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Marco Marinoni's web page

Sickness (2013, 4'10'') for video and digital 24.2-channel audio


First Performance:

Sound Science, Sound Experience - Sound and Music Computing Conference 2013

30 july - 3 august

KMH Royal College of Music in Stockholm

Opening Concert

Tuesday 30 July - 18.00 Stora Salen, Stockholm

Other performances:

Festival "NIT ELECTRO SONORA", Ca don Ventura, Flix (Catalonia). Performance 3-4 august 2013

EMUFEST 2013 - INTERNATIONAL ELECTROACOUSTIC MUSIC FESTIVAL. Performance 24 october 2013, Sala dei Medaglioni, Conservatory S. Cecilia, Roma. Concert 11 - Audio-Visual. Italian première.

Festival "CAMINO CONTRO CORRENTE - Atti Vandalici" by Kairòs Arte & Spettacolo - ArsPublica Edizioni Musicali - Performance 3 november 2013 - SONORIZZAZIONE INVASIVA 3 - Sala Esposizioni di Casa Liani, Camino al Tagliamento (Ud).

INAUDITA - Music in Touch Autumn 2013 - VIDAU - by Spaziomusica Ricerca - 27/11-16/12, Conservatorio "G. P. da Palestrina" - Cagliari. Performance Wednesday 4 december, Sala Palestrina h 6:30pm 

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 interrelated 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”. The starting materials for Sickness – Diagram II are images and sounds from the short film Six men getting sick by David Lynch. In Sickness human figures and body parts 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, preordered sensoriality and the oblique dimension conceived as a sum of horizontal and vertical components is obtained through processes of defocusing 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 (everything 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.