. “Special Issue: Live Coding”. Sonic Writing. Accessed online 8 March 2018: http://www.sonicwriting.org/blog/livecoding
M10: McLean, A., 2004. “Hacking Perl in Nightclubs”. Perl. Accessed online 8 March 2018: https://www.perl.com/pub/2004/08/31/livecode.html/
M11: Sicchio, K. and A. McLean, 2017. “Sound Choreographer <> Body Code”. Contemporary Theatre Review. Accessed online 8 March 2018: https://www.contemporarytheatrereview.org/2017/sound-choreographer-body-code/
M12: Grosse, D., 2018. “Podcast 210: Alex McLean”. Art + Music + Technology. Podcast. Accessed online 8 March 2018: http://artmusictech.libsyn.com/podcast-210-alex-mclean
M13: McLean, A., 2018. “Weaving TidalCycles patterns at a TC-1 loom”. Penelope. Accessed online 5 March 2018: https://penelope.hypotheses.org/630
M14: McLean, A., 2018. “Hacking Sound in Context:. Generative. Accessed online 8 Marc 2018: http://generative.net/papers/hacking/index.html
M15: McLean, A., 2017. “Live Coding”. Medium. Accessed online 8 March 2018: https://medium.com/potac/live-coding-1eb06f0ddf26
M16: Searle, L., 2017. “Review: AlgoMech Festival 2017”. The State of the Arts. Accessed online 8 March 2018: http://www.thestateofthearts.co.uk/features/algomech-festival-2017/
M17: Magnussin, T., 2016. “Arts Research Symposium at AlgoMech”. Sonic Writing. Accessed online 8 March 2018: http://www.sonicwriting.org/blog/algomech
M18: 2016. “Algorave Festival”. The Wire. Accessed online 8 March 2018: https://www.thewire.co.uk/news/44278/algorave-festival-this-november
M18: Visnjic, F., 2016. “‘Spicule’ by Yaxu – Album as a live coding device on Pi Zero”. Creative Applications Network. Accessed online 8 March 2018: http://www.creativeapplications.net/sound/spicule-by-yaxu-album-as-a-live-coding-device-on-pi-zero/
M19: 2018. Alex McLean. Wikipedia. Accessed online 8 March 2018: https://en.wikipedia.org/wiki/Alex_McLean
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Rhizo-slicing
[…]
It is time for metaphor, for the/some rhizoanalysis. The responses of the research participants stand above. Or they would so stand if this dissertation-assemblage was a photograph of a moment in time. But time moves on; the texts have a life of their own within the rhizome. They are always already modified and changed by my (your) rhizomatic readings, by the diagramming. Each is always already changed by being juxtaposed with the others. How do the maps of the other abstract machines of this dissertation-assemblage relate to the vignettes abstract machine? If a line of flight from the cyborg abstract machine punctures and cuts the vignette, both are connected/entangled. Tenuous and indeterminate boundaries are crossed. But which piercings, which slicings? In the rhizome there are infinitely many. It would be easy to become despondent, like Borges’s librarians. My rhizo-slicings are undertaken so that the rhizome may speak to me (you). Other cuts are for other readers. Our cuts may occasionally cross, or they may not. But we are always in the middle, in the thick of it. Some abstract machines actively summon lines of flight from others. It is as if they are gravity wells or positive and negative electrodes, bound to attract.
So aspects of the other abstract machines of this dissertation-assemblage appear here and aspects of the vignettes appear elsewhere. The whole abstract machine has what Kosko (1994) calls “fuzzy boundaries”. They are the boundaries of here, there, this, that, and now. Is what I say here about the four musicking/musickers’ vignettes true of all musicking/musickers? That cannot be answered, because truth is meaningless in these contexts.
[…]
Posted in Research methods, Rhizomatic writing
Tagged rhizoanalysis, Rhizome, Thesis
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Sous rature
Sous rature◀︎~The~r▼▼hizome~is~an~antigenealogy ▼▼~Dele△uze~and~▲Guattari~2004:▶︎▲▼ 23). ~This~thesis~is~rhizomatic.~It~can~be▶︎~read~genealogi◀︎cally,~but~that~would~be~to~miss~the~poin|t.~When~we~wr▼▶︎ite~of◀︎~hypotheses,~methodologies,~conc▽lusions~and~bibliograph✂︎✂︎✂︎✂︎✂︎✒︎i▼es,~such~wri▽ting~sometimes~resembles~nothi◁ng~more~than~a~description~of~a~high-◀︎△▶︎▶︎▶︎▶︎▶︎▶︎▻school~sci⍵⎖en|es.~This~thesis~is~about~things~which~are~about~cyborg~music.~The~thesis~and~its~putative~subject~exist~in~E␎ntangled~Network~Space.~It~starts~ with~this~con⚗clusion.~It~is~about~music⏀␞⏥.~And~humans.~And~technology.~◀︎And~ philosophy.~And~time.~And,~and,~and.“|~The constant~conjunct☪ions~of~and,~ofce~experiment.~T➢➤o~engage~with~this~resemblance~would~be~a~static~reading,~isochronous,~frozen~in~time.~A~bette㉿r~reading~is~dynamic,~heterochronic~and~ diachronic. ~At~risk~of~instant~contradicti▼on,~this~thesis~is~about~entanglements~and~disentanglem⚘ents,~comings~||and~goings.~That~is~thehe~writing~has~a~chronological~flo⏎↖︎w,~but~it~is~full✷~of~ heterochronic~wormholes,~whichgs~are~coloured~by~beginnings☩~and~beginni☄ngs~by~endings.~Ther▽e~are~no~m▶︎onads▷,~only~(ever-changing)~assemblag and,~o▷f~and.~An~assemblage~is~composed~of~ands,~and~the~ands~come~and~they~go.~And~further~ands~change~the~ands.~Entangled~Network~Space~is~full~of~voids;~andless~spaces~waiting~to~be~filled~by~ands~and~voids~which~the~ands~have~ vacated.~It~is~a~space~of~possibilitie◻︎s.~It~owes~its~existence~to~the~real~and~the~ real~owes~its~existe☑︎◁◁◁◁nce~to~it.~It~is~the~immanent,~one~truly~flat~ontological~space,~where~being~and~non-being~are~equivalent.~Tversed~at~the~speed~of~memory~or~of~Google-thought.~They~are~mental~footnotes.~It ~may~✽be~tra~nature~of~the~space,~real~and~metaphorical,~in~which~we~live.~Endin↓⇣⇣⌒radiates~and~is~irradiated.~All~writing~is~li⚩♒︎ke~t⦿his.~It~is~the~New~⇧Writing~in~the~ Hyperconn→ected~Age.~▶︎
Deleuzian Plateaus
When trying to visually represent Deleuze and Guattari’s plateaus it is necessary to choose a metaphor wisely. They say, “We call a ‘plateau’ any multiplicity connected to other multiplicities by superficial underground stems in such a way as to form or extend a rhizome (Deleuze and Guattari 1987:24).” This is itself metaphorically descriptive language. So, in the fashion of Lakoff and Johnson (why do these folk maraud in pairs?), in the quest for a visual metaphor, we pile them high.
The artist Marc Ngui (in Sellers 2009) contrasts plateaus (green ovals) with structured linear thinking (brown rectangles).
In her 2009 thesis, Marg Sellers depicts its component plateaus with blue, slightly amorphous shapes, connected by lines. This reminds me of looking down on a map of an archipelago with ferry routes between the islands.
Here are some real islands, connected by boats, causeways, bird flight, telephone cables, radio, and the ever-present sea.
This image shows bundles of connected lines. Paul Fry describes the structure of A Thousand Plateaus as “fascicular (2013: 38:30).”
And here are some mushrooms. Elsewhere (Hewitt 2013: 40-53) I have used a mycelial mycological metaphor to describe a Deleuzian rhizomatic space. The mushroom does have the advantage of literally being a rhizome. Perhaps the fruiting heads can stand for plateaus.
What terminology might replace “plateaus”? In the mycological case, the fruiting bodies are called “sporocarps”. The bundles could be “fascicules”. Islands are “insulae”. But island plateaus are, like Donne’s man, paradoxically not islands, in virtue of their interconnections. So, perhaps “insulae”. But then again, perhaps the Anglo-Saxon words suffice; or maybe just stick to “plateaus”.
References:
Deleuze, G. and F. Guattari, (1987). A thousand plateaus: Capitalism and schizophrenia. Minneapolis: University of Minnesota Press.
Fry, P., (2013). ENGL 300: Introduction to the Theory of Literature. Lecture 15. Open Yale Courses. Video http://oyc.yale.edu/english/engl-300/lecture-15 (accessed online 17 June 2013)
Hewitt, T., (2013). The Mycelium as a Metaphorical Meaning-Space for Music. Unpublished MA dissertation. The Open University. [ https://www.academia.edu/5194259/The_Mycelium_as_a_Metaphor_for_the_Metaphysical_Meaning-Space_of_Music ]
Lakoff, G. and M. Johnson, (2003). Metaphors we live by. Chicago IL; London: University of Chicago Press.
Sellers, M.A. (2009). Re(con)ceiving children in curriculum: Mapping (a) milieu(s) of becoming. Unpublished PhD thesis. University of Queensland. [A version here: https://issuu.com/gfbertini/docs/re_con_ceiving_children_in_curriculum_-_mapping__a ]
Posted in Research methods, Rhizomatic writing
Tagged A Thousand Plateaus, Deleuze, Fry, Guattari, Johnson, Lakoff, Ngui, Plateau, Rhizome, Sellers
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A rhizomatic text
I am at a junction in the preparation of my written thesis. One road leads to a “standard” scientistic piece of work and the other to a rhizomatic text. All of the writing advice counsels taking the first road, while my instinct (and to do justice to my material) says Route 2.
What now seems problematic is the situation in which young philosophers, but also all young writers who are involved in creating something, find themselves. They face the threat of being stifled from the outset. It’s become very difficult to do any work, because a whole system of “acculturation” and anticreativity specific to the developed nations is taking shape. It’s far worse than censorship. (Deleuze, 1995: 27) Quoted in Honan and Bright 2016: 731
What is this system of acculturation and anticreativity? It is, perhaps, the suspicion which Honan and Bright share with St. Pierre, Law, and Koro-Ljungberg and Mazzei,
that a “conventional, reductionist, hegemonic, and sometimes oppressive” (St. Pierre 2011: 613) orthodoxy of qualitative educational research has infiltrated the writing of the thesis text. We fear that “we are being told how we must see and what we must do when we investigate” (Law, 2004: 4), and worry that in writing we increasingly find ourselves stifled from the outset, operating within a problematic of acculturation and anticreativity wherein we are urged to make original and creative contributions through practices of writing that “are necessary while at the same time necessarily limiting” (Koro-Ljungberg and Mazzei, 2012: 728). Quoted in Honan and Bright 2016: 731
Deleuze and Guattari warn us of the danger of “vehicular language” every use of which brings its own “little death sentence” (Deleuze and Guattari 1987: 76). Honan and Bright say this,
our argument is that the vehicular language – the language of bureaucratic transmission – is the hegemonic language of the doctoral thesis within qualitative educational research studies, even when the thesis employs post-structural theory or post-qualitative research approaches that destabilize and deterritorialize understandings of the relations between researcher and researched, methods and methodology and writer and researcher. The universalizing imperative of scientistic method insists on the use of the vehicular language – the worldwide language of “everywhere” – for the transmission and commercial exchange of a scientistic apoliticism. Honan and Bright 2016: 736
Bright, writing at two different stages of his doctoral research journey, said firstly, this:
This study will adopt a qualitative multiple case study approach to investigate and map the discourses which produce NEST subjectivities. Four individual teachers will be chosen as cases and will be observed and interviewed in the school. Additional interviews will be conducted with students, the school principal and non-native English-speaking teachers, and documentary artefacts will be collected to provide contextual information about the site in which these NEST identities are enacted. Honan and Bright 2016: 737
This text, Honan and Bright tell us, was “written for confirmation of the candidature, has a formal tone, high modality, and “gives them what they ask for”, transmitting order words in a direct and precise signifying account of research methodology (Honan and Bright 2016: 737).” Some time later, Bright wrote this:
I have worried a lot (can you tell?) about what I could legitimately name this methodology. Naming seems such a final act. An attempt (however futile) to halt the endless play of signifiers. An act of violence, determination, fixity, and closure. An act that privileges presence and being, instead of absence and becoming. Naming seems to suggest that I do know, then, what should be done, how one might be, and what one should do. It seems to suppress or forget the doubt and uncertainty which above all else has characterised my thinking about methodology, and that undermines my attempts at knowing. It seems almost unethical to me. Honan and Bright 2016: 737
The following paragraph was from my own PhD research proposal in 2014:
The unique aspect of this research is in using ethnographic data to form and justify a future philosophical position. A literature review will detect ‘existential threats’ to extant musical ontologies and epistemologies and focus the data-gathering phase. What musicians and consumers of music actually do (and plan to do) determines ontologies. This empirical work will include: surveys, analysis of forums, website traffic data, and interviews. I will use two musical genres as exemplars of the general process; string quartets and, in contrast, contemporary music composed with the aid of computer programs. Regarding the quartet genre, data will be gathered from the members of two ensembles, associated personnel and their consumers. For computer-aided music, composers and programmers will be interviewed in addition to performers. Technologists working with broadcast, podcast, recorded and streamed music will be an important data source. Interviews must be of sufficient number to give statistically justifiable results. Hewitt 2014. CHASE DTP funding application
It easy to see how similar in style and modality my paragraph is to Bright’s first quoted paragraph above. Bright’s second paragraph, Honan and Bright tell us, “makes use of the rhetorical devices of questioning, ellipses and repetition to construct more tentative, fluid “prose”, perhaps making moves into the referential and mythical languages, sensing that language itself cannot contain the world (ibid.,: 737)” The question is, would I now set out my proposed methodology in quite the terms of the paragraph I quoted above? Having done the research, is another slant required? If “the ontological framework is one of rhizome,” then “the relations are laid out so that these languages (or discourses) form a network, an assemblage of discursive practices, the edge of one language always in encounter with the edge of another in a double becoming that changes both (Sutton & Martin-Jones, 2008) (quoted in Honan and Bright 2016: 737).” How, then, to write rhizomatically? Regarding her own doctoral thesis (2001), Honan says this:
First, the actual construction and ordering of the text followed the traditional mandates in that there was roughly an introduction, a discussion of methodology, a literature review, data analysis and conclusion. But, at the same time, each of the chapters of the thesis focused on a different tuber, a different middle, while still providing connections to other tubers, other parts of the rhizome. It is possible to read the text moving across particular plateaus (the data-analysis chapters) along lines of flight to other plateaus (the introduction and conclusion). There are connections, not only of linguistic devices but also between conceptual themes, that allow different pathways to be followed through the text.
Second, and of much more importance to me as a writer, was the validity afforded by rhizomatic thinking for the genre-blurring and transgressive type of text that I constructed. Honan 2007: 533
She says, “Writing rhizomatically afforded me not only the possibility of blurring the linguistic boundaries of what is formally known as a thesis text but also allowed me to write my[selves] in to the text (ibid.: 535).” Importantly, regarding understanding texts as rhizomes, Honan says this:
I began my doctoral journey on a familiar and comfortable path. I understood that texts were constructed through the use of various discursive systems, and I was comfortably assured in my ability to undertake a discursive analysis of the Queensland English Syllabus. I understood that such an analytic approach would involve the ‘teasing apart’ of various discursive threads within the texts, and began to think of the texts as a tapestry that I would carefully unpick. But when one does unpick a tapestry, the result is usually a jumbled tangle of short and disconnected threads. It seemed to me that the discursive threads in the syllabus texts were connected, and that such connections helped readers make plausible readings of these texts.
The ways in which discourses connected to each other and others, through the rhizome of the text and following lines of flight into other rhizomes, made sense to me when I began to think of these discursive systems as plateaus, in that they are particular assemblages of meaning that inform others and each other, that do not stand alone (do not stand in the immovable sense at all), and only make sense when read within and against each other. Honan 2007: 536
In her rhizomatically constructed 2009 thesis, Sellers says this:
beginning~a note for the reader
Nothing ever ‘begins,’ it only has tentative links to what has gone before and what is yet to come – threads (e)merging from/with/in heterogeneous space-times of past~present~future in mo(ve)ments of middles. Uncertainly, the middle of this thesis is a processing through questions-without- answers, any pending ‘answer’ embodying another question, signalling partiality, decentring expert authority, speeding up the intensity. And, an ‘ending’ is but a momentary pause of speed, ebbing only until the flow again picks up speed, back/through/in/to the middle…(sigh)…so (deep breath) how, where do I start with my desire to generate mo(ve)ments towards conceiving of early childhood curriculum that welcomes young children as young people with views, opinions and understandings that are regarded as significant as those of adults to generating curricular performances authentic to the worlds children live~learn with/in and to social, ethical, political operations of wider worlds? This big question becomes a big picture in a never beginning~ending middle of ideas, difficult to negotiate, or so it seems. Sellers 2009: 6
Sellers’s thesis eschews a conventional chaptered construction. During her research and data-gathering, as well as in writing the thesis-assemblage, she utilises a “variety of imaginaries […] to perturb linearity towards generating an assemblage, a collection of conversations about connecting ideas presented as plateaus that have neither beginning nor end, origin or destination (ibid.: 7).” She says,
Like rhizome, an assemblage is heterogenous, is always in the middle, unconcerned with points, made only of lines of movement and speed (Deleuze & Guattari, 1987). From these opening moments, thesis is thus sous rature, the assemblage being comprised not of sequential chapters, but of plateaus to be read in any order. Ibid.: 7
Neither was the writing of the thesis-assemblage straightforward.
My choice of presenting the plateaus follows my line(s) of flight through the research processes and the project itself. While there was an opening line of flight, processing with/through the writing was not linearly straightforward, rather, it involved much to-ing and fro-ing in many directions, often all-at- once, as I (re)turned to (re)work various pieces, expressions and characterisations. Ibid.: 7
She presents the reader with a series of maps, as possible guides to reading the thesis-assemblage.
The figure suggests four routes through the material, but others are possible.
This figure situates the plateaus in the rhizome (but it is arbitrary).
Mapping milieu(s) Sellers 2009: vii
My own research involves the construction of assemblage maps too. This is one possible assemblage of a rhizo-analysis of some of my ethnographic data.
Whilst examples of rhizomatic theses are thin on the ground, those that are extant provide good examples of an approach to writing-up research material which has been conceived, gathered and analysed from a Deleuzian perspective. It is an approach which I am definitely considering.
Works:
Deleuze, G. (1995). Negotiations: 1972–1990 (M. Joughin, Trans.). New York, NY: Columbia University Press.
Deleuze, G. and F. Guattari, (1987). A thousand plateaus: Capitalism and schizophrenia. Minneapolis: University of Minnesota Press.
Honan, E. (2007). Writing a rhizome: an (im)plausible methodology. International Journal of Qualitative Studies in Education, 20, 531–546.
Honan, E. and D. Bright (2016). “Writing a thesis differently.” In International Journal of Studies in Education. 25 (5), 731-743
Koro-Ljungberg, M. and L. Mazzei, (2012). “Problematizing methodological simplicity in qualitative research: Editors’ introduction”. In Qualitative Inquiry, 18, 728-731
Law, J. (2004). After method: Mess in social science research. London: Routledge.
Sellers, M.A. (2009). Re(con)ceiving children in curriculum: Mapping (a) milieu(s) of becoming. Unpublished PhD thesis. University of Queensland. [A version here: https://issuu.com/gfbertini/docs/re_con_ceiving_children_in_curriculum_-_mapping__a ]
St. Pierre, E. a. (2011). “Post qualitative research: The critique and the coming after.” In N. K. Denzin & Y. S. Lincoln (Eds.), The Sage handbook of qualitative research (4th ed., pp. 611–625). Thousand Oaks, CA: Sage.
Sutton, D. and D. Martin-Jones, (2008). Deleuze reframed: A guide for the arts student. London: I. B. Tauris
Posted in Research methods, Rhizomatic writing
Tagged Bright, Deleuze, Guattari, Honan, Rhizome, Sellers, Thesis
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Research Review February 2017 – In Media Res
It is three years since I submitted my research proposal to the CHASE Doctoral Training Partnership. The proposal was (and is) titled: Cyborg Music: A Future Musicotechnographic Aesthetic. The research question it introduced was: Will current and future developments in music’s interface with an exponential expansion of technology lead to a new musical aesthetic? There are a number of assumptions underlying the title and the research question which perhaps need a little in the way of explication and justification. I hoped to show that all music is produced by cyborgs, that amalgam of human beings with technological tools which Andy Clark calls “human-technology symbionts (2003: 3).” If all humans are cyborgs and music is only made by humans then all music is made by cyborgs. The fact that music is produced by cyborgs makes the case for an interface between music and technology. The question becomes one of determining to what extent the technological side of this symbiosis is critical to any aesthetic appreciation of those musics. By musicotechnographic I meant no more than writing about aspects of the music produced by the human-technology symbionts. I use the term exponential in the sense of an ever-increasing non-linear rate of growth.
Cyborg was a word which seemed, successfully, to capture the (funding) Zeitgeist. But as time has passed, I am left wondering more and more whether the term “cyborg” is tautologous when used in conjunction with the term “human”. And, of course, “aesthetic” opens a can of worms and is the proper subject matter of the entire thesis. At the time I wrote the question, I was using “aesthetic” in a conventional analytical way, in the sense that has been passed down from enlightenment thinkers, from Kant to Scruton. This would be a parochial position. I am now more inclined to be thinking about “aesthetic” in terms of its original etymology, aisthesis (αἴσθησις), a much broader sense of “perception” than is allowed for in the enlightenment derivation and usage. A fundamental flaw in the enlightenment-derived aesthetic is its acknowledgement of a transcendent / immanent dyad. This thinking descends from the Platonic Kantian notions of noumena and phenomena. I have never believed in such a dichotomy. To posit the transcendental noumenal is anti-Occamist and does not provide what Deutsch would call a “good explanation (2011: vii).” What is required is an epistemology based upon a monadic ontology, a monadic recognition of the immanence of everything that there is, with no place for the transcendent. In short, an aesthetic rooted firmly in this world.
O’Sullivan (2006) eschews an art history predicated on the object, a practice which relies on “ideological critique and semiotic approaches (2006: 7).” Musicology, too, has been so predicated. Pace O’Sullivan, I shall explore the Deleuzian notion of “affect” (which involves aisthesis, directly) in describing an immanent aesthetic. So fundamental is this concept of affect through aisthesis that Shaviro, developing Whitehead’s thought, describes aesthetics as “first philosophy (2014: 13).”
If there is a “golden thread” running through this thesis, it is the thought and writing of Gilles Deleuze. During the eight years or so that I have been reading his work (and also his writing in collaboration with Félix Guattari) I have followed the exhortation in A Thousand Plateaus to read widely and to follow lines of flight to new territories, new writers and thinkers. The potential cross-reference of though and ideas has as many synapses as the human brain. But having mulled over the implications for my thesis, I constantly return to the Deleuzian concepts of the plane of immanence, de- and reterritorialisation, lines of flight, and assemblages. And so it is with those concepts as the fibres of the golden thread that I am now revisiting my previous writing and embarking on the new, relying upon secondary literature insofar as it supports the central thrust of my thesis, and taking issue with that literature where it does not so support. I am not uncritical of Deleuze. For instance, I do not believe that Deleuze and Guattari give sufficient consideration to the entangled nature of strata and the lines of flight that de- and reterritorialise them. There are no territories, no strata, which manifest themselves ex nihilo. But that is not to say that assemblages are not novel, they almost always are. I will describe an Entangled Network Space to accommodate this thinking.
A major concern for me at the moment is that of style. All of my academic writing to date has had a certain scholarly style, relying on the conventions required of such work. I should like to do justice to the spirit of Deleuzian writing. As O’Sullivan says, “We need to repeat the energy and style of his writings without merely representing his thought (2006: 3).” Of course, footnotes and in-line citations leading to bibliographic references are themselves lines of flight, so that is a start! I want the thesis to be rhizomatic. It is, after all, an assemblage. So I am, as usual, in media res, which is not a bad place to be. This is just as well, since one can never actually be anywhere else.
Works (Lines of Flight):
Clark, A., 2003. Natural-born cyborgs : why minds and technologies are made to merge. New York: Oxford University Press
O’Sullivan, S., 2006. Art Encounters Deleuze and Guattari. Basingstoke: Palgrave Macmillan
Shaviro, S., 2014. The Universe of Things: On Speculative Realism. Minneapolis MN: University of Minnesota Press
(Probably not) the introduction to my thesis
The rhizome is an antigenealogy (Deleuze and Guattari 2004: 23). This thesis is rhizomatic. It can be read genealogically, but that would be to miss the point. When we write of hypotheses, methodologies, conclusions and bibliographies, such writing sometimes resembles nothing more than a description of a high-school science experiment. To engage with this resemblance would be a static reading, isochronous, frozen in time. A better reading is dynamic, heterochronic and diachronic. At risk of instant contradiction, this thesis is about entanglements and disentanglements, comings and goings. That is the nature of the space, real and metaphorical, in which we live. Endings are coloured by beginnings and beginnings by endings. There are no monads, only (ever-changing) assemblages.
This thesis is about things which are about cyborg music. The thesis and its putative subject exist in Entangled Network Space. It starts with this conclusion. It is about music. And humans. And technology. And philosophy. And time. And, and, and. The constant conjunctions of and, of and, of and. An assemblage is composed of ands, and the ands come and they go. And further ands change the ands. Entangled Network Space is full of voids; andless spaces waiting to be filled by ands and voids which the ands have vacated. It is a space of possibilities. It owes its existence to the real and the real owes its existence to it. It is the immanent, one truly flat ontological space, where being and non-being are equivalent.
The writing has a chronological flow, but it is full of heterochronic wormholes, which may be traversed at the speed of memory or of Google-thought. They are mental footnotes. It radiates and is irradiated. All writing is like this. It is the New Writing in the Hyperconnected Age.
Deleuze, G. and F. Guattari 2004. A thousand plateaus : capitalism and schizophrenia. London: Continuum
Posted in Subject Entries, Uncategorized
Tagged Cyborg Music, Deleuze, Diachronic, Entangled Network Space, Guattari, Heterochronic, Isochronic, Networks, Thesis, Wormholes
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