The Production of Production

The World Generator / The Engine of Desire (the title of my techno-poetic mechanism) seeks to function as a meta-desiring-machine. A desiring-machine that enables the mindful observation of its own operation. The user of the system engages with the interface, making specific choices in relation to media-elements and processes. Their energies of engagement bring about a change in the environment, which is communicated as an energy flow of light and sound, back to that user. The construction of the virtual world is a specifically framed "production of production" which enables one to observe those processes of production in an experiential manner. This techno-poetic mechanism and additional textual information (as in this paper) seek to entertain the salient characteristics that are engendered through the intermingling of a particular 'abstract machine' with an operational one. As stated earlier, the production that engenders this virtual world, does not value text over the languages of image or sound. I am exploring a "multiple-media-element" machine of production. Deleuze and Guattari suggest the following about this:

A regime of signs constitutes a semiotic system. But it appears difficult to analyze semiotic systems in themselves: there is always a form of content that is simultaneously inseparable from and independent f the form of expression, and the two forms pertain to assemblages that are not principally linguistic. However, one can proceed as though the formalization of expression were autonomous and self sufficient. Even if that is done, there is such diversity in the forms of expression, such a mixture of these forms, that it is impossible to attach any particular privilege to the form or regime of the "signifier." If we call the signifying semiotic system semiology, then semiology is only one regime of signs among others, and not the most important one. Hence the necessity of a return to pragmatics *[see note at end of document], in which language never has universality in itself, self-sufficient formalization, a general semiology, or metalanguage. Thus it is the study of the signifying regime that first testifies to the inadequacy of linguistic presuppositions, and in the very name of regimes of signs. (Deleuze and Guattari, 1987, p. 12)

In seeking to examine technological media-environments, the expression is simultaneously "inseparable from and independent of the form of expression." Engagement with the techno-poetic mechanism appears quite natural and intuitive yet it is brought about through a complex "assemblage" of hardware, data-projector, audio amplifier, computer code, media-authorship and the interaction of the viewer/user (vuser - pronounced views-er). The "mixture of forms" that arises out of this complex "machinic" environment transcends the complexities that can be addressed by textual language. Thus we have fused the notion of the "abstract machine" with an operational one. I have generated a "pragmatic-machine."

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