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.