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Subtitle

No hay banda (2005) for video and digital multichannel audio track / per traccia video e audio multi-canale - Dur. 7'25''

 «When Cézanne invites the painter to “treat nature starting from cylinder, sphere, cone, each one in perspective” […] he purposes a use of geometry totally different from the on that reduces it to a code for painting. […] Actually we could say that Cézanne’s use of geometry is analogic, not digital. The diagram, or pattern, is analogic; the code, on the opposite, is digital.»

Gilles Deleuze, Francis Bacon. Logica della sensazione, p. 180

«For a moment we’ll act as if we don’t know anything about the theories of matter and the theories of soul, nothing about the disputes on reality or ideality of the world, and here I stand before images, in the most unclear meaning which could be attributed to that word, images perceived when I open my senses, unperceived when I close them. All these images act and react one to each other in all their elementary parts.»

Henri Bergson, Materia e memoria, p. 41, in Opere, Mondadori 1991.

«From the work of frame to video, we assist  more and more to the construction of an image defined by molecular parameters". Intermittent editing, ultra-rapid, machine enchainment of images-matter. The aim is that of arriving "to a pure action, so as it is in things or matter, as far as molecular interactions are extended.»

Gilles Deleuze, Immagine-movimento, p. 11. Ubulibri, Milano 1984.

Since first post-war period diagram played a role of increasing significance in the most advanced architectural production, becoming in the last years the specific feature of new avant-garde, which considered diagrammatic substance as element of innovation capable of synthetically putting in relation compositional aspects with functional, symbolic, conceptual, temporal and cinematic aspects. The effectiveness of diagram stands in its multi-disciplinarity: it is the mediator between different and inter-related quantities, with representational functions, just like a graphic short cut to representation of  complex phenomena. Francis Bacon used to consider his paintings as diagrams and Deleuze was fascinated by Bacon’s ability of generating abstract shapes starting from human figure. According to Van Berkel diagrams are maps which may appear to be abstract but actually aim at organization of space, or time, or motion, or abstract phenomena. Deleuze, with reference to Bacon’s paintings, conceives diagram as a catastrophe which happens in the painting by the introduction of a change of unit of measurement, that is “replacing figurative units with  micro-metric or cosmic units. Diagram throws a meaningless stretch of pure sensation in the heart of representation” (Claudio Bisioni, Straight Story/ Lost Highway, in Attraverso Mulholland Drive, Il principe costante Edizioni 2004, p. 35). The selection of the starting materials for No Hay Banda – Diagram I (images and sounds from the movie Mullholland Drive by David Lynch) is consequent to the fact that Lynch’s work – especially from Straight Story – is organized around the concept of diagram; Lynch, apart from movie auteur is painter, visual artist, composer, draftsman, contemporary art expert and collector. In his essay Bisioni notes that in Mulholland Drive “the relation between described sequence and global movie economy is regulated by the logic of diagram”. In No Hay Banda – Diagram I human figures does not appear in any body part (except for reflections through glass), there is no affection, material bodies blends contaminating and hybridizing according to balance standards set every time starting from density, complexity, linearity and intelligibility values, logic consequentiality is diagrammatically broken in favour of a pure, controlled, pre-ordered sensoriality and the oblique dimension conceived as a sum of horizontal and vertical components is obtained through processes of de-focusing and anamorphosis. The method is that of finding the moment in which structures begin to fade, contours become fluid and elastic, giving birth to the mechanism which Deleuze called abstract machine of faceness and facification (every thing that will pass through it will take the aspect and the function of a face). Therefore the machine is “the moment or the aspect in which exist but functions and matters”, a diagram without substance and without shape, which doesn’t have content nor expression: it is Hjelmslev’s matter or sense.

[ITA] I diagrammi sono delle mappe che possono apparire astratte ma di fatto mirano ad organizzare spazio, tempo, movimento o fenomeni astratti. Deleuze, facendo riferimento ai dipinti di Francis Bacon, concepisce il diagramma come una catastrofe che ha luogo nella rappresentazione mediante l’introduzione di un cambio nell’unità di misura, ovvero “sostituendo unità figurative con unità micro-metriche o cosmiche”. In No Hay Banda – Diagram I i corpi materiali si fondono contaminandosi e ibridandosi secondo parametri di equilibrio fissati ogni volta a partire da valori di densità, complessità, linearità e intelligibilità, la consequenzialità logica è diagrammaticamente rotta a favore di una pura, controllata e pre-ordinata sensorialità mentre la dimensione obliqua, intesa come somma delle componenti orizzontali e verticali, è ottenuta attraverso processi di defocalizzazione e anamorfosi. Il metodo consiste nell’individuare il momento in cui le strutture si disgregano dando origine a quella che Deleuze chiamò la macchina astratta di volteità e voltificazione. Quindi il meccanismo è il momento o l’aspetto in cui non esistono che funzioni e materia, un diagramma senza sostanza e senza forma, che non possiede contenuto o espressione. I materiali di partenza per No Hay Banda – Diagram I sono le immagini e suoni di Mullholland Drive di David Lynch.

WATCH IT VIDEO ON YOUTUBE!

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First performance / prima esecuzione:

Monday 28th november 2005 h 8pm / Lunedì 28 novembre 2005 h 20
Seconda Università di Napoli - Library of Mathematics, Polo Universitario in Via Vivaldi 43 - Caserta, Italy
Facoltà di Scienze Matematiche Fisiche e Naturali - Dipartimento di Matematica
Sciences of sounds - Concert of computer music

5th Conference "Understanding and creating music" - "Autunno Musicale 2005" - Caserta

Marco Marinoni, sound direction

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Here are some photos from the 5th Conference "Understanding and creating music":

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