Ami Clarke

Error-Correction: An Introduction to Future Diagrams.

 


“No conceptual tool is available to stage the possibilities open to history, so maybe a non-conceptual tool or medium can avail itself to us in order that we do something about history. Not that we would predict it, for it is now too late and the historic event has occurred, but maybe we could write it or trade it.”  Elie Ayache - The Blank Swan.


Error-Correction: an introduction to future diagrams, is a script, in which each articulation is just one of many takes, constantly re-edited, that references and includes openly appropriated texts, contemporary commentary, news items, anecdotal evidence; culminating in an interrelated convergence of many interwoven threads, whereby the voice (through language) is constituted ‘between someone else’s thoughts and the page’.  

 

It maps the differing frameworks that have facilitated human experience of the world, from single point and perspectival drawing, to projected geometry, and further, beyond the human sensorium via mathematics and calculus - which lead to the development of probability theory - of being able to speculate the future - whilst introducing the very idea of doubt into mathematics. 

 

The development of calculus reveals the moment at which Euclidean geometry is no longer sufficient for the task at hand - of the need to track an object moving through space - the movement of celestial bodies, for example, in relation to one another.  Calculus introduced complex abstractions in mathematics which introduced the possibility of calculating motion, and most importantly, velocity.  

 

It lead to the development of probability theory, of being able to speculate the future, of working backwards from the preturbations of the planets, and developed into the sophisticated mathematical tools of topological thinking in the 20th C.

 

Acting at several different scales and temporalities at once, the script denies any primacy of the voice, or subject – necessarily constituted through other people’s words. This voice comes of a body perhaps best recognized by the physician and physicist Herman von Helmholtz who’s research into mathematics of the eye led to probability theory, who realised that

 

human perceptions, - so prone to error, - are at best, an approximation, an estimation even, that ‘operate(s) within the protocols of instruments’ (C.O.D. p188)

 

He was particularly notable for adopting procedures for handling variations in data from other scientific fields, and his premise was that human eyes have

 

– a hard-wired, involuntary drive to minimize perceptual errors constantly having to allow for all the small errors, between the many movements, staccato like, that are made,

 

and - hence

 

- discovered error-correction in the nerve endings of our bodies.  (HELMHOLTZ. p177)

 

An untrustworthy body with it’s faulty equipment, that produces, and is produced in synthesis with it's environment - that feels through prosthesis - with a body that matters without mattering. 



Please scroll down to the most recent takes.

Please press on links to access audio/video.






Error-Correction: an introduction to future diagrams.  (Audio Postcard from Banner Repeater)

(Audio work, with visual: postcard. 7.35 minutes, .mp3 file.)

Audio Postcard from Banner Repeater: text read from the platforms of Hackney Downs train station, morning of 14th July, presented during the Diagram Research Use and Generation Group open symposium at the Pearson Lecture theatre, UCL, July 14th/15th, 2012.

(with ref: The Culture of Diagram by Bender and Marrinan, Writing Machines, Electronic Literature and How we Became Post-human by Katherine Hayles, Postscript on the Societies of Control, Gilles Deleuze, Discipline and Punish by Michel Foucault)



            






Error Correction (take 2) 2013

commissioned by Claire Undy for Exchange at APT Gallery 2013.


Error Correction: An introduction to Future Diagrams (take 2) 2013.

Experimental script commissioned by Claire Undy for the publication ‘Exchange’ in conjunction with Obscured Exchange at APT Gallery, London, 2013.

The script was recorded on the platform at Hackney Downs train station.

The text develops from the first take of Error-Correction, and diversifies with a history of Relativity, and the development of different models of how we conceive of time, influenced by physics, and quantum theory. The speculative nature of probability theory is considered in relation to the financial markets, the development of trade through the railway systems, and focus’ in particular on writing by Natasha Dow Schull: Mapping the Machine Zone, and what Beatriz Preciado has called the pharmacopornographic, which refers to the processes of a biomolecular (pharmaco) and semiotic-technical (pornographic) government of sexual subjectivity, with a strong undercurrent from The Ticket that Exploded, by William Burroughs (full list below).

(ref: Forget Foucault, Forget Baudrillard, (Semiotext) Jean Baudrillard with Sylvere Lotringer, The Ticket that Exploded by William Burroughs, The Cloud by Rob Coley and Dean Lockwood, Writing Machines, Electronic Literature and How we Became Post-human by Katherine Hayles, Mapping the Machine Zone by Natasha Dow Schull, Postscript on the Societies of Control Gilles Deleuze, Discipline and Punish by Michel Foucault, Testo Junkie by Beatriz Preciado).











Error-Correction: an introduction to future diagrams (take 3) 2013 @ The Barbican.

 
Impossible Structures - writing in residence at the Barbican, during summer 2013. 

Experimental text/audio work sited wtihin the Brutalist architecture of the Barbican and my tendency to get lost within this structure, and the siting of the Barbican within the area of the Corporation of London (recently revealed to have a legal system outside of normal legislative remit of the UK) in relation to the new digital storage space/proposed commons of the Cloud.
These ideas relate to conceptions of Impossible Structures, re autopoietic structures of the Penrose Stair configuration referenced by Nathan Coley and Dean Lockwood in the recent Zero books publication Cloud Time. They make a case for the structure of online security being one of both homeostatis, and autopoeisis: a paradoxical structure.  Ideas of our conception of ‘time’ play a large part in this script, and follow another thread in the ongoing Error-Correction series, following similar lines to EC take 2, but diverging at different points.

(ref: Forget Foucault, Forget Baudrillard, (Semiotext) Jean Baudrillard with Sylvere Lotringer, The Ticket that Exploded by William Burroughs, Cloud Time by Rob Coley and Dean Lockwood, Writing Machines, Electronic Literature and How we Became Post-human by Katherine Hayles, Mapping the Machine Zone by Natasha Dow Schull, Postscript on the Societies of Control, Gilles Deleuze, Discipline and Punish by Michel Foucault, The Wretched of the Screen by Hito Steyerl. Decoding Cardano’s Liber de Ludo Aleae by David Bellhouse, Review of Liber De Ludo Aleae (Book on Games of Chance) by Gerolamo Cardano, Tartaglia, Cardano and Ferrari - 16th Century Mathematics - The Story of Mathematics, Review of Contagious Architecture by Luciana Parisi, by Jeremy Lecomte. Mute Oct 2013, Architectures of Time. Toward a Theory of the Event in Modernist Culture by Sanford Kwinter.)


Associated works:

Live app in development: Impossible Structures: “the eye that remains of the me that was I”






Download app here: http://theapp.mobi/errorcorrectionanintroductiontofuturediagrams
or find app video file here: https://vimeo.com/90645660  (to be listened to on headphones)

Experimental text/video work sited wtihin the Brutalist architecture of the Barbican and my tendency to get lost within this structure, and the location of the Barbican within the area of the Corporation of London (recently revealed to have a legal system outside of the normal legislative remit of the UK) in relation to the new digital storage space/proposed commons of the Cloud.




Error-Correction: an introduction to future diagrams (take 5)

was published as

In the Pull of Time 


during Scott Masons project at Milton Keynes galleryof a final account in formation

for more information see here: http://www.mkgallery.org/p/september_2014_video_space/

Publication

To accompany the installation and performance, eleven fictional responses to the sonic documentation have been commissioned from the following artists, writers, and curators:

  • V. Allen
  • Harry Burke
  • Ami Clarke
  • Chris Fite-Wassilak
  • John Hill
  • Elizabeth Holdsworth
  • Chris Kraus
  • Marti Manen
  • Rasmus Nilausen
  • Lisa Radon
  • Holly Stevenson.

  • http://www.mkgallery.org/shop/product/of_a_final_account_in_formation_publication





    The Practice of Theories at Wysing Arts Centre.  2016.



    Error-Correction: An introduction to Future Diagrams. (take 1), (take 5.5) and (take 7)



    Ami Clarke brings together several works that inform her ongoing script Error-Correction: an introduction to future diagrams, that include video animation, collage, and prints; both serial and appropriated. The title to the ongoing work stems from the ideas of the German physician and physicist Herman von Helmholtz, who's research into mathematics of the eye brought him to the conclusion that they were exceptionally prone to error, an approximation at best, that 'operate(s) within the protocols of instruments(i)' - an 'error-correction' of sorts. These ideas led to probability theory and the abstract language of mathematical analysis in celestial mechanics and situated theory as the engine to extend enquiry into domains beyond the human sensorium and beyond visual representation.  Developed from theoretical and historical cross-disciplinary research into diagrams, and diagramming, they are an attempt at a ‘potential articulation’ with regards to current ‘conditions’ in the world: material, theoretical, and philosophical (pertaining to evolving constructs of subjectivity).




    Works.

     

    Error-Correction: An introduction to Future Diagrams. (take 1) by Ami Clarke.  Multiple lithographic prints on Holographic paper, wallpaper version - dimensions variable. Commissioned by COPY for Print It at Site Gallery.  ref: Hogarth’s “Satire on False Perspective” of 1754 drew particular attention to not only the conventions of drawing, but also ridiculed the order represented in such drawings by utilising an array of devices, creating an absurdity of perspective and making a mockery of mans conceit to intelligibly impose order on the world. The hegemony of real experience is better depicted here than in the order of the single point perspective.

     

    Animation of MC Escher’s Ascending and Descending,1960 – also known as The Penrose Stairs – by David Phillips - to be found here: http://www.opticalillusion.net/optical-illusions/a-new-ever-receding-staircase/#more-86

    Video animation 8 seconds looped.

     

    Error-Correction: An introduction to Future Diagrams. (take 5.5) "of the drunkenness of form being various (or the terror of total dasein)", by Ami Clarke - HD video animation 33 seconds looped.







    Reading:

     

    Ami Clarke will be reading from her on-going script: 'Error-Correction: an introduction to future diagrams' with 'Low Animal Spirits' - a live HFT algorithm trading in world news - by Ami Clarke and Richard Cochrane.

    Duration: approx. 11mins.

     

    'Error-Correction: an introduction to future diagrams (take 7) is one in a series of experimental takes of an on-going enquiry into diagrams, that reference and include appropriated texts, contemporary commentary; news items, as well as anecdotal evidence, culminating in an interrelated convergence of many interwoven threads, whereby the voice, through language, is constituted “between someone else’s thoughts and the page’ employing an embodied articulation that matters, without mattering.   Take 7 focus’ on materiality, algorithms, and an evolving subjectivity, with a particular focus on Capitalism and Schizophrenia: Contemporary Visual Culture and the Acceleration of Identity Formation/Dissolution by Jonah Peretti – founder of Buzz-feed.



    (ref: The Ticket that Exploded by William Burroughs, Helman von Helmholtz, How We Became Post-Human. Virtual Bodies in Cybernetics, Literature, and Informatics by N. Katherine Hayles, Review of Liber De Ludo Aleae (Book on Games of Chance) by Gerolamo Cardano. Decoding Cardano’s Liber de Ludo Aleae David Bellhouse. Tartaglia, Cardano and Ferrari – 16th Century Mathematics – The Story of Mathematics, The Culture of Diagram by John Bender and Michael Marrinan. Stanford University Press, Addiction by Design: Machine Gambling in Las Vegas by Natasha Dow Schüll, 2014, Forget Foucault, Forget Baudrillard (Semiotext) Jean Baudrillard with Sylvere Lotringer, Paul Levi Bryant facebook thread 2013, Architectures of Time. Toward a Theory of the Event in Modernist Culture by Sanford Kwinter. MIT press 2003, Atoms and Errors: Towards
a History and Aesthetics of Microsound by Phil Thomson. Published in Organised Sound journal, Volume 9, Issue 2, August 2004. Pages 207-218. Cambridge University Press New York, The Wretched of the Screen, In Free Fall: A Thought Experiment on Vertical Perspective by Hito Steyerl. e-flux journal, Sternberg Press 2012, Review of Contagious Architecture by Luciana Parisi, by Jeremy Lecomte. Mute Oct 2013, Capital and Language. From the New Economy to the War Economy by Christian Marazzi, Translated by Gregory Conti. September 2008 (published in English) and Capital and Affects: The Politics of
the Language Economy by Christian Marazzi, Translated by Giuseppina Mecchia, Semiotext(e) / the MIT Press, Los Angeles and Cambridge, The Uprising: On Poetry and Finance (Semiotext(e) / Intervention Series): On Poverty and Finance by Franco Bifo Birardi 2012, The tax haven in the heart of Britain by Nicholas Shaxson. New Statesman. Published 24 February 2011, Abrupt rise of new machine ecology beyond human response time by Neil Johnson, Guannan Zhao, Eric Hunsader, Hong Qi, Nicholas Johnson, Jing Meng & Brian Tivnan Scientific Reports 3, Article number: 2627, Time passes more slowly for flies, study finds. Research suggests perception of time is linked to size, explaining why insects find it easy to avoid being swatted. Dr Andrew Jackson, from Trinity College Dublin in the Republic of Ireland and other PhD student researchers. The Guardian Monday 16 September 2013, The Electronic Revolution by William S. Burroughs. Originally published in 1970 by Expanded Media Editions. ubuclassics www.ubu.com, Cloud Time. The Inception of the Future by Rob Coley and Dean Lockwood. Zero books 2012, with reference to Wittgenstein’s Tractatus Logico-Philosophicus (1922). The Uprising: On Poetry and Finance (Semiotext(e) / Intervention Series): On Poverty and Finance by Franco Bifo Birardi 2012 (P 155-156).)