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Image Assemblages

A / Polemical Statement:
This atlas will operate off of a permutation of Flussers idea of the technical
image. Flusser states that the technical image generates a post-historical mode of
perception -- a non-linear sense of time. A chief factor of the technical image is its
synthesis of texts (such as scientific theories). In this atlas, we propose that technical
images ability to generate other technical images, which can modify the originating
technical images, necessitates non-linear and post-historical modes of image
analysis.
Technical images defy genealogical and historically-minded approaches. While
useful as a way to track particular conditions, relations, and histories imprinted into
an image -- they will never successfully achieve their aim: creating a complete and
definitive history of an image.
This atlas will use Deleuze and Guattaris concept of the assemblage as a tool for
performing non-linear image analysis. In particular, we will map the multiplicities of
an image to in order to trace the constellations of visuality that an image generates.
We will not prioritize its mode of articulation, conditions of production, or historical
contexts, but rather, we will use the visual qualities that emerge when its various
possible permutations are placed into affinity groups.

Deleuze and Guattaris Concept of Assemblage


The concept of assemblage, developed by Deleuze and Guattari, derives from
the English translation of their concept in French of agencement (arrangement), or
the processes of arranging, organizing, and fitting together. According to Deleuze and
Guattari there is both a horizontal and a vertical axis associated with assemblages.
The horizontal axis deals with machinic assemblages of bodies, actions and passions
and a collective assemblage of enunciation, of acts and statements, of incorporeal
transformations of bodies. The vertical axis has both territorial sides, or reterritorialized
sides, which stabilize it, and cutting edges of deterritorialization, which carry it away
(D&G 1987: 88). Through its multiplicity an assemblage is shaped by and acts on a
wide range of flows. Assemblages as conceived of by Deleuze and Guattari, are
complex constellations of objects, bodies, expressions, qualities, and territories that
come together for varying periods of time to ideally create new ways of functioning.
(Parr, 18)

Technical Image as Assemblage

Technical Image

An atlas constructed in this manner will form a coherent visual experience, with
neighboring images that will differ drastically in time, space, geography and
medium. This atlas will posit that images are ahistorical entities, and are not bound
to geographic, historical or cultural conditions (although acknowledging that
the permutations carry the imprints of these circumstances). Rather, this atlas will
posit that images function much more like elements of a probabilistic field that
can transmit and manifest non-linearly through time, space and medium, such as
electrons within an atom.

Technical
Image
Text

Text
Technical
Text

Technical
Traditional Traditional
Image
Image
Image

Image

Traditional
Image

Text

Text
Traditional
Image

Text
Text

Traditional
Image

Traditional
Image

Traditional
Image

Text
Text

Traditional
Image

Traditional
Image

B / Format:
3: Plate-designers can construct permutational

The atlas will be constructed on 3 layers of organization.


The levels ascend in priority.Level 1 is more important
than 2, which is more important than 3.

image sequences or juxtapositions on a


secondary axis (organized via secondary/
tertiary priorities such as medium, temporality,
geography). Scale, cropping and other tools can
be used to emphasize certain details over others to
construct these sequences.

2: Create a formal visual structure that can

organize the images on a compositional


level. A transition in the formal structure will
occur on an axis. (For example, the Toyota
HiLux will rotate in angle from left to right.)
These horizontal axes will serve as aesthetic
reference points -- visual latitude lines.
(For example, the equator could be the
truck imaged through advertising aesthetic
standards).

Pro-Am Aesthetics
CGI
Aesthetics

Amateur shots

1. A core visual/linguistic
category. (For example
Toyota HiLux)

Commercial aesthetics

Commercial aesthetics

Toyota HiLux

Toyota HiLux
profile shots

Toyota HiLux
Rear shots
CGI Aesthetics

Toyota
HiLux
profile shots

Toyota
HiLux Rear
shots

Emergent Permutational

CGI Aesthetics

Toyota HiLux
left shots

Toyota HiLux
Rear shots

Commercial
aesthetics

Emergent Permutational Axes

Bibliography
The technical images are surfaces that function the same way as dams. Traditional
images flow into them and become endlessly reproducible: They circulate within
them (for example in the form of posters). (Flusser 19) Towards a Philosophy of
Photography
The significance appears to flow into the complex on the one side (input) in order to
flow out on the other (output). (Flusser 16) Towards a Philosophy of Photography.
Flusser, Vilem. Towards a Philosophy of Photography. Reaktion Books. 8-20.

The easiest way to imagine the future of writing, if the present trend toward a culture
of techno-images goes on, is to imagine culture as a gigantic transcoder from text
into image. It will be a sort of black box that has texts for input and images for output.
(Flusser 65)
Flusser, Vilem. The Future of Writing. Minneapolis, Minnesota: University of Minnesota
Press, 1984. 63-116.

Information is a synthesis of prior information. (Flusser 89)


Flusser, Vilem. Into the Universe of Technical Images. Minneapolis, Minnesota:
University of Minnesota Press, 2011. 2-22; 86-107.

Parr, Adrien. The Deleuze Dictionaryi. Edinburgh University Press, 2010.