a reading list and some quotes to do with what i'm looking at

 some quotes that have resonated with me while starting to think about what this project could become, and might offer a bit of direction

• “One moment does not follow another, as a sequence of spatial givens that unfolds as moments of time. They are moments in which you lose one perspective, but the “loss” itself is not empty or waiting; it is an object, thick with presence. … You experience the moment as loss, as the making present of something that is now absent (the presence of an absence). You blink, but it takes time for the world to acquire a new shape. You might even feel angry from being dislodged from the world you inhabited as a contourless world.” - Sara Ahmed, Queer Phenomenology
  
  
• “Lines are both created by being followed and are followed by being created. The lines that direct us, as lines of thought as well as lines of motion, are in this way performative: they depend on the repetition of norms and conventions, of routes and paths taken, but they are also created as an effect of this repetition.” - Sara Ahmed, Queer Phenomenology
  
  
• “Since one of us was several, there was already quite a crowd” - Giles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia 
  
  
• “Animated films are for children who believe that “things” (toys, nonhuman animals, rocks, sponges) are as lively as humans and who can glimpse other worlds underlying and overwriting this one.” - Jack Halberstam, The Queer Art of Failure
  
  
• “Writing against the competing philosophical paradigms of structuralism and phenomenology (and hermeneutics in its phenomenological influences), Foucault rejects both the idea that subjects are the mere e√ects of external structures of intelligibility located in large-scale social systems and the idea that reality is an internal product of human consciousness. That is, Foucault refuses the humanist assumption that presumes the existence of an autonomous subject that stands before discourse-power-knowledge practices; on the contrary, Foucault is interested in analyzing the historical conditions that call forth certain kinds of subjectivity. At the same time, he also rejects structuralist accounts of the production of the subject via the imposition of an external system of Power, Language, or Culture. In particular, Foucault eschews Marxist treatments of ideology and false consciousness as well as humanist accounts that make reference to the intentionality of a unified subject, giving power an interior location within the consciousness of a subject whose interests are taken to be self-transparent. Indeed, Foucault cuts through the agency-structure dualism held in place by the clash between phenomenology and structuralism. In Foucault’s account, power is not the familiar conception of an external force that acts on a preexisting subject, but rather an immanent set of force relations that constitutes (but does not fully determine) the subject.”  - Karen Barad, Meeting the Universe Halfway
  
  
• “According to Foucault, discursive practices are the local sociohistorical material conditions that enable and constrain disciplinary knowledge practices such as speaking, writing, thinking, calculating, measuring, filtering, and concentrating. Discursive practices produce, rather than merely describe, the subjects and objects of knowledge practices. In Foucault’s account, these conditions are immanent and historical rather than transcendental or phenomenological. That is, they are not conditions in the sense of ahistorical, universal, abstract laws defining the possibilities of experience (Kant), but actual historically and culturally specific social conditions” - Karen Barad, Meeting the Universe Halfway
  
  
• “Anyone who has engaged with video games in the last three decades is familiar with the primary institution that games have been successfully deployed in service of: the consumer marketplace. Games were once created and mutated as a form of folk creativity, distributed and taught by word if mouth; (bold my own) the rehabilitation of games’ association with morally degenerate gambling made the family-friendly board game market possible, and the computing revolution enabled an explosion in the number of increasingly disposable product choices available for consumers” - Naomi Clark, 'What Is Queerness in Games, Anyway?', in Queer Game Studies (ed. Bonnie Ruberg and Adrienne Shaw)
  
  
• "Bolter and Grusin say, "We call the representation of one medium in another 'remediation,' and we will argue that remediation is a defining characteristic of the new digital media. ... The electronic medium is not set in opposition to painting, photography, or printing; instead, the computer is offered as a new means of gaining access to materials from these older media, as if the content of the older media can simply be poured into the new one"." - Edmond Y. Chang, 'Queergaming', in Queer Game Studies (ed. Bonnie Ruberg and Adrienne Shaw)
  
  
• "Queergaming is utopia, what José Esteban Muñoz calls "a structuring and educated mode of desiring that allows us to see and feel beyond the quagmire of the present ... that thing that lets us feel that this world is not enough, that indeed something is missing" - Edmond Y. Chang, 'Queergaming', in Queer Game Studies (ed. Bonnie Ruberg and Adrienne Shaw)

and a quick extended reading list, in addition to those quoted above

McKenzie Wark, Édouard Glissant, Fred Moten, Katherine McKittrick, Katheryn Yusoff , Maurice Merleau-Ponty, Sarah Elwood, Tim Ingold

some examples for what I am kinda thinking about for hotel generation

 i've got some example here of some early thoughts and what it is that i'm trying to get at 

below are some images - videos - sounds - and quotes

some examples of collecting point cloud data from a simple landscape, the amount of points is changeable via the point density input

a render of changing the point density on a model i made of my kitchen

below are some quick versions of sounds created from datasets - i used https://musicalalgorithms.org to create these with just using a selection of the x co-ordinates from a point cloud, ultimately i want to write a script to feed into a DAW so i have more control over the initial midi instrument sounds

tomtompotato · Vibraphone Dataset

tomtompotato · Piano Dataset

tomtompotato · Synth Drum Dataset

here is a link to some current works in progress, i've been experimenting with blender as a video editing tool, as well as trying to understand more about animating, and utilising blender's new geometry nodes

from iphone notes

 This is a push right now

But I’m trying to comprehend avenues of exploration for research

And I’m thinking looking at ideas of phenomenology in relation to digital life/space is interesting. This can link into to research around repetition. Which I think is inherent in my practice. And often the forms i can be creating/reproducing (maybe regenerating) pieces (I was going to use work, but I don’t know if I want to distance myself somewhat from that word). 

As an initial reading list 

• Fred Moten - ‘The Universal Machine’
• Sara Ahmed - ‘Queer Phenomenology’
• Giles Deleuze - ‘Difference and Repetition’
• Laura U. Marks - ‘Skin of the Film’
• Emanuel Levinas - unsure. 
• Martin Heidegger?

This list will expand. Some of it is coming off of who I know moten and Ahmed look at in their writings (Levinas and Heidegger). Marks’ ideas around hapticality I think will be interesting to look into and think about how touch can inform phenomenological perspectives — often a sensual experience of something can lead to the belief of it being real. 

Maybe there’s interesting angles in looking into Cartesian dualism? And the schools of thought that go against certain strains of phenomenology. 

This is a side thought — but does digital phenomenology create what can maybe only be described as a digital proximity, or at least a belief in such a proximity, to those that only exist digitally to us? I guess I’m trying to think about this in the way people create certain fan cultures, speak about celebrities as though they are friends, and have the ability to interact online with them, although most of the time only in a one directional way — fan to celebrity, though communication never returned — I dunno this is interesting because it feels like it links in to conversations we’ve been having to do with the ways in which social media, isn’t a space for particular discourses due to its limitations. It doesn’t encourage conversation as much as a cacophony of multitudes, voices from every direction saying the same and different. But without the unison that is apparent in a conversation. And I guess in this way it becomes (I’ve forgotten the word right now, but there’s a great word in 1000 Plateaus, to do with trees and linked to roots growing down from the tree) but it’s that, it’s coming from a particular stem every time. So you get these different roots that always link up to the main stem, but sometimes have their own offshoots as well. 

And obviously there is something interesting existing within this practice of communication. In a lot of ways it feels like it emulates the manner in which books/magazines can operate. It’s like the editors letters, but more immediate. That you might ask something, but you probably won’t get a response from someone deemed bigger/reputable. This has kinda spiralled, but there’s maybe something to look at here that links.  

addendum 

as I'm copying and pasting this, I have this funny moment of pause

I couldn't exactly say what it is that is making me want to publish this out - I mean it really is just some inner thought scrawlings in relation to having been reading some of The Universal Machine

and there are some interesting things here, and I thinks it (alongside exploring different online exhibitions) has made me feel excited to try and put something together, hopefully with a group of people, I guess just depending on what the people I speak to think about it

I'm going to try and post on this  more regularly again

I lost a lot of energy over the past few months and was only doing things sporadicly, so maybe trying to keep more of a digital record could be helpful

LiDAR

 trying to research into LiDAR technology a little bit, get a kind of understanding of it

https://www.youtube.com/watch?

i dunno, there is something that i really enjoy about the imagery of these point maps
i guess it gives this feeling of how a computer could see - this mixture of a heat map/point map 

everything is constructed through these points, there's a strange atomisation of everything, the way a road marking is viewed is the same as how a person, or a vehicle is realised

it's a kind of holistic view of the world 

and with this video - the manipulation of the view point gives a visualisation to the difference of the method of capture - because i think there's a pull to see this as a type of photography - and in a way you have this development process of the image, but maybe a question arises in thinking about this in Bathes terms of studium and punctum - could a 3D scan like this have a punctum? or maybe that is kinda the challenge of how you make sure this technology doesn't only become situated as just a tool
because it maybe feels easier to assign the cultural position of the studium to an image/scan created in this way - and it almost feels double layered in its studium at the moment because of the relative newness of the technology 

what's maybe interesting is that everything it is picking up is relative to something existing on different layers (textured)

looking at the comparison between these two images, you can see that the LiDAR has registered the STOP markings on the tarmac, raised painted marking, versus the stop sign that only shows the shape, with any printed marking being lost

to capture something with this - you need an element of depth - without depth you are left with a plain front 

for a minute i was thinking that this maybe lends itself more to looking at natural forms, as there is much more likely to be elements of texture, less flat surfaces, but i guess in thinking about it more, i would be really interested to see the level of detail LiDAR could capture - because realistically even something we visually perceive as being smooth, is most likely going to have at least small imperfections

there's something about the contexts that this technology is being presented in by the creators - obviously it is very much linked to notions of automation, self-driving cars/smarter cars, and then in this warehouse setting - and in this warehouse setting, i guess it makes me think of maybe the above point of how does it register smooth surfaces? does there have to be an integration of LiDAR to allow some form of automated device/vehicle to move around the space, then another kind of barcode scanner that registers an item for collection - i think the thing is that the potential of technology like this for examination of spaces, whether that be natural sites (woodlands, rainforest, deserts etc.), and also for examination/recreation of historical sites feels very exciting, but obviously there has to be this push towards business, ways of seemingly making things easier, removing the potentiality of human error - gradually phasing out workers

i am looking at the moment at one particular maker of LiDAR sensors, but interestingly on their website i've just seen this 
                "The OS1 now outputs fixed resolution depth images, signal images, and ambient images in real                   time, all without a camera...The OS1 captures both the signal and ambient data in the near                          infrared, so the data closely resembles visible light images of the same scenes"

i mean i'm still trying to fully understand how all of this works.

more to come

thoughts

 seeing as most people viewing my work are coming from my own facebook/instagram sharing, and are viewing on mobile i'm trying to have a bit of a rethink of how this all exists

i like it online, i think the desktop version works, but i feel like its not engaging people

there are a couple of changes i have planned

and im going to go back to unity to work out how to develop it as a mobile app - because maybe then people would explore the space? maybe it could be something that gets regularly updated

new spaces could be added?

i dunno it feels like it opens it up more to a way that people are engaging with.

position stalemate - sorry statement

A Rhizomatic Approach to Disorientating Language and Embracing Hapticality

flitting around the scene

attempting to form some

coherent

stream

of writing - befitting this

moment ahead

attempting not to make you

lay your head.

A study into ginger, 

turmeric, and potatoes,

offers some guidance 

for the

disparate structure —

some verticality

clear from one point to the next,

other moments stretching

attention, split screen

hundreds of monitors, like

looking into

a security office from any

sit-com.

Disorientation could be described … as the “becoming oblique” of the world, a becoming that is at once interior and exterior, as that which is given, or as that which gives what is given its new angle. Whether the strangeness is in the object or in the body that is near the object remains the crucial question (Ahmed, 2006, p162)

What I want to try and present here is an examination into the methodology, methods, and contexts within which I am trying to create a study in making language fugitive, embracing hapticality, and disorientating it, to take terms from Fred Moten and Sara Ahmed.

Language is enmeshed through social consciousness, effecting every decision we make. It is something that we can only ever learn, rather than just acquire, and the way we learn it places us within a wider collective. In some instances, this offers value and reinforcement, but in many other ways it provides a prison to reside in. How can we move beyond the milieu of language? One that finds itself rooted in heteronormative, anglo-centric ideals. How do we rationalise the fact that language is just a creation of someone else, a total fabrication that only makes sense due to the compounded history of its use?

What follows is an exposition into a rhizomatic methodology, trying to create a sense of what Fred Moten calls ‘hapticality’ in the way in which I create work.

when Black Shadow sings “are you feelin’ the feelin?’’ he is asking about something else. He is asking about a way of feeling through others, a feel for feeling others feeling you. This is modernity’s insurgent feel, its inherited caress, its skin talk, tongue touch, breath speech, hand laugh. This is the feel that no individual can stand, and no state abide. This is the feel we might call hapticality. (Harney and Moten, 2013, p98)

Rhizomatic Methodology

I am situating my practice from a rhizomatic methodology that entails both writing and making in a generative space that allows a cross-dissemination of ideas that isn’t structured rigidly. In a way that allows shifts to take place whether between ideas, modes of making, or what is underpinning my work.

I have also situated a lot of what I’m doing around ideas of language, how it functions, the inconsistencies of language, and how it is a made up thing. So in this way it subverts a direct notion of rhizomes as Deleuze and Guattari stipulate it, but in repurposing this as a methodology it allows a freedom from, or potentially, using a term from Fred Moten, a fugitive course of working through rhizomatic thinking and doing. However, it should be noted that there is a difference between freedom and fugitivity, I see freedom existing as something that is offered to me by my position in the world, the lived experiences I have, and my place to have the opportunity to work openly. Fugitivity functions as a sliding away from the predetermined ‘norms’ of working, writing and making. It allows a functioning within an institutional framework, and the academy, while finding paths to traverse that elude and duck away from the homogenising framework present within academic/institutionalised writing and making. (Moten, 2014)

Through this rhizomatic methodology, I have been trying to employ different methods of working that allows dispersed thinking and deciphering of ideas. Two of the key working methods I have tried to situate myself in are free writing and subconscious making.

Free writing, or stream of conscious writing, allows for a form that removes established protocols of writing, such as formatting, grammar, spelling, and coherence around what is being posited. It allows thinking to take place in all directions, it allows moments to err, to question, to rethink, and to establish links between what can feel like disparate thoughts. It allows new thinking to flourish and diverge, often within moments of each other; and then after a chance to reappraise what it is that you have been thinking, find ways to further delve into ideas that are bubbling under the surface.

For me as well, free writing allows the opportunity to write in a way that can feel more poetic, that allows a shift between prose and poetry as a way of understanding. Sometimes using mechanisms such as rhyming or rhythm feel as valid to dig into an idea, as prolonged meditation on a point that exists only within your mind.

Using the rhizome as a basis for a methodology allows the generation of ideas to take place as a constant ongoing process, as opposed to something static, existing only within one place or time. The making process takes place in a state of flux, it is something that is volatile, and in someways something we could question as whether it is truly existent. 

I find a link to this form of generative, process-based working as linking to the metaphysical paradox of the ‘Ship of Theseus’, because when all of the work is existing within a realm of constant process, with no defined beginning or end, does the work, or the project of research find itself as the same throughout? As the boundaries shift, as the work that is being created is repurposed and recontextualised, is it the same piece of work? And in the same vein, when this links up to language, how does a constantly evolving language ever find a way to situate itself as a defined ‘language’? Because what we describe as English today, in parts widely differs from how it was situated when it was first collected together, and even how it was used 10, 20, 50, and 100 years ago.

Within the notion of the rhizome, one key is the removal of hierarchies, Deleuze and Guattari posit the rhizome in contrast to the arborescent structure of using the tree as an analogy for thinking. The arborescent functions alongside Cartesian ideas around dualism, positing binaries as a way of contending and thinking through ideas. The arborescent model only allows for unidirectional thinking, one point must lead on to the next and it has to be a constant development of a thought - i.e. Darwinian evolution. In contrast, the rhizome allows thinking to take place in a way where connections can be drawn between any thought and another, there is no hierarchy in place to pride one idea over another, everything is seen as equally as valuable. 

The principles of the rhizome set out by Deleuze and Guattari can provide a clear view of what a rhizome can be, and how we can enact this.

Deleuze and Guattari introduce A Thousand Plateaus by outlining the concept of the rhizome (quoted from A Thousand Plateaus):

• 1 and 2. Principles of connection and heterogeneity: "...any point of a rhizome can be connected to any other, and must be";
• 3. Principle of multiplicity: it is only when the multiple is effectively treated as a substantive, "multiplicity", that it ceases to have any relation to the One;
• 4. Principle of asignifying rupture: a rhizome may be broken, but it will start up again on one of its old lines, or on new lines;
• 5 and 6. Principle of cartography and decalcomania: a rhizome is not amenable to any structural or generative model; it is a "map and not a tracing". (Wikipedia, Rhizome)

I find the fourth principle, “asignifying rupture” particularly important - the idea can be broken, but it will start up again, whether as something linked to an older line of thought, or reemerges in a new line. 

Rhizomes do not propagate by way of clearly delineated hierarchies but by underground stems in which any part may send additional shoots upward, downward, or laterally. There is no hierarchy. There are no clear lines of descent. A rhizome has no beginning or end. It is always in the middle. All that is required to grow potatoes is burying the discarded skin of a potato. They simply begin again wherever they are. The key to the rhizome, and the reason Deleuze and Guattari take it up as a way of thinking about not only books but things in general, is that the rhizome continually creates the new. It is not predictable. It does not follow a linear pattern of growth and reproduction. Its connections are lateral not hierarchical. (Adkins, 2015, p23)

Alongside this - the rhizome as a way of thinking about work has also allowed for it to be thought of within the fifth principle of cartography, laying out a map of connections between divergent ideas and forms of making. This mapping takes the form of documentation of changing work and working environments, whether through photographing or videoing work in various iterations of existence, or through the connections that can be drawn between physical objects within the space of either the studio or somewhere else work is being shown. Not only the exteriority of physical research exists within this cartography, interiority, the ideas that have yet to fully manifest, the ones that I feel unsure whether to make physical, also exist within this mapping. Navigating day to day life, reality television, interactions with people, with my cat, autopilot journeys to the studio from home and back, all leave a mark on the map.

I want to situate this cartographical experience within Ahmed’s work around disorientation, taking disorientation to stipulate a method of confusion as a means of advancing research. Within the rhizomatic methodology, there is not a straight line always to be drawn between differing ideas that arise during researching. Engaging in a material-led practice that is attempting to draw on subconscious making can often feel in opposition to pursuing academic research.

 

Confusion is generative. 

Disorientation is generative.

 

Staring into the rabbit hole opens vast new opportunities to follow the old lines of the rhizome and develop new ones. The research and work acts as though another body in the space,

If the sexual involves the contingency of bodies coming into contact with other bodies, then sexual disorientation slides quickly into social disorientation, as a disorientation of how things are arranged. The effects are indeed uncanny: what is familiar, what is passed over in the veil of its familiarity, becomes rather strange. (Ahmed, p162)

Through intimate engagement with the research, it begins to take on a form of its own. The project becomes living and breathing, an embodiment of your ideas in a new form. It reinforces a strangeness, a confusion that is necessary to move the research forward. As Henry Rodgers suggests, “should we find ourselves in moments of queer confusion, it would do us well to remember that confusion is productive for it always leads to yet another critical thought.” (Rodgers, 2007, p16) It can present itself as a wall that feels like you’re banging your head against, but it is all worthwhile, even in the moments that feel static.

Echolalia 

Another method I have been using in conjunction with trying to think and work rhizomatically is a bastardisation of the term echolalia. The etymology of echolalia shows it is derived from “the Greek ἠχώ, meaning “echo” or “to repeat”, and λαλιά (laliá) meaning “speech” or “talk”” (Wikipedia, Echolalia), and it is often used to describe the mechanisms used by young children as they begin to learn to speak. It can also be viewed as imitative learning, with young children mimicking the sounds they hear the people around them use as they begin to assign sounds as semiotic signs.

Within my own practice I have adopted the term echolalia to refer to both making work through repetition, and verbatim copying of quotes from different sources. Alongside this, using repetition has become a signifier for language as a whole, the way that even after being young children we still learn through repetition, we assign meaning to things through a repetitive use, or description, of what something should be, or is like. 

Engaging with echolalia as a making method allows for a forensic look into the materiality of what is being used, how it responds to different actions, how it is made up, and how it can be transformed through repetition. Within my own practice, I have taken to looking at yarn and different means of shaping yarn through repetitive action, starting first with crocheting and later looking at knot tying. In both the crocheting and knot tying you see the way in which repetition allows something to form and change shape and composition. Through the repetitive making, it becomes clear how addition layers effect the entirety of what is being made, whether that is shown through an error in the crocheting that changes the shape of the piece, or how the density of the knot builds as more layers are knotted around it. And for me, this signifies how language functions as a collective knowledge, in the same way one change effects the shape of the crocheting, minor changes take root in english, slowly changing the way we spell or use words. With language we can work through the etymology of a word, which in a sense becomes its material, while then starting to see how the shape of language can change through the recontexualisation of a word, or how words develop leaving lingering traces of its past life in a different societal moment. Language is ultimately palimpsestuous, especially within the colonial and postcolonial sites english has found itself situated. It adopts slang and patois, as a means of assimilation and control. (Footnote: Colonial and postcolonial control has also been asserted through forcing political and economic discourse to be carried out in the coloniser language, alongside minor attempts to encourage assimilation to the colonisers’ culture through the adoption of certain slang.)

Through using echolalia, research changes from being referential to others’ work, to becoming psychosomatic allowing an embodiment of ideas to manifest through repetitive making, and the space for thinking these repetitive actions allow. Meaning becomes embodied through the generation of work, it comes from spending time with the work, allowing other ideas to gestate within the maker and subconsciously emerge through the work. It builds on the way the world is formed through repetition, whether that be on the natural level of the cycle of nature and seasons (Footnote: And inherent in this, and linking to the way a mistake or error causes a change to the overall structure, we can also see the links to climate change as a compounding of historical errors and disrespect to the natural world.), or how we now in the technological age repeat, mimic, and mirror ourselves through online platforms. 

To enable a wider understanding of what informs my working methods, and the context I am engaging with to create work, I have been looking at ways in which to democratise the exhibition space, following on from the removal of hierarchies discussed earlier related to rhizomes. This is as much an ethical issue for me, as it is one based off of the ideas of the rhizome. In delineating hierarchies, I want to make sure that all ideas of what is being shown are valid in the space, that there is not a wrong answer, and that allows the work to be referred to within the viewer’s own lived experiences. In trying to communicate this, and allow the viewers’ interpretations to be reflected back, the idea of a research/resource space (Harris, 2019) alongside any exhibited work is my ideal scenario, or if not potentially some online portal that allows access to what it is that has informed me, and somewhere where viewers can leave information they think may be relevant, or is at least relevant to them. It, in a sense, becomes an attempt at crowd-sourcing context for the work, allowing the work to continue to function on the rhizomatic level where new lines can be drawn, whether attached to old lines or entirely new. This keeps the exhibited work in the state of flux the rhizome entails, “a 'rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo.’” (Deleuze and Guattari, 2005, p25)

This communal library, or research/resource space, exists as a method of presentation, and runs in contradiction to the use of repetition in the working method of echolalia. While the echolalia is about the use of repetition and what can be seen through how we repeat things, in this form of presenting, I do not want the exhibiting to become about echoing only the ideas I have been putting forward, but to become an open forum for a shared engagement with the work. Adding to the cartographical practice, and enabling the viewer to become part of the mapping process of the overall research project.

The work and research exists at the periphery of finality, continuing in motion, in flux. Attempting to embody the hapiticality discussed by Moten and Harney,

Hapticality, the touch of the undercommons, the interiority of sentiment, the feel that what is to come is here. Hapticality, the capacity to feel through others, for others to feel through you, for you to feel them feeling you, this feel of the shipped is not regulated, at least not successfully, by a state, a religion, a people, an empire, a piece of land, a totem. (p98)

This hapticality disrupts the hierarchies in the Deleuzian and Guttarian way, creating an entanglement of maker and viewer, where both function separately and in conjunction. Where both parties contribute to the ongoing research, attempting to disseminate and decode multiple uses of language. Looking for the mirroring and repeating, of ideas and of self; the embodiment of language through physical ephemera.

Bibliography

• Adkins, Brent, Deleuze and Guattari’s: A Thousand Plateaus Critical Introduction and Guide, (Edinburgh: Edinburgh University Press, 2015)
• Ahmed, Sara,  Queer Phenomenology, (Durham: Duke University Press, 2006)
• De Brabandere, N., “Sticky Currents: Drawing folds in serial exhaustion”, Journal for Artistic Research, Issue 9, 2015, <https://www.researchcatalogue.net/view/134510/134511>, [Last Accessed 10/12/2019]
• Deleuze, G., and Guattari, F., A Thousand Plateaus: Capitalism and Schizophrenia, (Minneapolis: University of Minnesota Press, 2005)
• Halberstam, J., The Queer Art of Failure, (Durham: Duke University Press, 2011)
• Hannula, M., Vadň, T., and Suoranta, J., Artistic Research: Theories, Methods and Practices, (Helsinki: Academy of Fine Arts, 2005)
• Harney, S., and Moten, F., The Undercommons, (Wivenhoe: Minor Compositions, 2013)
• Kristeva, J., Revolution in Poetic Language, (New York: Columbia University Press, 1984)
• McLeod, K., “Writing/Art”, Studies in Material Thinking, Volume 01:1, 2007, <https://www.materialthinking.org/sites/default/files/papers/Katy.pdf>, [Last Accessed: 10/12/2019]
• mojoDallas, and Steyerl. H, “No Ground”, https://possiblebodies.constantvzw.org [Online], 05/03/2017 <https://possiblebodies.constantvzw.org/inventory/?012>, [Last Accessed 10/12/2019]
• Moten, F., Black and Blur, (Durham: Duke University Press, 2017)
• Moten, F., and Tsang, W., Who Touched Me, (Amsterdam: If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, 2016)
• Possible Bodies, “Disorientation", https://possiblebodies.constantvzw.org [Online], <https://possiblebodies.constantvzw.org/inventory/?Disorientation>, [Last Accessed 10/12/2019]
• Rodgers, H., Queertexturealities, (Birmingham: Article Press, 2007)
• Ruiten, S. v., Wilson, M., and European League of Institutes of the Arts, SHARE: Handbook for Artistic Research Education, (Amsterdam: ELIA, 2013)
• Singh, J., No Archive Will Restore You, (Montréal: 3Ecologies Books / Immediations, 2018)
• Wikipedia, “Echolalia”, https://en.wikipedia.org [Online], <https://en.wikipedia.org/wiki/Echolalia>, [Last Accessed 09/12/2019]
• Wikipedia, ‘Ship of Theseus’, https://en.wikipedia.org [Online], https://en.wikipedia.org/wiki/Ship_of_Theseus, [Last Accessed 09/12/2019]
• Wikipedia, ‘Rhizome’, https://en.wikipedia.org [Online], https://en.wikipedia.org/wiki/Rhizome [Last Accessed 09/12/2019]

Other Sources

• Harris, A., Artist Talk, 11/10/2019, Lecture
• Ceglarz, J., ‘Queer methods and matters: Crisco, Palimpsestuousness and Faggoting’, 23/10/2019, Lecture part of Artistic Research Symposium
• Hartman, S., and Moten, F., ‘Fugitivity and Waywardness’, Arika, http://arika.org.uk/archive/items/episode-6-make-way-out-no-way/fugitivity-and-waywardness [Last Accessed 09/12/19]
• Rodgers, H., ‘Queertexturealities and Erotic Faculties’, 23/10/2019, Lecture part of Artistic Research Symposium
• Schwab, M., ‘The Exposition of Practice as Research’, 23/10/2019, Lecture part of Artistic Research Symposium