Resonances by Åsa Stjerna
Contents page I………………….. Introduction | Conclusion II………………….On Art and Dissensus III…………………On Theory and Practise IV………………….On The Act of iPod listening in Public Space V…………………..On Affect and Art VI………………….On Sound and New Materialisms VII …………………On Biopolitics and Acoustic Regimes of Power
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Introduction | Conclusion
The six following texts, here clustered under the title Resonances, together serve as the final outcome of my participation in the course ResArc– Philosophies, which took place during 2013. The aim has been to reflect and discuss the within the frame of this course given literature from a couple of perspectives specifically connected to my own artistic practice and academic research – both closely connected to the topics sound, listening and situated spatial artistic practice. In physics, resonance, as good old Wikipedia describes this phenomenon, is ”the tendency of a system to oscillate with greater amplitude at some frequencies than at others. Frequencies at which the response amplitude is a relative maximum are known as the system's resonant frequencies, or resonance frequencies. At these frequencies, even small periodic driving forces can produce large amplitude oscillations, because the system stores vibrational energy. […] Resonance occurs when a system is able to store and easily transfer energy between two or more different storage
modes (such as kinetic energy and potential energy in the case of a pendulum).” By expanding the notion of resonance, from merely physics, to a general conceptual level, the intention is to rethink the period of this course as a process in which different spheres of practices and forms of production of knowledge allowed to resonate within each other, that is, enable the ability to react on as well as being affected by each other. In that way I thus recognize the course in terms of a process in which the different fields for study have been allowed to resonate through different perspectives of my own research project. Through the multi-‐facetted readings the course has offered, some have had a direct and immediate impact on my research project as well as artistic practice, as if – according to the idea on resonance – only a smaller input of energy from one system was needed to cause a reaction within the other – amplifying latent but already existing frequencies and letting them sound, while others rather served as ”door
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openers” for further future exploration. As its own trajectory the photo serial Ice hammer runs through the booklet. Once a young art student, in the mid 90’s, I spent several years in exploring temporal material processes through the medium of photography. At many levels I find that the temporal material process taking place in the transformation from “ice hammer” to “water” in the photo serial, is materializing the very kern of what this course from a variety of perspectives has encouraged us participants to reflect upon, namely life itself in terms of a material – affective process in constant transformation. Åsa Stjerna 2013 PhD-‐student, Faculty of Fine, Applied and Performing Arts, University of Gothenburg
controling society. Mouffe builds on a political ethos rooted within the philosofical tradition of agonism, closely associated with the French philosopher Jacques Rancière’s ideas on disagreement. Disagreement questions the idea of “the common” in terms of consensus as this is based on a political model of representation of political interests (for instance groups of people) in which the political subjects of representation themselves have been excluded. Dissensus thus questions the idea of a society in which democracy is built around a common consensus to really be democratic in its nature.
On Art and Dissensus [Conceptual Cluster 02: Disagreement and Agonism]
Chantal Mouffe raises in her paper ”Artistic Activism and Agonistic Spaces” one of the most crucial issues connected to the condition of contemporary art practices of today: ”Can artistic practises play a critical role in a society where the difference between art and advertising have become blurred and where artists and cultural workers have become a necessary part of capitalist production.” (Mouffe 2004 p. 01) The essence of Mouffe’s issue concerns the possibility and capability of revitalizing the political power of contemporary art connected to the notion of public space. Instead of art as part of a capitalistic system, she defends arts role in terms of a responsibility of actively questioning the prevailing capitalistic value system
“Consensus means erasing the contestatory conflictual nature of the very givens of common life” (Rancière 2004 p. 07)
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As a society’s political ethos always is mediated and materialised through [the construction and notion] of public space, a fundamental question regarding contemporary art – related to issues of the public space – is how art can reformulate our relationship to public space. While the notion of public space
according to consensus, operates in terms of the platform where consensus takes place and is manifested, the agonistic approach of the public space is “always plural and the agonistic confrontation takes place in a multiplicity of discursive surfaces” (Mouffe p. 03) Thus an artistic activism according to Mouffe, rooted in agonism “…makes visible what the dominant consensus tends to obscure and obliterate.” (Mouffe p. 04) –Art as an opportunity to undermine the present power system through the production of alternatives. Translated into practice – after having read Mouffe’s text – it however appears to me that Mouffes spectrum for what could be labelled artistic activism is not just an issue of politics and space but also time. Or maybe better expressed: duration. The situated art Mouffe refers to in terms of artistic activism, refers to the temporary and often volatile, in which political actions in most of the cases become synonymous with ephemeral and instantaneous manifistations. From this I draw the conclusion that art, according to Mouffe, can not remain agonistic over
time without being deterritorialized and decoded by the prevailing power structure(s). That thus public art in terms of permanent art can not be really political. Mouffe’s proposed artistic activism seems to appropriating the epithets “political”.
power structures, but I mean that it must be allowed operating from several realms and levels of speed, duration and intensity.
This is problematic, as according to my opinion, artistic heterogeneity implies an openness towards the fact that different artistic expressions operate differently in terms of levels of speed, intensities (fast or very slow) and duration (temporarily or permanent). The permanent artwork operates within another realm of duration and speed and intensity then the ephemeral, but this does according to my opinion, not make the first mentioned per see incapable of acting political. The discussion on public art including so called permanent art, does for sure, continuously need to revitalize itself and its relation to the inherent power structures of society; that is: how art continuously could remain producing meaningfulness, as an on-‐going active negotiation with a specific site in question. The critical art has an important role in this visualization of
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References Jaques Rancière ‘Introducing Disagreement’, in Angelaki: Journal of the Theoretical Humanities, Vol. 9, No. 3, 2004, p. 3-‐9. Chantal Mouffe ‘Artistic Activism and Agonistic Spaces’, in Art and Research, vol. 1, no. 2, Summer 2007. Claire Bishop ‘Antagonism and Relational Aesthetics’ in October, vol. 110, Autumn 2004.
On Theory and Practise [Conceptual Cluster 4: The Theory Toolbox]
Deleuze, as well as Foucault, departs from a relation between theory and practice, of both as productive creative powers. Concepts, creating theories should operate on a creative level and not as representations of a reality. ”In this sense theory doesn’t express, translate, or serve to apply practise: it is practise.” (p. 208) The non-‐ representative approach, the capability to produce, makes theory to one productive force alongside other forces. Different material and non-‐material forces, ”practise” and ”theory”, ”, intermingle and intertwine into complex systems of ramifications that change direction, always in a flux, always in transformation. ”Practice is a set of relays from one theoretical point to another, and theory is a relay from one practise to another (p. 206) and ”A system of relays within a larger sphere, within a multiplicity of parts that are both theoretical and practical.” (p. 206) The interaction of theory and practise should thus create difference and divergence rather than agreement: ”A theory does not totalize: it is an
instrument for multiplication and it also multiplies itself”. Jane Rendell, emphasizes the transformative force between ”practise” and ”theory” set up by Deleuze. She seeks, through an interdisciplinary approach, to transform the classical binary power relations between theory and practise, influenced by critical theory’s reflective rather then objectifying character: ”I refuse to think of either term in the pair as dominant.” Inspired by Deleuze’s creative linking between practise and theory however Rendell emphasizes the relation between the two as non symmetrical, ”…for the suggestion that theory needs practise to develop is not accompanied by its reversal.” Rendell thus doesn’t really apply (accept?) the radical potential of Deleuze proposal, in my reading of Deleuze and Rendell. I’m wondering if this is the point where, if Rendell’s approach could be described as interdisciplinary ”in interdisciplinarity individuals move between and across disciplines and in so doing questioning the ways in which >> 6
<< they work” –while Deleuze’s approach, might rather be described as transdisciplinary? …………………………………………………………… References Gilles Deleuze and Michel Foucault , ‘Intellectuals and Power,’ in Language, Memory, Counter-‐Practice, Ithaca, New York: Cornell University Press, 1977. Jane Rendell, ‘Introduction: A Place Between’, in Art and Architecture: A Place Between, London: I.B. Tauris, 2006.
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one; displaces the focus of attention to something disconnected from a situated here and now. This topic directly relates to the texts by Peter Sloterdijk, Lieven de Cauter and Alice Jardine (et al.) from several perspectives, in which they discuss how politics, technology and bodily-‐spatial-‐ architectonic isolation stand in an immediate relation to each other. Bodies are both generated and manifested in the way technological achievements are politically adapted. The present conditions of the market are manifested through our bodies, in terms of producing cultural beings.
On The Act of iPod listening in Public Space [Conceptual Cluster 7: Container Technologies] Since some time, I refuse using the iPod function in my iPhone during my daily travels through public space. I leave the headphones at home. The aim is to avoid letting my listening – this active, sensuous, bodily instrument – become appropriated by the very private act iPod-‐listening in public space generates. One could claim this as media conservative or retrograde, but my position is neither conservative nor retrograde. What it all is about, is that I consider the act of listening of being an active action. The act of listening being an act of producing. What do I chose to produce through my act of listening? In the wake of the last decades dismantling of the physical public space, replaced by a global virtual space cheered on by a likewise global information capitalism, the specific space the act of iPod listening creates, transformes the public space to a private
Sloterdijk states that our living is constructed upon a politically generated culture of mega individualisation in which singular cells (the individual apartments) establish societies constructed out of separated bubbles; so called spheres. The technology helps to maintain this strictly separating structure. “The modern apartment [...] is the material realization of a tendency toward cell-‐formation” (p. 89) “The apartment as an atomic or elementary “egospheric”
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form
[...]
of
which
generates individualistic foams” (p.90) “This single bubble in a “living foam” forms a container for the self relation of the occupant, who establishes himself in his living unit at the consumer of its primary comforts” (p.92) Sloterdijk also interestingly claims that “[...]portable music players with headphones – an insulation technology that is the equivalent to the introduction of an acoustic micro-‐apartment into public space…” (p. 102) Sloterdijk comments on how iPod listening in public space, evoked by a capitalistic market, turns us away from the public space in terms of a shared experience. The act of listening therefore, according to my opinion, can not be said to be anything else then political. During my travel through Stockholm during rush hours, the public space transforms into a by hundred of thousand of people executed solipsistic iPod-‐choreography not far from from what Sloterdijk describes as “the setting free of solitary individuals with the help of individualized home and media technologies, and the aggregation of
masses, unified in their excitement, with the help of staged events held in “fascinogenic” mass structures.” The individualized headphone culture establishes to a high degree privatized affective states, not shared with the passenger next to him or her, but only with oneself. The technological separation arising with the consumer based use of iPod/iPhone, enhances a local alienation. It emphasizes the lack of a priority of the local and an exclusion of the neighbouring common. Such a techno-‐ spatial demarcation between what is considered meaningful and meaningless connects to De Cauter’s discussion on the societal state of mind, entitled “high-‐ intensity capzularisation.” This state, according to De Cauter, emanates from two basic developments: On the one hand the “technological logic of capzularisation” and on the other the “logic of exclusion in a polarized society.” The capzularisation influences all disparate layers of society. Applied to the common market according to De Cauter – formed by a
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notion of capzularisation as the basic engine of inclusion and exclusion in a dual society – “the structuring of capital in the network society, corresponding to the shift from industrial to “informational capitalism”, has brought about a giant social exclusion, a polarization of society in the global economy” (p. 80) and “The rise of the network society and the formation of ghettos are intimately linked.” (p. 81) Also the daily life is heavily affected by this, as we navigates through different capzularisations as “home, “shopping mall”, “work”. What unites these different modes of capzularisation appears to be an unanimous exclusion of the environment in which they are situated. By placing what is considered as valuable on an “inside”, the mental distance to a non-‐valuable “outside” constantly increases. Bio-‐politics – migration – the exponential growth of the refuge are extreme conditions caused by the capzularisation where problems are pushed away to an abstract “outside”.
– But also the distance to me and the iPod-‐using passenger next to me on the bus could very well fit into De Cauter’s argumentation. The use of iPod separates us from the potential act of meeting implied with public space. I don’t argue for initiating a mega social activity. It is not about to shake hands with each person I meet in the subway during my travel from work. But the iPod, the way it is consumed, is an actively turning away from the political act implied with a collective possession of and in public space. What is left of public space, is a giant leftover, transformed into a “foam of ego-‐cells”. (Sloterdijk)
The iPhone as such is not the source of the problem. It is the use of if that is the problem. I can imagine scenarios taking place where the use of the technology deterritorializes the current capitalistic consuming, the consumers release themselves from Spotify, using technological softwares transforming themselves into producers establishing local networks here and now in public space. Imagine a technological
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patchwork connected to the subway where passengers, during the journey could connect to passengers in the other cars of the train set. Just as an illustration. I agree with De Cauter claiming that the increasing of the capzularisation in society is coupled with the informational capitalism, but not the statement that networks per se must establish capzularisation, or to quote De Cauter; “No network without capsules”. (p.85) Meanwhile, besides an awareness of possible technological uses that challenge the information capitalism; transforming us from consumers to communicating producers, could such a simple act as active listening be one way of, what Deleuze and Guattari would call, drawing a line of flight. A positive deterritorialization, a decoding of a situation transforming it into something else. –To switch off the iPod, to put away the headphones and to start to listening to the always transforming multiplicities we call public space, might be the minimal action that makes the difference.
…………………………………………………………… References Peter Sloterdijk , ‘Cell Block, Ego-‐ Spheres, Self-‐Container’ in Log 10, 2007, pp. 89-‐108. Lieven de Cauter, ‘The Capsule and the Network: Notes for a General Theory’ in Capsular Civilisation: On the City in the Age of Fear, Rotterdam: NAi Publishers, 2004
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On Affect and Art [Conceptual Composition 15: Affect]
Cities are complex bodies of constantly transforming affective connections, shaping and reshaping the emotional calibration of places. Emotions and affects are not equal, but emotions always imply affects. The sense of a place, that is, how we on the one hand experience a place an on the other hand on how we are producing that place in question. I sit down on a bench with my eyes closed – In what ways does the act of listening in public space affect me? What do I produce through the act of listening?
As an artist, exploring and as well contribution to the production of public space(s), through sound and listening as my tools, affect is the very imperceptible but yet so concrete transition between virtual and actual, around which my practice revolves. If the “artwork” in itself could be regarded as a “proposal”, the affections my work give rise to is what makes the artwork alive. How the
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flaneurs are “touched” by my artwork. As artist, my intention is to create art that produces a difference, that is: art that changes something and someone -‐but without knowing what or who. Deleuze stated that if philosophy creates concepts, art creates percepts and affects. In her chaos, territory, art Elisabeth Grosz connects to Deleuze in stating that “Art, [...] does not produce concepts though it does address problems and provocations. It produces sensations, affects, intensities as its mode of addressing problems” (p. 1.) The arts produce and generate intensity, “that which directly impacts the nervous system and intensifies sensation.” (p. 1.) According to Grosz it is affects that connects the conscious “phenomenological experience” with the non-‐experienceable chaos – that is according to my interpretation the immanent plane. Or as Deleuze and Guattari themselves state “For the affect is not a personal feeling, nor is it a characteristic; it is the effectuation of a power [...] that throws the self into upheaval and makes it reel”. (A thousand Plateaux p.240) This goes very well with
Nigel Thrifts understanding of affect, heavily influenced by Deleuze and Guattari, as a form of intelligence, a form of thinking that is, a perceptual bodily conclusion about the world, “a set of embodied practises that produce visible conduct as an outer lining”,(2009 p. 176) – which through their non-‐ representational character cannot be reproduced. An understanding of art’s relation to affect is thus positioning art far beyond traditional representation, but instead as establishing nodes of interference with forces of intensities resonating beyond our conscious control, or as Grosz states: ” Art is the art of affect more than representation, a system of dynamized and impacting forces rather than a system of unique images that function under the regime of signs.” Art is not about representing what we already know – but is instead about initiating processes beyond the conscious, embodied perceptions inviting us to not only respond but also to act. If affects is the pre-‐condition for the production of emotions and
emotions both are produced by but also producing places, affect becomes an important drive of power in that of how cities are produced. This notion of the relation between affect and emotion has been one of the counter stones within urban sensory studies. Nigel Thrift refers to affects as a crucial force of the production of cities that shouldn’t constantly be neglected, as knowledge of how affect operates already has become systemized knowledge; that such knowledge already is being politically deployed and last but not least; that cities could be understood through the studies of how affect operates.
Contrary to a capitalistic reception of affect as something controllable I imagine art as an always foreign force, an embodied power of difference making. What is making a difference is always depending on situation, framing and time. The act of difference making is thus always situated, referring to Donna Haraway and situated knowledges. As an artist I never try to convince people of what they should feel, my practise rather concerns the different making itself. ……………………………………………………………
A concrete example, according to my opinion, of how affect is politically-‐ commercially appropriated is MUZAK. MUZAK, initially a brand, is today considered as a general term for a music genre based on instrumental arrangements, extensively being produced as background music in elevators, shopping malls, or offices, with the exclusive aim of increasing the production; that is – selling more and working better.
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References Gilles Deleuze and Felix Guattari A thousand Plateaus – Capitalism and Schizophrenia, London, Minnesota, Minnesota Press, 2009 (1987) [own choice] Melissa Gregg and Gregory Seijworth ‘An Inventory of Shimmers’ in Melissa Gregg and Gregory Seijworth eds. The Affect Theory Reader, Durham
and London: Duke University Press, 2010. Elisabeth Grosz, Chaos, Territory, Art, Deleuze and the Framing of the Earth, New York, Columbia University Press, 2008 [own choice] Eric Shouse, ‘Feeling, Emotion, Affect’, in Melissa Gregg, ed. ‘Affect.’ M/C Journal 8.6 (2005). 25 Nov. 2011. Nigel Thrift, ‘Spatialities of Feeling’, in Non-‐Representational Theory: Space, Politics, Affect, London: Routledge, 2008
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On Sound and New Materialisms [Conceptual Composition 14: New Materialisms]
In my artistic practise, I use sound and listening as artistic medium in the exploration and producing of specific spatial contexts. I consider sound as one productive force among other in the creation of spatial contexts, generated out of material and immaterial elements of a variety of complexities. Situated sonic practise means to actively transgress the visual axiom based on the division between a fixed world explored by active subjects, framed by a system of references in which interpretation is equalling representation. A situated sonic presence instead equalizes the world in terms of a verb experienced in as many channels as there are events taking place in that specific moment. Unlike the visual perception – in which the eyes are directed towards a fixed position, sound emanates from all directions in terms of trajectorial sonic “matter-‐energies”.
In A Thousand Plateaus, the philosophers Gilles Delezue and Félix Guattari introduce the concept assemblage, referring to the production of contexts emanating from assemblages of highly diverse elements, material as well as immaterial, human as well as non-‐ human. The core concerns what the connections produce in terms of effect and affect produce and not the intrinsic qualities of the connections them selves. In her "The agency of assemblages" Jane Bennett describes assemblage such as "[...] ad hoc groupings of diverse elements, of vibrant materials of all sorts. Assemblages are living, throbbing confederations that are able to function despite the persistent presence of energies that confound them from within. They have uneven topographies, because some of the points at which the various affects and bodies cross paths are more heavily trafficked than others, and so power is not distrubuted equally across its surface. Assemblages are not governed by any central head: no one materiality or type of material has sufficient competence to determine consistently the trajectory or impact of 15
the group. The effects generated by an assemblage are, rather, emergent properties, emergent in that their ability to make something happen[...] is distinct from the sum of the vital force of each materiality considered alone." (Jane Bennett "The agency of assemblages" in Vibrant Matter, a political ecology of things, (2010 p. 25) My understanding of the notion of “place” as well as how places are produced is informed by such point of view, emphazising the production of places in terms of assemblage in constant transformation in which sound is one of those forces. Sonic materialism means to conceptualise sound as a flow of forces and intensities, a distinctive spatio-‐temporal event that is essentially a non-‐representational phenomenon. (Cox 2011) The notion of "place" should be understood as a constantly on-‐going process, in which different material and immaterial forces are interlinked, establishing connections; assemblages operating at different levels of complexity. Thus places including all vibrating matter operating [including sound], can be more or less stable, and
further, consist of a series of greater or lesser instabilities, including: variably dense streams of information passing by, the probability of unexpected events and occurrences, and multitudes of different (social) spheres crashing into each other. (Stjerna 2013). Public Space can be regarded as a sphere in which the highest degrees of instabilities and unexpected trajectories are taking place within an urban construed context. (Doren Massey et al.) …………………………………………………………… References Bennett, Jane (2010) Vibrant Matter – A Political Ecology of Things. Durham: Duke University Press. Cox, Christoph (2011) "Beyond Representation and Signification: Toward a Sonic Materialism" in journal of visual culture, Volume 10 no 2 (Own choice) Deleuze, Gilles/Guattari, Félix (2009 [1987] ) A Thousand Plateaus – Capitalism and Schizophrenia, trans. 16
Brian Massumi. London, Minnesota: Minnesota Press (Own choice) Stjerna, Åsa (2013) ”Aspects on Duration: The Vulnerability of Permanence in Site-‐Specific Sound Art in Public Space” in Leonardo Music Journal Volume 23. Cambridge, Massachusetts: MIT Press (Own choice)
Bio Politics and Acoustic Regimes of Power [Conceptual Cluster 12: Biopolitics & Conceptual Cluster 13: Noopolitics]
A couple of months ago I read in a local newspaper that in the Stockholm Metro [Stockholms tunnelbana] Stockholm County Council considers to introduce classical music played through the internal speaker system during late hours in order to prevent eventual disturbance among passengers. According to my view, this is to be considered as following the same path as the development at Copenhagen railway station, where classical music on certain limited spots is [or at least was] played on an almost painful level in order to chase away beggars and other “undesirable elements” of society, who come to find a space for sleeping at night. In a time [our time] when classical music is used as sonic weapon and at the same time the amount of shopping malls and other semi-‐public spaces filled with acoustically designed subliminal sound
carpets, in order to evoke suggestive backgrounds acting as commercial triggers, seem to increase every month – it’s highly interesting to reflect on how music and designed sound can be linked to bio-‐politics. For Foucault, bio-‐power is a technology of power, which is a way of managing people as a group. What is at stake, in both pervious examples, is the fact that sound is implemented as a tool in systems of power in order to exercise control. In the first example – spatial control and in the second to control our ability to consume. In both examples sound and affect are closely interconnected. It is through our perception and affection bodies are put into action. The abnormally amplified melody from Mozarts “Eine kleine Nachtmusik” or similar at the Copenhagen railway station hitting the ear, triggering the sensation of pain forcing the beggar to escape – or the sensual relaxing acoustic ambience convincing the shopper to stay a few more minutes in the shopping mall – increasing the probability of buying something exponentially. 17
Music – affect – control is hardly something new, it can already be found in the adrenaline triggering music of ancient military marches. However, if this ultimately was controlled by a single despot or an emperor, the contemporary designed sound carpets in the shopping malls are controlled by a ubiquitous and omni present neo liberal market. Both however have the goal to achieve specific aims by through sound induce a bodily activation. Foucault differs between two different power technologies to control bodies: On the one hand so called disciplinary techniques, and on the other, so called bio-‐political, explained as by Maurizio Lazzarato in The Concepts of Life and the Living in the Societies of Control as: "Whereas disciplinary techniques transform bodies, biopolitical technologies are aimed at a multiplicity inasmuch as it constitutes a global mass, invested with overall processes that are specific to life – such as birth, death, production and illness. Disciplinary techniques only know the body and the individual, while biopower targets the population..." (p. 178)
Deborah Hauptman states in ”Introduction: Architecture and Mind in the Age of Communication and Information” that ”Deleuze, in his essay ‘Postscript on Control Societies,’ also argues that the dispositifs of power and control that once operated primarily on the body (read pace Foucault) now operate on the mind through technologies of communication. With this we are no longer within the closed spaces of control outlined by geo-‐ graphic or political boundaries (sovereignties as such) of individuals or popula-‐ tions; but in the open spaces of public opinion, of multiple affiliations and dispositions dispersed across the globe.” (p. 12) Through pressure from the daily media, mediated by technological innovations [internet, television etc.], the common norms of taste reach the most private parts of our lives at any time during the hours of the day. If the example with Copenhagen railway station, in which sound connected to affect aims at triggering a flight reaction effectively, is playing with our perceptual constitution in terms of a
common human constitution [the human hearing system is simply constructed in a way that at a specific amplitude we experience sound as unpleasant]– the use of sound and affect connected to commerce effectively highlight our way of acting in terms consumers/subjects with a free choice – that we act as totally independent individuals when we finally choose to pick and buy a specific item. Strolling around in one of the countless shopping malls somewhere in Northern Europe, supported by a subtle sound texture of a processed “bird song” sounding through each speaker in the mono-‐speaker system installed in the entire space, I hardly – at the moment I pick a soap recalls the fact that I’m actually exposed to a regime of power which seeks to through the sonic present texture to affect me – rather I’m convinced that buying this soap is entirely based on my free choice.
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…………………………………………………………… References Gilles Deleuze ‘Societies of Control’ in Negotiations: 1972-‐1990, New York: Columbia University Press, 1995. Michel Foucault ‘The Birth of Biopolitics’, in Ethics: Essential Works of Foucault, London: Penguin, 2000. Deborah Hauptmann, ‘Introduction: Architecture and Mind in the Age of Communication and Information’, in Deborah Hauptman, eds. Cognitive Architecture: From Biopolitics to Noopolitics, Rotterdam 010 Publishers, 2010. Maurizio Lazzarato ‘The Concepts of Life and the Living in the Societies of Control’ in Martin Fuglsang and Bent Meier Sorensen, eds. Deleuze and the Social, Edinburgh:Edinburgh University Press, 2006.
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Illustration of a resonance peak
………………………………………………………………………………… Reference Illustration collected from the website “Physics of musical instruments 20131125:
http://www.google.de/imgres?q=resonance&sa=X&biw=1063&bih=783&tbm=isch&tbnid=4YQkyUf1ee_6VM:&imgrefurl= http://www.dolmetsch.com/poshistory2.htm&docid=cXPx6Vy5xPUZ1M&imgurl=http://www.dolmetsch.com/resonance. jpg&w=864&h=468&ei=OpWUUoGKF4roywP324KYBw&zoom=1&iact=hc&vpx=4&vpy=492&dur=1611&hovh=165&hov w=305&tx=222&ty=100&page=1&tbnh=149&tbnw=275&start=0&ndsp=25&ved=1t:429,r:10,s:0,i:112
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