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(e)mergence

by
Ana de Lancy Terry
Dissertation submitted in partial fulfllment of the requirements
for the degree of Master of Fine Arts in the Dunedin School of Art at Otago Polytechnic, New Zealand.

Supervisors: Susan Ballard, Clive Humphreys and Bridie Lonie
Many thanks to Don Hunter, Margaret Hunter, family, friends, and the Otago Polytechnic
and staff who supported this project.

May 2011
contents
Island Corridors - Introduction 1
Essay 1: Stratifcation / Archive 10
Essay 2: Gaps / Discontinuity 19
Essay 3: Edges / Outlines 27
Essay 4: Events / Assemblages 36
Essay 5: (e)mergence 46
Midden - documentation 56
1 I S L AND COR R I DOR S - I NT R ODUCT I ON
Island Corridors - introduction
This dissertation is an inventory of three projects and their processes. I adopt archaeological
and geological models to discuss methods in both thinking and making. This methodology
offers an interdisciplinary framework for surveying, excavating, analysing and articulating
which focuses on the relationships within the projects and between the projects. The writing
and researching for my dissertation has (re)activated earlier projects revealing parallel and
simultaneous connections between projects rather than discrete events.
Simon OSullivans Art Encounters: Deleuze and Guattari has supported and informed
my approach. OSullivan demonstrates how an art practice can engage with Deleuzian
and Guattarian theory. He experiments with the notion of deterritorialisation by applying
Deleuzian concepts to various art encounters.
1
This model has provided tools to imagine
topographies that map coincidences, fnd variation and initiate future possibilities.
Additional to this seminal text are readings from various sources and disciplines that support
an interconnected way of managing dispersed territories.
I have worked with an archive of video recordings of process and product, photographs,
models and remnants from studio work and writing during this period. The archaeological
process provides an opening of possibilities rather than a reduction of the material in the
form of a re-presentation of old ground. Foucault argues for archaeological processes that
do not historicise material but instead map[-] the temporal vectors of derivation.
2

Applying Foucaults concept of events becoming nodes within a broad network these
projects then operate as both arrival and departure points. This document becomes a
provisional mapping of my ongoing arts practice where projects interlace and extend
into other territories. The methodology emphasises reviewing and expanding my practice
through the re-covering of the material that the extended duration of my MFA has by
default produced.
My practice and writing articulates two movements; the verticality of archaeology and
the horizontality of a plateau.
3
The former movement is a surveying, both empirically and
abstractly, of the archive of material and ideas developed during my MFA, and the later Detail of dissertation map of islands & corridors, 2010
2 I S L AND COR R I DOR S - I NT R ODUCT I ON
provides a phenomenological space from which to consider the projects explored through
my making and writing. Media theorist Siegfried Zielinski has also informed this approach.
His research is divergent and includes processes found in paleontology, archaeology
and genealogy. He favors a concept of variantology for research which asks after the
developments, turns and leaps and uses a method of fortuitous fndings.
4
Three projects have been developed and two exhibited to date; Wall Stories (Forrester
Gallery, 2006), terra_data (Hocken Gallery, 2007-08) and Midden (2011) that will be
exhibited at The Green Bench in Whanganui, in 2011. To orientate the reader I introduce
these projects chronologically. The fve essays following this introduction explore the
non-linear processes of my practice in both content and construction. Essays One to Four
explore earlier theoretical and philosophical frameworks through which I review each of
the projects and their connections. The fnal chapter concludes with a current model that
provides a resolution to the incommensurability of the prior essays.
The frst project, Wall Stories (2006), was a site-specifc work involving the local
community that explored the histories of a room at the Forrester Gallery in Oamaru.
The gallery, formerly a commercial bank built in 1897 in the grand neo-classical style of the
time, had served as a bank and managers residence for nearly a century until 1981 when
it was refurbished into the Forrester Gallery and opened in 1983. I had visited the gallery
several times and was compelled by the atmosphere of the space redolent with histories,
real and imagined, of its previous function as a domestic space within a commercial
context. In discussions with the exhibitions manager it was revealed that the room was
about to be stripped of its jute walls and relined. I submitted a proposal to create a site-
specifc project involving the community timed before the gallerys refurbishment.
Over a two-week period I worked onsite with members of the public in creating a sculptural
installation that developed into an interpretation of an archaeological dig through the
reconfguration of the jute material of the rooms walls. This fabric, more commonly known
as burlap or hessian, drew on associations further afeld suggesting the dwellings of those
who contributed signifcantly to the early wealth of Oamaru. Builders of the homes and
3 I S L AND COR R I DOR S - I NT R ODUCT I ON
shelters of the early settlers and gold miners in the Waitaki Valley used jute often recycled
from tow sacks into structural applications in building and as a ground for wallpaper.
And in harder times jute sacks were used as clothing during the sugarbag years
5
of the
Great Depression (1930s). With these references in mind the materials current use as
the gallerys wallpaper was paradoxical in terms of its previous occupants; this material
registered the laboring hands of the booming Waitaki economy not the white-collar families
who once occupied the room.
The jute clad room became an excavation site; the walls covering was pulled off and
pegged into the carpet like a tent referencing the make-shift dwellings of the settler,
the surveyor, the gold miner and myself as itinerant artist working at the site. While
the shrouding of the architectural features and domestic objects implied both the
transportation of these commodities intertwined in the manual labour of productivity. As
the jute subsumed the sculptural forms it also provided the ground for a wallpaper pattern
embroidered by others and myself into the material. The red silk repeat was stitched into the
walls in irregular patches and connected by lengths of thread. A low volume sound track of
cicadas was played through the ceiling medallion.
The second project, terra_data, further explored found materials and histories using
archaeological strategies and geological references. Similar to Wall Stories the project began
through a response to a site. The Hocken Pictorial Archives specifcally the material and
its confguration in the stack were the projects point of inception. Confronted by the
archive as both space and an object in space my impressions were of vanishing points and
stratifcation in the paintings arrangement on sliding racks. Contrary to the librarys stillness
the corridor of vertically stacked images suggested, as in Virilios term, a dromoscopic
6

experience. Virilio invents the word dromoscopy to describe the motorists consumption
of the landscape through a series of vanishing points created by the parallel borders
of a highway. I tested this phenomenon through the cutting up of landscapes and their
undulating vertical arrangement. The pattern created the rapid and strobic effect as if
viewing the landscape from a car window. Landscape paintings selected from the archive
4 I S L AND COR R I DOR S - I NT R ODUCT I ON
stack were photographed, digitally reproduced and then cut into vertical strips.
Through cutting down and remixing processes the boundaries of the frame were removed
and the previously discrete visual information became entwined with other frontiers.
An abstraction of the material was created by slivering landscapes into core samples of
stratifed colour and texture. Through the re-ordering of the images I became interested
in the mix of recognised landforms and forms beginning to dissolve in the pattern. This
developed into a continuous wall work that surrounded the viewer at eye level and
referenced several visualising techniques and devices including the panorama and the
stroboscope. At one point along the work a small bird camoufaged against landscape
behind could be discovered while its counterpart, an identical bird painted in primer white
sat exposed in the middle of the foor of the gallery space. The camoufaged bird, similar
to the shrouded pieces in Wall Stories, was experimentation into the affect of discovery
much like the surprise of recognising the cusp of a coin in an archaeological dig. One
of my concerns with this project was its potential to slip back into the well-worn groove
of critiquing of landscape painting and the equally fashionable critique of the archive.
While I will not deny this is a register in terra_data it was not my primary concern. This
project became an archival impulse
7
to generate something beyond but in relation to the
boundaries of the Hocken Archive; the archive became a point of departure. The fnal wall
work was installed in one of the end galleries of the Hocken Collection Gallery.
The third and fnal project, Midden, is a sculptural installation developed through the
continuation of archaeological and geological methods. This involves mining, sorting and
building with jigsaw pieces into artifacts of these processes. Some objects are built on
appropriated forms from prior projects and others are combined into new elements. I am
undertaking a residency at the The Green Bench to build and install the work. While the
space will have its own infuence on the installation in terms of formal aesthetics, Midden is
not a site-specifc response.
Middens are indications of human settlement in a particular place and times established
through analysing where the artifacts sit in the strata. In the context of this fnal project
5 I S L AND COR R I DOR S - I NT R ODUCT I ON
the use of the title midden indentifes the layering of material made up of many parts
and places. The mixing of other landscape puzzles explores the mobility of information
technology that is not located in one place locations are virtual. Midden takes the form
of a sample of a larger network. Like an archaeological cutting the section presents a core
sample of a moment in time and space. The colours, textures and shapes of the jigsaw
pieces are used to camoufage and defne simultaneously. Objects emerge and disappear in
the pile as the viewers perspectives change as they move around the work. This morphing
of form and surface explores the malleability of digital media as data streams and pixellates
into three-dimensional form. The assemblage becomes a cache of material made of up many
parts that could at any time re-orientate themselves into another form.
In the following fve essays I defne the three projects as islands, as temporal moments
that I discuss in terms of research and making and then explore the edges of its territory
into the next body of work(s). I give equal weight to the projects exhibited state and the
processes that have developed between projects in effect this is a de-centering of the
islands and a process of becoming more attentive to the spaces in between projects and
how they function as littoral corridors. The excavating of the interstitial blanks
8
and spaces
between one project and the next reveal crucial processes such as developing criteria,
evaluations, and boundaries that organise the material.
The dissertation takes the form of bandwidths of research, writing, making and ordering.
It is my intent to allow this movement of ideas and material from variable sources and
disciplines to manifest physically in the published document. Much like isomorphic
processes I have discovered a mapping between objects and events that have developed
into a series of essays that form adjacencies. I liken this process to Manuel De Landas
discussion of how material can be sorted through a geological framework that is a non-
linear and dynamic system.
9
De Landa proposes a double articulation that transforms
structures on its own scale into structures outside of itself.
10
This concept reinforces
and informs the tensions and movement between and around the projects or islands
undertaken and the structuring of the dissertation.
6 I S L AND COR R I DOR S - I NT R ODUCT I ON
The interconnected essays undertake a process of re-discovering and uncovering of
primary research both in studio practice and through documentation of the works in
their exhibited state while applying this methodology to the new material surfacing in my
research and writing. This writing then, offers a series of waypoints that also engage with
the work of other artists. Importantly, the selection and ordering of material in each essay
is arbitrary as with any criteria process of archiving the discussions could move into
another essay(s) and in some instances do. Dismantling structures, slicing and de-coding
information, and remapping are part of the process of art making, thinking and being.
This way of re-working the material is an attempt to fnd an equilibrium between the
projects in themselves and what has been edited out, displaced or marginalised during the
process. I am interested in the materials that continue to accumulate and move behind the
fnal object, writing or event.
Each essay negotiates concepts alongside their application in my making in both process
and the object(s) themselves. In effect the following essays: Stratifcation, Gaps, Edges,
Events and (E)mergence are strategies I think with and use as processes, formal elements and
confgurations.
The frst essay begins with a discussion on the processes of stratifcation akin to the
gathering of material in an archive and how I use this in my practice. The essay explores
ways of working with archival material that resist linearity. Important to my argument
are Deleuze and Guattaris discussions on negotiating stratifcation processes that
necessarily give both a solid base and freedom of movement. Discussed also is Foucaults
poststructuralist treatise on traditional Western models of archiving, ordering things and
evaluating processes. Foucaults discourse has prompted me to attend to the sub-stratum or
unformed materials and processes around my projects that are often relegated to the edges
of my practice. Stratifcation processes are further discussed applying Manual De Landas
geomorphic analogies to explore the non-linear double articulation of material and how
intervals operate in an arts practice as discussed by Simon OSullivan.
Essay Two explores the in between spaces OSullivan posits as necessary for the arts
7 I S L AND COR R I DOR S - I NT R ODUCT I ON
and an art practice. I discuss the hiatuses in my practice and my apprehensions of these
spaces. This essay sets out to unhinge this judgement by discussing the intrinsic compositional
relationships of gaps/intervals in writing, music and the visual arts. These positive and
progressive examples of spatial variation then provide a holding pattern to discuss the use of
intervals in my practice. During this writing I become interested in the edges between things.
In Essay Three I attend to the liminal spaces of edges and outlines through an island
metaphor to demonstrate how these are deployed in my arts practice. Deleuzes writing
on islands supports my own experiences of islands and littoral zones. The islands edges
become a conceptual tool to considering these as provisional spaces for exchange,
departures and returnings. In an arts practice these spaces are what Massumi describes as
seeping edges as spaces for transformation. OSullivan pursues this line of thought and
proposes artists should work along this edge to create new worlds and possibilities artists
and audiences alike need to leave their familiar territories to grow creatively.
Having scoped the amorphous territory of edges Essay Four hones in on events/
assemblages and their affect and deployment. Here I return to the geological archive and
stratifcation as conceptual, philosophical and phenomenological tools. I examine the
moment in time where the coalescing of material and ideas form both an artwork and
an event-sense as defned by Deleuze and Guattari. My discussion on assemblages and
working with them as a process is supported by Groszs argument for a mapping of these
events through a practice that maintains a vitality and openness to other propositions.
I extrapolate Tuftes visual explanation of an event occuring between things and actions,
albeit temporarily, in the continuum of living and making work. Supporting these
arguments I demonstrate that events that occur through assemblages are equally active and
participatory for the maker and the viewer. The synergy of materials and ideas that produce
an event are subjective for both the artist making the work and the audiences experience
of it. The temporal nature of the event is further explored through Staffords discussions on
physiological experience of compressive compositions and feeling thought processes.
8 I S L AND COR R I DOR S - I NT R ODUCT I ON
(E)mergence, the fnal essay, provides ways of cohering the incommensurability of the
parts that make up the whole project. Here I explore the processes and outcomes of the tacit
sensations and empirical knowledges activated through art encounters. These I consider
through a blend of phenomenological, philosophical and physiological models that grapple
with sensation and reasoning (the logic of sensation
11
). I discuss the grafting of the
corporeal and logical through experiencing art and techniques I deploy in my practice.
These strategies include immersive installations, camoufage and haptic visuality that
produce states of merging and emerging.
9 I S L AND COR R I DOR S - I NT R ODUCT I ON
1 Simon OSullivan, Art Encounters Deleuze and Guattari (Hampshire:
Palgrave Macmillan, 2006).
2 Michael Foucault, The Archaeology of Knowledge & The Discourse of
Language. trans. A.M. Sheridan Smith (New York: Pantheon Books, 1972),
168-169.
3 Siegfried Zielinski, interviewed by David Senior, trans. William Rauscher,
Rhizome. April 7, 2006. Accessed 2/4/11. http://rhizome.org/discuss/
view/20967/.
4 Ibid.
5 Tony Simpson, The Sugarbag Years (Wellington: Godwit, 1974).
6 Paul Virilio, Dromoscopy, or The Ecstasy of Enormities, Wide Angle, 20
(1998): 1122.
Virilio discusses the violent nature of crashing data against the windscreen
as one vanishing point is superseded by the next. Virlios occulocentric
experience of consumption of the landscape at speed is always through
a screen and creates what he calls, an accident of the body, a de-
corporation.
7 Hal Foster, An Archival Impulse, October, Vol. 110, (Fall 2004), 3 -22.
Foster discusses artists who use archives beyond a critique of the archival
system.
8 Michael Foucault, preface The Order of Things: An Archaeology of
the Human Sciences, (New York: Random House, 1970), xv xxiv.
Accessed 1/4/11. http://serendip.brynmawr.edu/sci_cult/evolit/s05/
prefaceOrderFoucault.pdf.
Foucault uses this anatomical analogy to discuss what is contained inside
language and what is left out or in the case of classifcation and ordering
of seemingly disparate entities the propensity to compare what something
is not as the other which is demoted and marginalised.
9 Manuel De Landa, A Thousand Years of Nonlinear History (New York: Zone
Books, 1997).
10 Ibid., 59-62.
Nonlinear replaces the tradition of telling histories chronologically.
De Landa reframes history through a series of extended metaphors that
weave biology, geology, and linguistics to human history. De Landa uses
the Deleuze and Guattari notion of abstract machines or engineering
diagrams to sort through the workings and hierarchies in social structures
and genetic evolution.
11 Maurice Merleau-Ponty, The Primacy of Perception, ed. James M Edie,
trans Carleton Dallery, (Evanston: Northwestern University Press,
1964). Accessed 5/4/11. http://www.biolinguagem.com/biolinguagem_
antropologia/merleauponty_1964_eyeandmind.pdf
S T R AT I F I C AT I ON / AR CHI V E 1 0
ARCHIVE / STRATIFICATION
During our lifetime we accumulate artifacts and processes. These materials, experiences,
ideas, conversations, objects, accumulate into strata. This stratifying archive is continually
growing, in fux and open to excavation.
I am using stratifcation as both a methodology and metaphor for making and
conceptualising. I suggest this tool provides a system of collecting material that then can
move between the layers. If we consider the strata we live on and in, in the form of the
earthly archives beneath our feet, and the stratosphere around and above us, dynamic
processes at micro and macro levels are revealed. Materials move through the strata
colliding with other materials and ideas that then distil into other potentials ad infnitum.
Each stratum and its content are temporal as it changes over time in terms of composition
and combinations. These variables occur as more material is collected and comes in contact
with what has already been gathered. The processes and materials, forming layers, articulate
themselves onto one another in much the same way as Deleuze suggests, the world is
made up of superimposed surfaces, archives or strata.
1

In practice I use stratifcation as a schematic and technique. I do this by referring to forms
of strata through methods of revealing and concealing. For example, in Wall Stories jute
shrouded objects were submerged into the walls suggesting an archaeological dig these
forms waxed and waned in a lateral stratifcation.
In Midden the stratifcation of jigsaw pieces form imagined archaeological artifacts made
up of layers of visual information. These objects in various states of accretion and erosion
recall the bitmapping of data on a computer screen while imagining the unfathomable
layers of digitised information making up our virtual worlds.
In some instances I use stratifcation as a trope that exposes the ordering and hierarchical
qualities of strata. In terra_data I wedged apart the archival origins of the images by
infltrating the Hocken Collection with outsider landscapes, gleaned from second
hand dealers and Trade Me. The strips of images reduced to core samples mingled with
Detail of chair, Wall Stories, 2006, Forrester Gallery.
S T R AT I F I C AT I ON / AR CHI V E 1 1
other territories alluded to how information could be manipulated through the process of
classifying and ordering.
I suggest these stratifying methods of exploring these ideas and material through
confguration and associations are analogous to Foucaults use of archaeological strata.
While Foucault does not use the term strata in terms of literally excavating he uses it to
expose the hierarchies that defne history and organising levels of discourse. Foucaults use
of the term strata becomes a metaphor to describe traditional models of analysis in writing
history as linear movements of accumulation and slow saturation, the great silent motionless
bases that traditional history has covered with a thick layer of events.
2
Foucault critiques the
making of history with an emphasis on the conditions surrounding the strata and its unseen
discourses that defne boundaries and content. He suggests that These tools have enabled
workers in the historical feld to distinguish various sedimentary strata: linear successions,
which have so long been the object of research.
3
What he exposes is that the strata of
history is continually surfacing, being re-evaluated and interpreted, taking on new meanings
in the light of new events. His archaeological method of stratifcation reveals multiplicities
through examining the matrix of the strata that forms / informs the historical artifact. Similarly
I explore the surrounding associations of this structure to see what I can deploy at its edges,
in the gaps, and through its manipulation. My agenda is not to destroy the strata but rather
an exploration of its possibilities. I believe also that without its structure chaos would ensue;
strata provide a temporal scaffold of ordering.
A stratifed platform gives both order and mobility necessary to thinking and making.
As Simon OSullivan proposes, art practice is not, and cannot be, a wild
destratifcation.
4
Drawing directly from Deleuze and Guattari OSullivan argues that,
staying stratifed organized, signifed, subjected is not the worst
that can happen: the worse that can happen is it you throw the strata
into demented or suicidal collapse, which brings them back down on us
heavier than ever.
5

S T R AT I F I C AT I ON / AR CHI V E 1 2
Deleuze and Guattari suggest that stratifcation allows potential through what they term
lines of fight. However, before we can take fight we need a consolidated base to
work out from and against within the strata. Deleuze and Guattari provide an instructive
proposition. They write:
This is how it should be done: Lodge yourself on a stratum, experiment
with the opportunities it offers, fnd an advantage point on it, fnd
potential movements and de-territorialisation, possible lines of fight,
experience themhave a small plot of land at all times. It is through a
meticulous relation with the strata that one succeeds in freeing lines of
fight.
6
I suggest this strategy is analogous to the navigation of an aircraft. The emphasis on plot
registers an altitudinal holding pattern
7
that provides a structure and freedom of movement
at the same time.
I use holding patterns between the stratifcation / archive as I move laterally, horizontally
and bi-laterally to create pathways rather than absolute origins.
8
This strategy has also been
informed by Foucaults critique of historical systems of classifcation.
In the book The Order of Things; An Archaeology of the Human Sciences Foucault uses
Borges fable about a certain Chinese encyclopedia to dismantle the western orthodox
ordering of things through systems of thought.
9
Foucault suggests the only thing that holds
the otherwise disparate order in Borges menagerie is his assigning the divisions to our
alphabetical order essentially the non-place of language binds it together. Foucault
believes Borges has dismantled the site or the operating table and in doing so has opened
up alternatives in the ordering of things and their associations.
In this writing the non-place of language allows the movement and excavation of
the material to be discussed as both methodology (processes) and artifact (actual things).
Performatively this also takes the form of establishing waypoints from one essay to another.
These links map the stratifcation within the document; where ideas are explored through
different reference points and models.
S T R AT I F I C AT I ON / AR CHI V E 1 3
Scratching around in stratifed material is very much a part of my history. My archaeo-
logical impulses developed during my childhood living in the Middle East. In between my
fathers tenuous tours of duty as a United Nations observer on the Golan Heights and Gaza
Strip, weekends were spent with the family visiting archaeological sites and coin hunting in
both Israel and Syria.
Many hours were spent among the ruins and banana plantations looking for coins,
pottery shards and fragments of oxidised glass surfacing through the layers of earth.
Surveying, excavating, and piecing together fragments have informed my making and
thinking processes.
In Wall Stories archaeological methods were used in primary research of the space,
the material in and on the walls, library research, interviewing the public and through
community involvement. I worked to uncover these histories at the same time as working
to remake new stories. The jute skin of the walls like the ground for layers of wallpaper
became the substrate for the construction of an imagined space that became an excavation
site. Meanwhile a stratifcation of registers emerged to connect outside the gallery space
with other territories. When I frst visited the site, I made notes about what I saw:
Notes from workbook 3/3/06
In the far northern corner of the room, adjacent to the ceiling, folds
of wallpaper sags like skin, pulling away from the wall where the rain
seeps through the slowly eroding exterior limestone walls. With every
prevailing northerly, this bulge persistently challenges the desired
hermetic interior of a gallery space. While the lifting paper offers no
palimpsest, it suggests many. It provokes a desire to connect with the
past histories of the room and with associations further afeld.
It seems that edge of culture and nature meet in the corner of the room.
The buildings antiquarian and monumental exterior suggests an eternal
solidity yet the details of its erosion bely this promise.
The ruins of a Cananite City, Achzib, 1971. (Photo Philippa Terry)
Banana plantations, Caesarea, 1970. (Photo John Terry)
S T R AT I F I C AT I ON / AR CHI V E 1 4
Layers of history felt compressed within the walls and images of the re-furbishing of the
room into a gallery space in the 1980s confrmed this through the layers of wallpaper.
I responded to the layers by using layering as an intimate process of creating an imagined
interface between myself and the bodies and objects that previously inhabited the space
and associations beyond the gallery. The walls shrouded in jute cladding and the screened
windows suggested a moment of interiority and suspension of time. However the external
world and its continuum was never that far away; time permeated the space through
external sounds the chime of the town clock, sunlight, smell, water seepage and the noise
and presence of bodies encountered during the project. Attention to these continuities
eroded any possibility of stasis and fxed-ness. The gallery space was in a constant state of
becoming as layers of materials, smells, sounds and associations both inside and outside the
walls added to the strata. Other places and times were visited during this project. Journeys
were made while working in the space commuting between Dunedin and Oamaru and
in the form of memories into the interior of the Central Otago. Conversations with those
who volunteered in making the work also contributed to this accumulation of material.
This layering of material found and imagined in the room led to an archive of ideas and
associations. I approached the material on site from both an empirical and refexive process
to explore what could be embedded in a site. This developed into a phenomenological
engagement with the montage of feldwork, biographic and narrative styles in what
Nadia Seremetakis describes as sensory archaeology.
10
This refexive process opened
up an ongoing narrative within and around the project, rather than simply presenting a
recreation of the past under the traditional convention of archaeological practices.
11

Notebook, May 2006
Unlike the archaeologist, who traditionally would shift the recovered
objects from their context, sorting them into generalised categories and
spatial containment and thereby repressing their sensory engagement,
the objects I am working with are integrated into the substrate and sit
between process and display, while encouraging tactile involvement.
Wall detail of the master bedroom about to be renovated and
relined with jute, Forrester Gallery, Oamaru, 1984.
S T R AT I F I C AT I ON / AR CHI V E 1 5
Miwon Kwon discusses the temporary aspect of current site-specifc
practice, where the work no longer seeks to be a noun/object but a
verb/process ... a specifc relationship between an art work and its site
is not based on a physical permanence of that relationship but rather
recognition of its unfxed impermanence, to be experienced as an
unrepeatable feeting situation.
12

This refexive approach activates the material we work with in the
archives of experience and materials that are stratifed and amassed
over time. Used as a conceptual tool stratifcation moves above, below
and around the artist it is informed and formed by experiences and
memories gathered over a lifetime.
I once asked a writer how she developed her stories and she described the sense that the
material was moving above her as if in a bandwidth fowing over her head. This material
became available to her once she began to write. John Cage, infuenced by eastern
philosophy, similarly summarises this idea: In India they say that music is continuous;
it only stops when we turn away and stop paying attention.
13
I suggest that paying
attention is about a moment of potential wherein a connection is made to the strata of
material resulting in an assemblage formed of these parts. Edward Tufte calls this moment
a confection the active coalescing of verbs and nouns into an event.
14
Tufte uses
Salman Rushdies novel Haroum and his Ocean of Stories
15
to illustrate the multiplicity of
possibilities present at any given time along the stream of stories or between strata. These
possibilities are all around us and there are as many different strategies of accessing it,
as there are subjects.
16
The relationships between the strata of material are what inform the
idea and projects being developed.
Deleuze and Guattari discuss this space as the inter-relationships between the strata.
They describe the dynamic process of stratifcation in terms of the relationships between
the strata forming into substratum. In Deleuze and Guattaris geological stratum crystalline
S T R AT I F I C AT I ON / AR CHI V E 1 6
formations are used to explore this concept of inter-relationships between the layers of
strata. They suggest that a amorphous milieu provides substance and action for the crystal
to interiorize and incorporate its masses of amorphous material. There is an aptitude and
fexibility in the crystals ability to switch from one organization (or strata) to the other.
The exchanges that occur within stratifcation increase the number of connections and
possibilities at each level of division or composition.
17
Deleuze and Guattari describe
these processes in around and between strata and stratifcation as abstract machines that
activates something beyond the actual art object. If we think about art as a machine then
it suggests a shift in thinking from attending to what is the meaning of art to what art can
actually do. This occurs beyond the art making into the audiences experience of the work.
What Deleuze and Guattari are suggesting is that the stratifcation of material and concepts
in both making and encountering artwork has the potential to generate abstract thinking
and other potential worlds, or in Tuftes terms confections. This process of fnding and
activating the inter-relationships between the strata of material and ideas in my practice
occurs through collecting, excavating, and the layering of the material.
In the terra_data project, re-organising the strips of landscape based on composition,
content and colour rather than authorship diffused traditional archival systems. These
processes of re-stratifying of contours of information activated the sediment of the archive
and explore Deleuze and Guattaris concepts of mobility between the layers of strata
and the articulations of content and articulations of expression.
18
A mapping occurred
between strips of landscape that formed a continuous terrain made up of over forty
landscapes. I became interested in a whole landscape forming made up of many landscape
parts tethered along a sky-line featuring in each strip. The work segmented and then
united as one core sample buffered up against another territory. The rhythm created by the
stratifying of visual information registered the geomorphic processes discussed by De Landa
in A Thousand Years of Non-Linear History.
19

De Landa proposes a non-linear sorting system in recounting histories. He does this
by
.
applying Deleuze and Guattaris geo-philosophical models to discuss the processes of
Bundles of cut up landscapes, work in progress, 2007.
S T R AT I F I C AT I ON / AR CHI V E 1 7
erosion of a mountain and the dispersal of its rocky material down a river. He suggests the
river acts as a hydraulic computer or a sorting machine.
20
As a pebble tumbles down the
riverbed its materiality changes form through the fow, depth, speed of the water, eddies,
and the other bits and bytes of material it encounters. De Landa explains that the pebbles
progressive alterations are not a closed system. As the pebble progresses there is dynamic
feedback between its material and movement in dialogue with other pebbles, the river and
the river bed. The pebble, like a piece of data, impacts upon the river system and vice
versa. He refers to Deleuze and Guattaris double articulation that transforms structures
on their own scale into structures outside of themselves at their edges. These isomorphic
processes informally generate a temporal and non-linear mapping between objects.
21

The mapping processes between things in a stratifed system are continuous and infnite.
The material(s) and idea(s) are activated through stratifcation processes. This refexive
strategy provides both the stability and fexibility necessary for ideas and projects to develop
in my practice. In effect I am stratifed and stratifying; I am the subject of the archive, the
archivist and the creator of an archive.
S T R AT I F I C AT I ON / AR CHI V E 1 8
1 Gilles Deleuze, Foucault, trans. San Hand (London:
Continuum, 1999), 98.
2 Michael Foucault, The Archaeology of Knowledge, trans.
A. M. Sheridan Smith, (London: Tavistock, 1972), 3-4.
3 Ibid.
4 Simon OSullivan, Art Encounters Deleuze & Guattari
(Hampshire: Palgrave Macmillan, 2006), 33.
5 Gilles Deleuze & Felix Guattari, A Thousand Plateaus,
trans. Brian Massumi (London: Continuum, 1987), 161.
6 Ibid.
7 A holding pattern is calculated and monitored through a
process of trigonometry that requires fxed geographical
points while the aircrafts fying position is provisional.
8 Hal Foster, An Archival Impulse, October, Vol. 110, (Fall
2004), 3 -22.
Hal Foster discusses the notion of an archival impulse
in the work of Thomas Hirschorn, Tacita Dean and Sam
Durant. Foster suggests these artists are concerned less
with absolute origins than with obscure traces being drawn
to unfulflled beginnings or incomplete projects in art
and in history alike that might offer points of departure
again.
9 Michael Foucault, preface The Order of Things: An
Archaeology of the Human Sciences (New York: Random
House, 1970), xv xxiv. Accessed 1/4/11. http://serendip.
brynmawr.edu/sci_cult/evolit/s05/prefaceOrderFoucault.
pdf.
10 Nadia C Seremetakis, The Memory of the Senses:
Historical Perception, Commensal Exchange and
Modernity, Visualising Theory: Selected Essays from V.A.R.
1990-94, ed. Lucien Taylor (New York Routledge, 1994),
226.
11 Ibid.
12 Miwon Kwon, One Place After Another: Site Specifc Art
and Locational Identity (Cambridge: MIT Press, 2002), 24.
13 John Cage in conversation with Michael Zwerin (1982),
cited in Kostelanetz 1988. Accessed 4/4/11.http://www.
cobussen.com/proefschrift/300_john_cage/316_cage_and_
silence/316a_cage_white_mallarme_silence/cage_white_
mallarme_silence.htm.
14 Edward R Tufte, Visual Explanations (Conneticut: Graphics
Press LLC, 1997), 120-121.
Tufte uses the term confection to describe the coalescing
of elements and actions into an event.
15 Ibid.
16 OSullivan, 47.
17 Deleuze & Guattari, 553 -554.
18 Ibid.
19 Manuel De Landa, A Thousand Years of Nonlinear History
(New York: Zone Books, 1997).
20 Ibid., 60.
21 Ibid
1 9 GAP S / DI S CONT I NUI T Y
GAPS / DISCONTINUITY
The phrase mind the gap resonates for me, from my time as an underground commuter in
London twenty years ago. I was always intrigued by what seemed a paradoxical instruction
as the command drew attention to the vertiginous chasm between the train and the
platform.
In this essay I discuss the intervals and discontinuity in my practice in both compositional
terms and in my production over the last fve years. Attending to the latter is relevant to
reviewing my project in its entirety because I thought there was a hiatus in my practice
while living and working in Vanuatu. I have defned this discontinuity as an interval a gap
in my continuum of practice. In this essay I apply several philosophical concepts around
discontinuity in both spatial and durational terms that argue for the disruptive qualities of
intervals. It is in the state of teetering at the edge of the discontinuity in a continuum that I
begin my discussion.
On what basis do we defne discontinuity on the edge between subject and non-subject,
between gaps and non-gaps, between production and non-production? Like all categorising,
interruptions are defned under taxonomies constructed by dominant and oppositional belief
systems. There is a tendency to isolate gaps into binary terms something that is on or
off. Sadie Plant discusses this dualistic bind through zeros and ones suggesting the Western
legacy renders the gap (fgured as 0) to a fearful void not for the faint hearted.
1
This
negative space is apprehended as volatile and uncharted, a space of uncertainty.
However we understand negative space it exists in relationship to its positive
counterpart. This is clearly illustrated in compositional terms. The empty space around a
subject or detail in a repetitive pattern or within an asymmetrical composition is integral
to that which is positive space. The negative space is a spatial element that informs the
subject or pattern. The composition relies on a synergistic whole effect or gestalt of
parts.
2
The negative space, like a matrix, informs the subject.
The necessary compositional integration of opposites is also evident in music. John Cage
explored the interrelationships of silence and sound.
3
He began this analysis by thinking of
2 0 GAP S / DI S CONT I NUI T Y
intervals between sounds as a successive framework - that is, silence begets sound and
sound begets silence and so on.
4
Initially he defnes the material of silence and sound
along a one-point perspective that parallels the trajectory of a musical score.
While this is a useful example of the articulation of the two counter parts (sound and
silence) it denies the potential of the gap or silence to stand on its own. A profound shift
in Cages focus occurs when he attempts to isolate silence in order to extrapolate its
very essence. Here he attends to what is contained inside audible gaps in his Lecture
on Nothing (1950), and in compositions that are barely audible, such as Waiting.
5

In this silent piece, silence does not disappear when a tone resounds, rather, it
continuously resonates along with the tones.
6
Experiencing silence drew his attention
to the non-linearity and variance of overlapping of sounds; after-sounds mingle and
merge with present soundings. Cage was interested in what was resounding in an
extended interval he discovers with this a territory rich in aural material not a void.
These abstract pursuits of concepts of emptiness were also explored in the all-white
paintings of Robert Rauschenberg that infuenced Cages 433. Cage describes the
paintings metaphorically as airports for shadows and for dust, but you could also say
that they were mirrors of the air.
7
Rauschenbergs white canvasses resonate with the
material around them. Just as White Paintings serve as a surface for ambient light and
shadow, Cages 433 frames incidental sounds in the performance venue. These radical
works challenged audiences to navigate indeterminate visual and aural ruptures within
a highly visual and audio saturated world. Both artists explore the essential nature of the
gap through an emptying out and a reduction of stimulus in the work. These projects
were designed to lead to the possibility of a pure experience.
8
Confronted by the
silence the audience must slow down and actively contribute to the work. These two
examples have supported me in broaching what lies in perceived voids and recognising
how I use these spaces productively.
Intervals in my MFA project occurred in Vanuatu. These extended breaks ruptured my
previous pattern and speed of producing work. The island environment challenged my
2 1 GAP S / DI S CONT I NUI T Y
usual modus operandi; the heat and humidity, lifestyle and cultural differences generated
a slower pace and space for review of my practice. Slow walks and long swims were
ways I experienced the unfamiliar territories of the island environment. These new ways
of living and working allowed for the fruition of new processes, materials to work with
and thinking processes.
Simon OSullivan suggests that intervals used in an arts practice are an integral space
for creative emotion. In this space a slowing down occurs that prepares for creativity
and he stresses this is particularly relevant in our accelerated technological world.
9

Additionally one could argue that arts disruptive nature is to engage with something
outside of the mundane a necessary form of resistance to work times intrusion
(utility) into sacred time (play).
10
However, these spaces are not isolated, their unique
qualities are defned through their oppositional qualities. For example in Cage and
Rauschenbergs intervals of white canvas or silence we experience textural nuances
reliant on comparisons; variations of light and shadow and incidental noises. These
performative works give space for our creative interactions. They fgure the interval as an
event, as duration, a space in time that allows material and ideas to move freely.
Beyond the durational quality of the gap the spatial interval also exists at a molecular
level where physical spaces allow atoms to move, particles to fow and electrical
impulses to transmit. For example the synaptic gap is the biological space where
neurotransmitters travel; thinking becomes action and visa versa.
Barbara Maria Stafford presents a convincing argument where she corresponds the
bridging of these molecular spaces to our ability to bridge complex visual assemblages
such as heraldic coat of arms.
11
Here she describes how a monist mosaic of emergent
relations is formed within the gaps of disparately grouped symbols.
12
She proposes the
contextual gaps between the symbols stimulate the viewer to creatively bridge these
spaces in the same way information transmits across the synaptic gap. Neurological
pathways are continually being created through these intervals and in relation to these
spaces that stimulate our cognitive and problem solving abilities. She is interested in
2 2 GAP S / DI S CONT I NUI T Y
attending to the intersections and disjunctions through the experience of the intervals
between things. That is to say the gap is encountered in a phenomenological way where
thought can be felt.
13
I considered this proposition of feeling thought by mapping an abstract equation over
the gaps in a sculptural work by Tom Friedman, Untitled (1992).
14
The artist has drilled a
wooden chair with hundreds of holes. He seems to be testing the structure to the point of
collapsing at what point will the chair be consumed by the gaps or is there a possibility
for production through making holes? A beautiful paradox begins to creatively expand
my thinking about the spaces (gaps) when I consider Merger Sierspenkis equation.
15

This mathematical formula demonstrates how a solid 3-D object made hollow increases
its surface. As the holes are drilled into the chair its volume approaches zero and its
surface area approaches infnity.
16
As I imagine these holes opening into tunnelling
surfaces, sensations, informed by memories of emptiness and surface, help bridge these
gaps in my comprehension of the form. To grasp the concept that the holes in the chair
are generating a larger surface area while decreasing its volume is an idea that on many
levels defes logic and my understanding of the laws of physics.
Gestalt perspectives are also salient in comprehending the holey chair. The image
is created simultaneously by foreground and background. However the conventional
structure and lines of the chair are incomplete. Gestalt theory suggests disruptions
of form will force the viewer to either fll in the holes using memory or confront a
disconcerting void.
17
In both responses the audience is actively traversing the gaps
physically and mentally. Gregory Bateson discusses these as bridges between the levels
of mental computation that combine differences.
18
artistic skill is the combining of many levels of mind
unconscious, conscious, and external it not about expressing a
single level.
19
Returning to the intervals in my practice while living in the islands; my output and
public sites of engagement changed while living in Vanuatu. For example after having
Untitled, 1992, Tom Friedman.
(Image source: http://artcritical.com/2005/04/01/view-eight-a-few-domestic-
objects-interrogate-a-few-works-of-art/)
2 3 GAP S / DI S CONT I NUI T Y
a proposal accepted by the Vanuatu Cultural Centre I cancelled the exhibition.
While working with locals at the grass roots level of aid support the philosophical
and conceptual concerns I had come to Vanuatu with became strikingly irrelevant.
Furthermore the project seemed inappropriate in terms of the context of the museums
limited local community outreach and privileged patrons which are primarily the white
expatriate community. My interval in Vanuatu challenged me with vast differences that I
had to respond to politically, socially and physically. What this gap in my MFA initiated
was a form of resistance to my previous pattern of working. The interval mobilised other
ways of working which included tangents into timely and relevant community based
initiatives. Therefore the Vanuatu gap initiated variation and movement in my practice.
Understanding the qualities of interruption in my own going practice reveals patterns
of diversity. These spaces of difference fgure in my projects and writing. In each instance
the gap features as a dynamic space integral to the overall feld of relationships between
elements, form and actions.
For example typing performs this interplay of patterned gaps as I write there is a
space between my fnger fall and key board as there are spaces for thinking between
ideas and words. These internal and external intervals are becoming the moulding
material that forms the words and the typed text; like the counter and the stroke of the
letter o - one space informs the other.
The gap is not inert; it forms the pattern or rhythm of the whole. As Derrida posits the
active fgure is never one one cannot exist without another.
20
Doel shifts the binary
infexion further by offering the interval holds together differences, while maintaining
and affrming the dis-jointure of that which they articulate and express.
21
Like a hinge
that opens and closes spaces at varying degrees this kind of interval does not neutralise
variance through assimilation but provides manifolds of difference. This paradox is
important when considering the concept of inter-strata and Deleuze and Guattaris
double-articulation as discussed in Essay One.
22
Just as a matrix informs the artifact
2 4 GAP S / DI S CONT I NUI T Y
through geomorphic change, the artifact in turn informs the matrix surrounding it this is
an infnite articulation of possiblities.
23
Double articulation of the interval was explored in terra_data where one landscape
interrupted another. The alternating of one image against another created a rhythmic
on-off pattern. The entire work oscillated between the sense of one ongoing landscape
and a mixture of landscapes; homogeneity of different parts reliant on gaps to both bind
and then separate. The undulating fringe of strips of visual information un-forming and
reforming creates movement. The experience of this spacing demonstrates that intervals
in information create a dynamic pattern and the interval is substance.
24
Here Deleuze
and Guattari posit the gap creates a threshold where something can take place outside of
the ordinary, (forming the basis for rhythmic values).
25
Their focus is on the affect and
journeying through pattern rather fnite points of departures and returning.
Intervals used in composition in Wall Stories also explore thresholds. Gaps were
created through the non-placement of embroidered wallpaper motifs on the jute walls.
The composition played out several concepts; a mapping of colonization where the
islands of embroidery were plotted and then joined by a single thread; and horror vaccui;
a response to the rooms history in terms of the Victoriana propensity to fll interior
spaces.
26
The gaps in Wall Stories are active components that operate to rupture and link
simultaneously.
Similary spaces have been deployed in jigsaw experiments where fragmentation of the
puzzle create tensions between the whole being the sum of its parts and the parts being
the sum of the whole. For example I made a hole in a jigsaw box and built its interior
walls out of pieces to create an interior of stratifed information. This process explores a
way of fracturing the material using the spatial intervals as I bore down into the detail of
an imagined continuation of the image/surface. The cavity destabilises the jigsaws design
to ft together in a particular pattern that is two-dimensional. The gap is made up of
fragmented parts and the fragmented parts create the gap, which creates the (w)hole.
Marcus Doel suggests if we approach space as a verb rather than a noun then gap
terra_data, 2007, work in progress.
Wall Stories, 2006, installation detail, Forrester Gallery.
2 5 GAP S / DI S CONT I NUI T Y
is no longer one or the other, but spacing (differentials).
27
This is a post-structuralist
notion of space in which gaps become lived spaces rather than inert framed spaces. This
approach to variation resists the polarized limited binary formula of something being one
thing and not another. Intervals are spaces of difference in making, thinking, researching
and experiencing new territories.
The Vanuatu interval became a space of difference in the rhythms of my practice.
Furthermore when I consider this interval not in isolation but as a part of my ongoing
practice I can identify a pattern. That is the consistency of variation in my practice.
There is continuity in my engagement and methods used in each context, and the
differences are the outcomes the actual work made. Using this active approach, intervals
deployed as variances in an arts practice will create new forms and trajectories. Gaps and
intervals behave as parts and in the rhythm of a whole.
Creating holes with jigsaws, 2008.
2 6 GAP S / DI S CONT I NUI T Y
1 Sadie Plant, Zeros and Ones (London: Fourth Estate Ltd,
1997), 56-57.
2 Roy R Behrens, Art, Design and Gestalt Theory,
Leonardo, 31, 4 (1998): 299-303.
3 Larry J Somon, The Sounds of Silence, (1998). Accessed
22/3/2010. http://www.cobussen.com/proefschrift/300_
john_cage/316_cage_and_silence/cage_and_silence.
htm.
4 Ibid.
5 Ibid.
6 Ibid.
7 Ibid.
8 Joan Young, commentary on Robert Rauschenbergs
White Paintings Series (1951). Accessed 1/3/2011. http://
www.guggenheimcollection.org/site/movement_work_
md_Pop_art_133_1.html,
9 Simon OSullivan, Art Encounters Deleuze & Guattari
(Hampshire: Palgrave Macmillan, 2006), 45-47.
10 Ibid., 157.
11 Barbara Maria-Stafford, Echo Objects (Chicago:
University of Chicago Press, 2007), 48-49.
12 Ibid.
13 Ibid., 49.
14 Image Untitled (1992), wooden school chair, Tom
Friedman (London: Phaidon Press, 2001), 117.
15 Cited in Gilles Deleuze and Flix Guattari, A
Thousand Plateaus, trans. Brian Massumi, (London:
Continuum, 1987), 487. Accessed 5/4/11. http://www.
illogicaloperation.com/textz/Deleuze__Guattari-_A_
Thousand_Plateaus.pdf
16 Ibid.
17 Roy R Behrens, 299-303.
18 Gregory Bateson, Steps to an Ecology of Mind (Chicago:
University of Chicago Press, 1972).
19 Ibid., 439.
20 Jacques Derrida, Psyche; Inventions of the Other
Vol. 2, trans. Board of Trustees of the Leland Stanford
Junior University (Stanford: Standford University Press,
2008), 227. Accessed 5/4/11. http://www.scribd.com/
doc/32285599/Derrida-Jacques-Psyche-Inventions-of-
the-Other-Vol2
21 Marcus A Doel, Un-glunking Geography, Thinking
Space (London: Routledge, 2000), 123.
22 Gilles Deleuze and Flix Guattari, 502-503.
23 In archeological terms a matrix is the soil/material
that archaeological artifacts are surrounded by before
being excavated. A situation or surrounding substance
within which something else originates, develops, or
is contained: Freedom of expression is the matrix,
the indispensable condition, of nearly every form of
freedom (Benjamin N. Cardozo). Accessed 5/4/11.
http://www.nps.gov/history/seac/terms.htm#m
24 Deleuze and Guattari, 478.
25 Ibid.
26 The term Horror Vacuii, in the visual arts, is used to
describe the fear of empty space or voids. In this context
it is used to describe the suffocating atmosphere and
clutter of interior design in the Victorian age. Accessed
30/3/11. http://en.wikipedia.org/wiki/Horror_vacui. In
physics
27 Marcus A Doel, 125.
27 E DGE S / OUT L I NE S
EDGES / OUTLINES
In Gregory Batesons Metalogue: About Games and Being Serious a daughter asks her
father Why do things have outlines?
1
In reply her father extends this proposition by
asking do conversations have outlines? He proposes that you cannot see the defning edge
of a conversation while you are in the middle of it.
2
Bateson uses metaphor, analogies,
and riddles to demonstrate the operations of thinking and dialogue. These excerpts from
Batesons metalogues explore the complexities and multiple levels a conversation can take
when a word is inserted into another context in this instance the word outlines.
The meaning of the word changes in relationship to shifting parameters, classifcation and
boundaries negotiated by the converses. In this instance the meaning of the word outline
moves from the edge of an object to a metaphor that draws our attention to how we can
work conceptually with the word.
I deploy edges and outlines as structural elements in my work while considering the
parameters of the words meanings to explore their conceptual territories. Outlines defne
a territory, however as Batesons metalogue demonstrates, they can and do move and their
changeability is challenging as it is broadening. I explore this potential through observing
and experiencing interactions with edges both my own and others.
Simon OSullivan defnes edges in an art practice as places to work between what is
inside and outside our practice. He states,
An art practice is a fuid, dynamic system always in connection with a
number of different regimes and registers and always in contact with an
outside What an art practice is then is defned by its outermost edge,
its boundary line or simply its line fight, understood as its furtherest
point from within its territory. Indeed the artist is this line of fight, or
more accurately operates on this line and at this edge.
3

Drawing from Deleuze and Guattari, OSullivan states that edges are used by the artist to
push beyond and work between the actual and the virtual in realising future potentials.
28 E DGE S / OUT L I NE S
Artists extending and assembling material and concept variants may present future
possibilities or abstract machines which draw us outside our known realities.
4
Abstract-
ing machines operate along the cutting edge of decoding and deterritorialisation.
5

Acccording to Deleuze and Guattari this edge is continually mapped and reframed
subjectively by those that navigate it.
The trajectory merges not only with the subjectivity of those who
travel through a milieu, but also with the subjectivity of the milieu
itself, insofar as it is refected in those who travel through it. The map
expresses the identity of the journey and what one journeys through.
It merges with its object, when the object itself is movement.
6

OSullivan claims an art practice operates along the edge of what exists and a world yet-
to-come; this mapping is movement between bodies and concepts.
7
He uses Massumis
term seeping edges, between virtual and actual, to describes how this operates in the
earthworks of Smithson where there is a durational blending of interfaces; artwork, audience
and environment.
8
For Massumi the transformative potential of an edge is where one body [subject/idea]
meets another body.
The thinking-perceiving body moves out to its outer most edge, where
it meets another body and draws it into an interaction in the course of
which it locks onto that bodys affects
9
Observations I made of people interacting with Wall Stories suggested this possibility of
interactions between the edges.
Notes from Artists Log, May 2006, Forrester Gallery, Oamaru.
I see a woman slowly tracing the edge of an embedded mirror frame
with her hand. I wonder how the object its primary function to refect
reality now muted by the fabric can operate in more accurately
transcribing the visual into the spatial reality of her being in the world.
Mirror in Wall Stories, 2006, Forrester Gallery.
29 E DGE S / OUT L I NE S
Did she become more conscious of herself as a body rather than an
image through this tactile encounter with the object, and how could this
experience of her body change in relation to the space and others in
the room, both present and absent? Did she consider her own pending
mortality in the shrouded form or perhaps the sense of anothers presence?
Massumis concept of the edge resonates with Merleau-Pontys phenomenological notion of
the chiasm,
10
in which there is a negotiation between being in the middle of the edge and
experiencing its potential rupturing of coherence. Merleau-Ponty uses the biological term
chiasm to describe how an overlapping and encroachment can take place between things
that nevertheless retain a divergence. He writes that it
does not mean that there was a fusion or coinciding of me with it:
on the contrary, this occurs because a sort of dehiscence opens my
body in two, and because between my body looked at and my body
looking, my body touched and my body touching, there is overlapping
or encroachment, so that we may say that the things pass into us, as well
as we into the things.
11

What is signatory to these concepts of edges is the active doing and a sympathetic
resonance
12
; a dialogue that occurs between our subjectivity and the subject we engage
with a reciprocal causality. The edge operates as a dynamic system of articulation rather
than a fxed boundary. Littoral zones embody this movement and this became a tool I used
to explore my edges as I experienced a new environment and culture.
In Vanuatu the boundaries and the estranged spaces in between my body and other
bodies were intense. I became very aware of my edges as a foreigner on multiple levels of
being. Thresholds of subjectivity manifested in my skin colour, communication, being apart
from family and friends, and environmentally as I struggled with the tropical climate.
The island as discrete body of land also impacted on my geo-spatial perceptions of edges
as I struggled with the precarious reality of being on this tiny plot of land surrounded by an
30 E DGE S / OUT L I NE S
expansive ocean. The island and its shoreline became a metaphor for this strange liminal
zone - one that I worked with and against.
Annotated notes from personal diary, 24 February 2008, Vanuatu
Every time I leave somewhere I arrive somewhere else. Are there
edges to this transition? Here in Vanuatus heat my edges are not
so well defned. I am talking about my edge in terms of body, skin,
breathe; a space between the inside and outside of my body.
In the heat and humidity my edges are smudged, swamped by the
moisture-laden air. In response to the humidity the pores of my
skin open to this outside seeking some equilibrium. As I become
saturated this lack of defnition reaches claustrophobic proportions.
I dont feel my bodys edges any more.
Lying on the island of my bed I imagine the sea lapping against its
legs, the sheets soaking it up. Osmosis again fnds traction.
I walk down to the sea, island-hopping the dusty shadows to avoid
the hot sun.
Once in the water I am given an edge, a parameter, from which to
depart and look back before the waters warm brine dissolves this
momentary threshold.
The island and its shoreline provided rich material to think about thresholds and their use
in my practice. Deleuze suggests that the islands shoreline provides conceptual spaces
for new beginnings and moments of detachment.
13

Dreaming of islands whether with joy or in fear, it doesnt matter
is dreaming of pulling away, of being already separate, far from any
continent, of being lost and alone or it is dreaming of starting from
scratch, recreating, beginning anew.
14

31 E DGE S / OUT L I NE S
The littoral zone of the island embodies beginnings and endings drawn in aqueous tracings
along the shoreline.
Geologically the island is a shifting space between dry land and water developed through
various geological means. Some islands may form as tectonic plates pull apart and push
together. Oceanic islands emerge from the ocean foor as underwater eruptions while other
islands are being formed by the accretions and accumulations of coral and detritus over
time. In each instance there forms a landmass that is completely surrounded by water.
The island is a place where the dual elements of earth and ocean are in sharp relief.
Islands are an embodiment of movement inside and outside of their defned boundaries
between water and land.
15
This geological space has become a fertile stage for our longings
and fears of dislocation.
Archaeologist Paul Rainbird discusses Eurocentric imaginings and mythologies of
islands.
16
He argues that a dominant historical and mythological construction of islands has
limited our thinking about islands to being both geographically and as socially isolated entities.
Alternatively he posits the decentering of the land in favor of an emphasis on the archaeology
of the sea and maritime communities.
17
Living in the archipelago I realised that the water
that separates the islands forms corridors of movement the islanders used for transport and
exchange. I also became aware of Ni-Vanuatus intimate relationship with the sea; ancestors
come from the ocean and every ones genealogy relates directly to a sea creature.
18

My apartment was positioned above the Port Vila port where maritime traffc was a
constant while below the surface scuba diving revealed a continuous wet topography of the
dry land above. The island extends beyond its intricate coral apron and rocky coastline into
submarine valleys and undulating mountains giving way to the plunging depths along the
edges of the continental shelf. Under the water the islands are connected to other islands
and continents.
Boundaries of an island are provisional and Deleuze unpacks this philosophically
through a proposition. It is an island or a mountain, or both at once: the island is a
mountain under water, and the mountain, an island that is still dry.
19
What he is describing
Pango Point, looking South, Efate, 2009.
Layered coral formations, snorkelling off Tanna Island, 2009.
32 E DGE S / OUT L I NE S
is the landing place of the biblical Ark that remains uncovered by water his riddle posits
a new perspective through proposing alternative defnitions of the Arks landing site.
20
The islands edges provide my projects with a space for exchanges, departures and
returning. These temporal edges are akin to membranes. The membrane is the processes
I undertake - i.e. the criteria, evaluations, and boundaries which frame the organisation,
the methodologies and conceptual territories I use. These projects are not isolated but
surrounded by other projects, that articulate against their edges, resonating and informing
each other in a continuous dialogue. As discussed in essay Archive / Stratifcation,
the overlapping of projects inform the membrane of interstrata. The exchanges and
transformations in organisation between the two strata (or projects) then shift the edge of my
practice further.
The semi-permeable and transferable qualities of a membrane also signal intermediate
productions, as discussed by Foucault.
21
As in natural evolution there are no blank spaces
between distinctive categories.
22
Evidence of such segues and synergies exist between
all my projects. For example archaeological references, camoufaging, patterning and
phenomenological explorations are features and methodologies I continue to work with.
The cross-pollination of concepts and materials being developed are tested against the
borders of previous / parallel projects. These edges are also defned by the adaptability and /
or limitations of the materials I work with.
Methods of working with edges of images and forms include covering, camoufaging
and juxtaposing. These techniques test how edges can be blurred or cut to rupture visual
information and how we respond to different kinds of edges.
In Wall Stories, shrouding the objects and architectural features of the room pushed back
the discrete edges of each form and its detail into a monochromatic feld. I found the muted
shapes attracted me to physically trace their outlines and I observed others doing this also.
The camoufaging of forms was further deployed in terra_data where a small plastic bird
was integrated into the landscapes. Here the subject was masked by painting the landscapes
vertical edges of the landscape behind the bird. (See image overleaf)
Wall Stories, 2006, fre surround covered in jute, Forrester Gallery.
33 E DGE S / OUT L I NE S
In Midden I extend the explorations of blurring and juxtaposing edges of information into
sculptural objects, which in turn become hidden. I draw on the ambiguity of the in between
space of recognition and non-recognition. To test these ideas I have been constructing
objects and felds of colour out of jigsaw pieces. The possibilities and implications of
making three-dimensional objects out of a two-dimensional puzzle has been compelling.
Through processes of stratifcation, layering and ordering, parameters beyond those
prescribed by the puzzle maker are developing. For example building structures by stacking
and offsetting edges rather than interlocking the pieces. The striation of colours and textures
is analogous to the geospatially layering and organising of data in digital mapping on-screen
experiences through a texture-loading pipeline.
23
The clusters of colour suggest to me the
virtual stuff of data collection, sorting (re-coding) and visualisation (re-drawing) as we hurtle
through the pixellating strata of Google Earth via our computer screen. What I am fnding
through edging processes are spaces of tension being created through concealing, revealing
and patterning. I am drawn into these spaces conceptually and physically they stimulate
my imagination and my senses.
I also test the boundaries of language and meaning by appropriating the puzzles name
to label the new form. This strategy creates disjunctor as the object bears no resemblance
to the jigsaw image or its title. This then suggests that this is a cache of material that could
move into any new context at any time. The oddly named objects register Batesons playful
word games. The arrangements of jigsaw pieces and their naming, like a conversation, have
multiple entries and exist points.
Multiple levels of my practice are informed by edges that have included pushing out the
boundaries of my installation practices. In terra_data, in contrast to other projects where I
created physically immersive environments, the work was attached to the walls of the room.
I tested the primacy of sight rather than tactility and explored the notion of haptic visuality.
24

Laura Marks advocates a way of experiencing work that calls upon multiple senses through
the visual. She suggests that the viewing subject is an entire body. In essence my previous
way of working provided me an edge to work against, or to quote Deleuze, something to
turn against its own system.
25
Detail, terra_data, 2007, works in progress, cut up landscapes,
plastic bird, acrylic paint, studio, Dunedin.
34 E DGE S / OUT L I NE S
Spring Garden, Stirling Scotland, 2011, 1000 fully interlocking
pieces, glue.
Here Batesons concern with how we organise our realities and interactions became
relevant. His metalogues examine our propensity for resolution and defning parts within
a whole; where edges begin and end; and how we choose to work with them. He offers
reversals to the standard logical organisation of systems and behaviours through paradox.
He is not denying that there are edges in conversations a middle of it implies his
metalogue has something like an outline or boundary that comes into focus at some stage
albeit unpredictably.
I fnd infnite entry and exit points exist along the borders of language and its meanings
that I use metaphorically and as structural tools. This investigation relies on attending to the
what sits inside and outside its borderlines through exploring their interfaces of exchange.
35 E DGE S / OUT L I NE S
1 Gregory Bateson, Steps to an Ecology of Mind (London:
Jason Arson Inc., 1972), 37. Accessed 5/4/11. http://www.
scribd.com/doc/6859825/Bateson-Steps-to-an-Ecology-of-
Mind#outer_page_51
2 Ibid., 56.
3 Simon OSullivan, Art Encounters Deleuze & Guattari
(Hampshire: Palgrave Macmillan, 2006), 32.
4 Gilles Deleuze and Flix Guattari, A Thousand Plateaus,
trans. Brian Massumi (London: Continuum, 1987), 510-511.
Accessed 5/4/11. http://www.illogicaloperation.com/textz/
Deleuze__Guattari-_A_Thousand_Plateaus.pd
5 Ibid.
6 Gilles Deleuze, Essays Critical and Clinical, trans. D. W. Smith
and M.A. Greco (London: Verso, 1998), 61.
7 OSullivan, 105.
8 Ibid, 105.
9 Brian Massumi, A Users Guide to Capitalism and
Schizophrenia (Cambridge: The MIT Press, 1993), 36.
10 Maurice Merleau-Ponty, The Visible and the Invisible,
trans. Alphonso Lingis (Evanston: Northwestern University
Press, 1968). Accessed 25/4/11. http://www.iep.utm.edu/
merleau/#SH3b
11 Ibid.
12 David Haines and Joyce Hinterding, The Sun (paper
presented at the Aotearoa Digital Arts Symposium, Whanganui,
12 December, 2010). Haines coined the term sympathetic
resonances as a way to describe the experiences between
ourselves and other materials/ atmospheres/environments/
animals etc. A sympathetic resonance implies a mutual
exchange between two bodies rather than an affect that
focuses primarily on the subject.
13 Gilles Deleuze, Desert Island and Other Texts (1953-1974),
trans. Mike Taormina, (Los Angeles: Semiotext(e), 2004), 9-14.
14 Ibid., 10.
15 Ibid., 9-14.
16 Paul Rainbird, The Archaeology of Islands (New York:
Cambridge University Press, 2007).
17 Ibid., 3.
18 Ni-Vanuatu genealogical connections are with sea creatures
(shark, sea turtle, octopus, sea cow etc). These are often seen
as pictograms alongside Christian epitaphs inscribed on the
tombstones of their deceased relatives.
19 Gilles Deleuze, 13.
20 Ibid.
21 Michael Foucault, Order of Things (New York: Random House,
1970), 147.
22 Ibid.
23 Christopher C. Tanner (2003). Accessed 5/4/11. http://www.
google.com/patents?id=J4YOAAAAEBAJ&dq=6618053
24 Laura Marks, Touch: Sensory theory and multi-sensory media
(Minneapolis: University of Minnesota Press, 2002), 18.
25 Deleuze and Guattari, A Thousand Plateaus, 161.
36 E V E NT S / AS S E MB L AGE S
ASSEMBLAGES / EVENTS
It is important to consider that the word assemblage has been translated from Deleuze and
Guattaris use of the French word agencement. According to Phillips the term agencement
underscores the agency of assemblages in the coding/de-coding/re-coding of systems.
1

The word has a very precise correspondence to the notions of event, becoming and sense
2

which Phillips argues is not adequately described in its English translation. Agencement is
when two bodies come in contact with one another thus creating an event or an aesthetic
plane composition.
3
According to Deleuze and Guattari these sensations and intensities
are drawn from chaos. Their defnition of chaos is not about disorder but acceleration and
malleability to change. They say:
Chaos is defned not so much by its disorder as by the infnite speed
with which every form taking shape in it vanishes. It is a void that is not
a nothingness but a virtual, containing all possible particles and drawing
out all possible forms, which spring up only to disappear immediately,
without consistency or reference, without consequence. Chaos is an
infnite speed of birth and disappearance.
4
Elizabeth Grosz draws on Deleuze and Guattaris concepts of chaos as the forces of the
earth that she describes as cosmological forces which we must understand as chaos
or material and organic indeterminacy.
5
She argues that all forms of creative production
generate intensity and sensation,
which cuts across, and thus both plunges into and flters and coheres
chaos through the being of sensation is thus both an immersion in
chaos, in nature and materiality, but also a mode of disruption and
ordering of chaos through the extraction of that which life can glean
for itself from this whirling materiality sensations, affects, percepts,
intensities blocs of bodily becoming that always co-evolve with blocs
of the becoming of matter or events.
6
37 E V E NT S / AS S E MB L AGE S
Grosz maintains that Art proper, like philosophy, does not create defnitives but produces
propositions. A proposition is an event that gives life to sensation which, disconnected
from its origins or any destination or reception, maintains its connections with the infnite
from which it is drawn and which it expresses.
7
She states that art and philosophy do
not map chaos but glean from its very essence. I suggest this is where a creative outcome/
event embodies the process incorporating the materials qualities and actual processes of
developing the work.
Groszs defnition of chaos, as the forces and materiality of the earth, links with
assemblage in the context of archaeology. Assemblages are created by a particular event
in time and space within the earths archival territory. These geological contexts provide
an analogy to discuss the processes I use through excavating, sorting and methods of re-
assembling. I am interested in the meantimes between the unformed assemblage and the
organisation of an event and the ability for the assemblage to form infnite possibilities.
This potential is relevant to my practice where I have developed three projects which
re-assemble similar processes and ideas. Each project resonates with previous explorations
while fnding new territories to explore. The artifacts of previous projects I make inform the
next project. Elements, processes, compositional concerns and concepts explored in terra_
data and Wall Stories extend and expand into Midden.
Each event (or object/exhibition) during the making and experiencing of these projects is
evaluated, tested and questioned. Through assembling these fndings and experiences I fnd
adjacencies between projects and the models I use to discuss them. Analogous to a midden
of material shifting through the strata of earth, the assemblage moves and mingles with
other ideas and materials developing into new works. So while I use repetitive processes the
reorganisation of the material into various contexts and combinations creates new events and
trajectories. Deleuze discusses the possibility of difference through repetition where he likens
dynamic repetition to genetic replication as fundamental to evolution and revolution.
8
In a
biological context genetic repetition generates changes; it perpetuates difference rather than
perpetuating its twin. In the evolutionary process repetition generates new combinations.
38 E V E NT S / AS S E MB L AGE S
These projects are evolving rather than reiterations of the same. Through processes of
re-assembling, and re-contextualising, the continuous becoming breaks with the habitual.
OSullivan describes how this repetition activates difference in Richters photographic
painting process as an affrmation of the eternal return; each painting a new dice
throw.
9
Richters repeated process of painting over a photograph creates variations of
the original through editing and combining elements, and adding textures. OSullivan
concludes that the artists repetitive processes then produce/perform a different
combination, a different extraction, from all the possibilities.
10
An assemblage may be any number of things and can bring about any number of events.
The potential of the assemblage is that, since it lacks organization before it is framed, it
can draw into its body any number of disparate elements and branch out into alternative
trajectories.
Through combining elements and ideas I discover the capacity of assemblages to
produce many effects. I discover this in Midden where jigsaw pieces are stacked into
various constructions. The original meaning and function of jigsaw pieces are drawn
through and morphed into new combinations. The appropriated pieces cohere into different
shapes, surfaces and contexts propose new stories, new events while echoing their former
utterances. These examples I propose are the events in my practice, things coming into
being.
OSullivan remarks that events operate through a simultaneity of referrals to the past and
the future.
Every work is made up of a plurality of trajectories that coexist and
that change direction depending on the trajectories that are retained
art makes each of them present in the other, it renders their mutual
presence perceptible.
11

He refers to Deleuze and Guattaris discussion of assemblages as future orientating,
stating that a monument does not commemorate or celebrate something that happened
Working jigsaws, 3 jigsaws, 3000 pieces, studio (2007).
39 E V E NT S / AS S E MB L AGE S
but confdes to the ear of the future the persistent sensations that embody the event...
12

That is to say these assemblages and their events are connected to the past in as much as
they begin to create future possibilities.
I am testing these propositions of harnessing both the order and disorder in Midden.
The mound of mixed-up jigsaw pieces presents me with a pool of complex shapes, textures
and colours. They are only half chaotic though, because all their forms have patterns that
are designed to ft together. Singular pieces are randomly isolated from the whole picture by
the cutting of the puzzle pattern dye. As George Perec ruminates on the art of jigsaws ...the
parts do not determine the pattern, but the pattern determines the parts
13
The puzzle is not
a sum of elements to be distinguished individually but as part of a pattern.
The pieces are readable, take on a sense, only when assembled
14
Similar to an
artifact found in an archaeological dig, we recognise the shard of a pot even in its isolation
because we use memory to complete the pattern of its form.
Looking at the jigsaw pieces, the random nature of the fragments already expresses the
embedded order residing in the pieces. Even before I begin to sort and physically construct
something there is interplay between actual things being brought together and the affect of
this interaction. This involves a blending of cognitive logic and feeling and this manifests
in an oscillation between disorder and ordering that the jigsaw puzzle registers and my
involvement with it. Relationships are forming through my experience of the material,
its referents, symbolism, visual analogies, and contextual relationships.
As I work with the material, the processes and inter-relationships provide the aesthetic
plane of composition for an event to surface a momentary harnessing of chaos
15
. It is
interesting to note that Deleuze understands that the frst gesture of art, its metaphysical
condition and universal expression, is the construction or fabrication of the frame: Art takes
a bit of chaos in a frame in order to form a composed chaos that becomes sensory,...
16

This sensory experience is reliant on things and actions being brought together in a moment
in time and space. In all instances we try to make sense of the world and the assemblages
we fnd however strange or alien the material and its context might be.
40 E V E NT S / AS S E MB L AGE S
This is particularly so when immersed into a foreign land. In Vanuatu I became aware
of my use of assemblages of material to orientate myself. Mapping the familiar objects
embedded in the coral / mud roads I walked daily provided some sort of coherence within
the unfamiliar territory.
Email : 6 March 2008-03-09, Port Vila, Vanuatu
My attention has been drawn to the soft drink cans in various states
of de-composition. These states or stages range from the mildly dented
to crumpled forms fattened by passing vehicles. The cans whose
cylindrical forms have collapsed by the heel of a hand squeezing the
thin aluminium seem to signal a summary to the consumption of the
contents before discarding while others are so mangled into crumpled
forms they rely on clues such as the rim or tear tab to recognise their
former state (and remind me of Cornelia Parkers crushed works).
In some instances these relics are so deeply embedded in the roads
surface I can just prise them from the matrix of dirt and gravel with a
stick...
There was a simultaneous convergence of multiple thoughts and feelings through my
engagement with these crushed forms; the violent impact of passing vehicles; embodiments
of the disorder I was feeling as a foreigner; and the implosion of imported consumables to
the islands. I attempted to trace these conditions by making rubbings onto graph paper of
squashed cans excavated from the roads. Images that emerged framed by the grid paper
fgured as the relief of land formations and islands. These became a series of events a
process of mapping the unknown territory.
Different approaches to assembling material were also undertaken in a series of walks
around the Efate. During one walk I photo documented what I found on the tracks and
constructed an event that made up of multiple narratives threaded together by the tracing of
disparate objects found en route. (See website: http://www.anaterry.com/page6/page6.html.)
Can mappings, 2008, pencil and graph paper.
41 E V E NT S / AS S E MB L AGE S
While working with these objects and their surfaces through various processes of
assembling I was considering Edward Tuftes schematic that illustrates how an event is made
up of materials and actions.
Tufte draws on Salman Rushdies novel Haroun and the Sea of Stories to visualise a
moment of harvesting multiple stories. In Rushdies story the sea is described as containing
every story that ever existed. And because these stories are held in fuid forms they have the
capacity to change and become different versions through merging and crossing over with
other stories to become yet other stories.
17
Tufte intersects this fow with a fatland of paper
and describes this moment as a plane of events created in time and space. A coalescence
of connecting threads of stories becomes a momentary composition of nouns and verbs, of
subject and action, and their relationships.
18
This schematic provides a visualisation of the
temporal nature of gathering and compiling things and ideas into a work of art.
OSullivan suggests that art (the canvas, assemblage, words, musical score etc) can then
be seen as a composition that preserves otherwise passing sensations and materialities.
19

Similarly Bourriaud states that art
functions as a temporary terminal of a network of interconnected
elements artwork is no longer an end point but a simple moment in
an infnite chain of contributions.
20

Tuftes plane of events, visualises this process. Like a net, the plane captures multiple
stories assembled into one moment in time. At this site an event occurs something
happens.
21
The plane of events is one in many, contingent on movement, forms and
systems on either side of its parameters and variables around the given moment of its
provisional framing and fltration.
22

Art does not start with a blank slate; in our heavily saturated world of things and signs;
a rich cache of materials and ideas is at our disposal. The materials of the earth are extracted
and alchemically transformed into things that populate the surface of the earth. There are
more books, images, words, ruins, and things, circulating in the world for the artist to work
with than ever before. Grosz suggests that
Edward Tufte, Plane of Events, (Source: Visual Explanations, 121)
42 E V E NT S / AS S E MB L AGE S
while the conditions and raw materials for art are located within
territory, as part of the earth, they become art, architecture, dance only
to the extent they become transportable elsewhere, only to the extent
that they intensify bodies that circulate, move, change, only to the extent
that they too become subject to evolutionary transformation and spatial
movement.
23

Arguably the earth and all it holds is a temporal ever-expanding compositional plane that
provides the conditions for the materials to assemble and an event to occur.
Tuftes schematic is relevant to a consideration of the ways that we read these complex
compositions. He refers to seventeenth century technical books that illustrated ideas and
scientifc processes; combining the real and the imagined and in doing so compressed
time and space. Drawings combine assorted images of real objects into concocted
universes, showing all at once what has never been together.
24
Such schematics fgure our
experiences of the world as non-chronological and multi-directional in a way that Stafford
describes as a patched mode of being.
25
Stafford writes a compelling argument for the
isomorphism between neurological phenomena and artistic practices and our ability to
blend ideas/images across time and space in a non-chronological pattern. She says this
occurs when we encounter compressive compositions or assemblages that pull together
disparate elements and narratives into one image collapsing space and time.
26
By drawing
our focus momentarily to details of the world and their intense presence for us, we are
lifted out of a false plot or illusory fow.
27
An event-sense occurs through our integration of
different elements that coincide spatially. She proposes that this experience
not only alters our bodily position in a given place and a specifc
moment, but change(s) our psyche. Spaces, like shapes, that are athwart
of one another force the beholder to attend to the fact that he must
simultaneously register two antithetical pieces of information: that of
being rooted in the physical body and located in the material world
while, simultaneously being in the full presence of a richer elsewhere.
28
43 E V E NT S / AS S E MB L AGE S
We assimilate two spheres the supernatural and the natural world of the everyday.
This grafting instigates a tension when we are asked to reconsider what we know of the
world.
I experience this combinatory process when encountering an assemblage such as Nawas
glass bead covered animals. Here there is a coalescing of bodies, feelings and memories, as
I combine the disparate parts. The event is this mingling and colliding.
Entering the space I feel vertigo pull upward in the lit room where
the ceiling appears non-existent the top edges of the walls have
evaporated into the light. I draw a connection to this feeling from my
memory of walking in a white-out on top of a glacier. In a white-out
there is no horizon line and the saturated atmosphere surrounding you
has no edge between it and the ground, there is no middle distance,
no perspective, no outline, nothing the eye can detect - there are no
shadows in this place.
My orientation resumes as the bulk of a large stuffed elk in the centre of
the space pulls me toward it. But this gravity is just as quickly thwarted
by the inverted and multiple refections in the glass spheres colonising
the body of the animal. Each glass bead refects the space and those in
it while refecting its neighbouring glass beaded image thereby creating
a manifold of refections in and of itself refecting back to those other
bodies in the space. The object both absorbs and repeals the bodies
around it through its cellular orbed skin. I become aware of myself
looking at the elk through these lenses at the same time seeing/feeling/
smelling the magnifed coarse hair of the animals body.
Assembling these parts of the installation through feeling, memory and associations creates
an affect; my cognitive and phenomenological experiences are the event(s).
PixCel-Elk#2 (detail), Kohei Nawa, APT, Brisbane, 2010.
PixCel-Elk#2, Kohei Nawa, installation, APT, Brisbane, 2010.
44 E V E NT S / AS S E MB L AGE S
The extraordinary combination of materials in Nawas work gives rise to my own event-
sense. The assemblage of glass and animal is not representational of anything I have every
encountered therefore I draw on associations to blend and construct meaning and during
this process I feel thought. Here disparate entities are inserted into one another in this
instance biology (the animal) with technology (the glass lenses) and in this emergence I
register Spinozas concept that all material is interrelated.
29
The combinatorial processes
of materials and concepts into an assemblage, as suggested by Stafford, are analogous to
cellular processes of evolution.
30
The materials are ingested rather than digested into a
new composite system that is the synthetic, not divisive, operations of logic that capture
the fact that everything is connected to everything else in the universe.
31

These notions of interconnectivity and evolution resonate with the Midden project.
The jigsaw puzzle, a pattern constructed from a pool of fragmented pieces, embodies both
the amorphous nature of chaos and its potential for order. The pieces become analogies
of the building blocks of life of organic matter and non-organic materials in suspended
animation that can reform into other bodies. Midden explores the framing of chaos;
their forms signal their capacity to maintain both order and disorder innate in all complex
systems. While the individual jigsaws pieces encapsulate a world of their own brought
together they create other territories. These assemblages, become a plane of events a
series of stories pooled into a moment in time before moving into another stream of
stories. The coalescence becomes an event in a series of events than can and will at any
moment return to an assemblage of artifacts.
45 E V E NT S / AS S E MB L AGE S
1 John Phillips, Agencement/Assemblage, Theory,
Culture & Society, 23 (2006): 108-109, accessed 6/4/11,
doi:10.1177/026327640602300219.
2 Ibid.
3 Ibid.
4 Gilles Deleuze and Flix Guattari, What is Philsophy?, trans.
Hugh Tomlinson and Graham Burchell (New York: Columbia
University Press, 1994), 118. Accessed 5/4/11.
5 Elizabeth Grosz, Chaos, Territory, Art. Deleuze and the Framing
of the Earth, Womens and Gender Studies (New York: Rutgers
University, 2005), 15.
6 Ibid., 17-18.
7 Ibid., 17.
8 Gilles Deleuze, Difference and Repetition, trans. Paul Patton
(New York: Columbia University Press, 1994).
9 Simon OSullivan, Art Encounters Deleuze & Guattari
(Hampshire: Palgrave Macmillan, 2006), 135.
10 Ibid., 136.
11 Ibid.
12 Gilles Deleuze and Flix Guattari, What is Philsophy?, trans.
Hugh Tomlinson and Graham Burchell (New York: Columbia
University Press, 1994), 176.
13 George Perec, preamble to Life a Users Manual, trans. David
Bellos, (Massachusetts: Godine, 1987).
14 Ibid.
15 Elizabeth Grosz, 17.
16 Ibid., 206.
17 Salmon Rushdie, Haroun and the Sea of Stories (London:
Penguin Books, 1990), 71-72.
18 Edward Tuft, Visual Explanations (Connecticut: Graphic Press,
1997), 121.
19 OSullivan, 53.
20 Nicolas Bourriaud, Postproduction (Lukas & Sternberg, New
York: 2002), 19.
21 Edward Tuft, 121.
22 Ibid.
23 Elizabeth Grosz, Eight Deleuzian Theses on Art, An [Un]Likely
Alliance: Thinking Environment[s] with Deleuze | Guattari, ed.
Bernd Herzogenrath, Cambridge Scholars Publishing, (2008): 46.
Accessed 6/4/11. http://www.scribd.com/doc/21201953/An-Un-
Likely-Alliance-Thinking-Environment-s-with-Deleuze-Guattari
24 Tufte, 127.
25 Barbara Maria Stafford, Echo Objects, 152.
26 Ibid., 43.
27 Ibid., 136.
28 Ibid., 127.
29 Accessed 6/4/11. http://plato.stanford.edu/entries/spinoza/
30 Stafford, 61-63.
31 Ibid.
46 ( E ) ME R GE NCE
(e)mergence
(E)mergence explores the affect on or in the body when a grafting(s) occur between two
territories; the cusp of tacit sensation and empirical knowledge. The analysis in this section
is informed by OSullivans discussion on Deleuze and Guattaris Body Without Organs
(BwO) where he deploys BwO as a mechanism that breaks down the subject/object
boundary.
1
This proposition draws on and expands earlier phenomenological concepts of
being-in-the-world
2
into a project of undoing the strata that binds us.
3
Qualities of (e)mergence include: duration, thresholds between recognition and the
unknown, and the sensation itself of (e)mergence. To explore these experiences I discuss
the technical and conceptual deployment of (e)mergence in my own practice and others.
Techniques relevant to my practice include concealing and revealing through excavation,
camoufage and the production of artworks that invite immersive experiences and embodied
spectatorship. With the latter, in my own practice, I have explored the potential of haptic
visuality.
4

(E)mergence occurs where sensory territories collide becoming an assemblage or
event. Sensation is generated through inter-sensory perception that precedes cognition.
OSullivan argues that the feelings stimulated by the art encounter are the dark precursors
of our conceptual system, precursors that subsist alongside the production of knowledge.
5

Thinking about these precursors as textured surfaces, rather than structures, immediately
engages sensation through a non-linear folding over and through of differing registers of
sensation and knowledge.
Important to this experience of (e)mergence is duration. OSullivan identifes three
philosophical positions which conceptualise intensities of speed and rhythms; Deleuze,
reading Spinoza in terms of the affective side of the art experience; Henri Bergsons
notion of hesitancy, between the stimulus and response; and both Georges Batailles and
Jean-Franois Lyotards concepts of a ritual practice both in making and experiencing art.
6

Common to these frameworks is that the experience of (e)mergence relies on alternative
temporalities to our quotidian rituals and these states occur through participation with art
47 ( E ) ME R GE NCE
either as the viewer and/or the maker.
7
The experience of emergence manifests through an
emptying out of pre-texts a meditation that allows a happening or an event that occurs
through sensation rather than an analytical response. As Lyotard remarks:
to become open to the It happens that rather than What happens,
requires at the very least a high degree of refnement in the perception
of small differences In order to take on this attitude you have to
impoverish your mind, clean it out as much as possible so that you make
it incapable of anticipating the meaning, the What of the It happens
The secret of such ascesis lies in the power to be able to endure
occurrences as directly as possible without the meditation of a pre-
text. Thus to encounter the event is like bordering on nothingness.
8

This suggests an expansive process where with an open attitude the event disarms the
analytical process, albeit momentarily, through a complex assemblage of material and
ideas that surface creating an event-sense; a sensation that pre-empts comprehension.
The nothingness is the precipice where we lose our edges, and gain a sense of emergence.
This is the territory where a collapsing between the world and ourselves occurs a blurring
of subject and object; the thinking-perceiving body moves out to its outer most edge, where
it meets another body and draws it into an interaction in the course of which it locks onto
that bodys affects
9
The diffculty of describing these affects and their complex combinations is that they
manifest as sensations and Deleuze suggests that these move along the thin flm at the
limit of things and words.
10
The oscillation between incomprehension and comprehension
elicits a type of aphasia. Its inarticulacy is the very essence of the affect. It is the palpable
quality of a residual sensation borne of a dream that infuses your waking.
Krauss draws on Lyotard to discuss how in sleep, image and sensation force language
into the world of image-objects, making it [language] spatial.
11
The sleeping consciousness
moves through layers of cognition of words or symbols, back down toward an earlier,
preverbal world of image-objects.
12
Applying Lyotards crumpled paper analogy she traces
48 ( E ) ME R GE NCE
this process as formerly dispersed parts of speech now make contact as certain words go
into hiding behind others and alternative confgurations.
13

Similarly, as Stafford points out, thought itself and its neurological anatomy operate
through the folds of brain tissue a folding of data and coalescence of information by
variable soft tissue proximities. Anatomical thinking / feeling patterns converge in terms of
folding planes. These visceral surfaces that touch allow thought and sensation to merge and
move in variable patterns rather than from point to point.
14
The crumpled paper analogy expresses mergence and emergence occurring through a
non-linear process. Such folds generate sensations of thought rather than absolute cognition.
Importantly, as Deleuze suggests, it resists the predominance of purely optisch fronted
vision in favor of a haptisch form of spatialisation; rather than a single point of view, this
is realised materially in terms of actual work and conceptually.
15
The strategy of the artist is
to articulate this territory of emergence and mergence; to materialise the unseen / unheard
through a disclosure that retains its promise of future becomings through a process of
(e)mergence. Deleuze insists that for art and philosophy to function they should attend
to future potentials and propositions a process of expansion through folding rather than
folding in on itself. As Grosz explains:
What painting, music and literature elicit are not so much
representations, perceptions, images that are readily at hand,
recognisable, directly interpretable, identifable: rather, they produce
and generate sensations never before experienced, perceptions of what
has never been perceived before. The visual arts render visible forces
that are themselves invisible; the musical arts render non-sonorous
forces sonorous (Deleuze, 2003, p. 48), in short, they extract something
imperceptible from the cosmos and dress it as in the sensible materials
that the cosmos provides in order to create sensation, not a sensation of
something, but pure intensity, a direct impact on the body.
16
49 ( E ) ME R GE NCE
Deleuzes notion of the body fold is both physical body (non-human) and thinking /
feeling body. He uses the concept of the fold to create non human forms of subjectivity
to critique generalised accounts of subjectivity that generate the notions of an exterior and
interior of self.
17
(E)mergence occurs through the fold framework breaking down the sense
of our edges. This can occur through assemblages or strange couplings that the art glean(s)
for itself from this whirling materiality sensations, affects, percepts, intensities.
18
These
assemblages, by virtue of dissonance / disjuncture rupture our sense of our self as being
apart (distanced observer) from the world to register our interwoven relationships within
the world. From personal experience this moment of (e)mergence is often initiated where
the body is implied through the work. In such work concealing and revealing referencing
the corporeal generates the sensation of feeling thought that crosses the threshold of logic
through the register of the organic.

Lift, 2002, Katharina Jaeger exhibited at the Physics Room, Christchurch.
- notes adapted, 2002.
Abstracted forms slowly reveal the contours and angular corners of
domestic objects under stretched fesh coloured fabric. The objects jostle
for air space in and around me. Their wrapped forms reveal and conceal
the armatures that evolve into other beings. Alienating the forms through
the stretched stockings generates the unheimlich this skin and
bodies beneath are momentarily blown apart in this strange coupling of
materials.
A direct reference to a bodys encasement skin is registered through
the artists choice of fabric. Fleshy cloth pulled across the objects
simulate and stimulate the sensation of a stocking encasing a body
carcass or limb. There is a hybridisation here of organic and inorganic
that initiates the uncanny valley
19
of the automata as my body
encounters these other bodies.
Lift, 2002, Katharina Jaeger,
Physics Room, Christchurch.
(Image sourced: http://www.physicsroom.org.nz/
gallery/2002/images/jaeger-k2.jpg)
50 ( E ) ME R GE NCE
The angular objects stretch the fabric taut and somehow invert the
tension from one that stretches across the bulge of a limb/body to one
that inverts this curvature into spans between the enclosed objects
extremities. The fabric bridges and outlines the edges and corners of the
armature it seeks to conceal. Cornices and valleys signal a cusp between
inside / outside while the parabolic of these territories creates surfaces
made up of multiple trajectories. The direction and order of surface and
depth, exterior and interior becomes diffuse.
I touch these objects with my eyes and memory generates corporeal sensations. This cap-
acity of subjectivity shifts eye-sight from an insular sensory organ to one that merges
eye-body. The primacy of sight is deconstructed, and maybe this constitutes what Deleuze
suggests as an optical sensation in and of itself that generates a BwO.
20
We will speak of the haptic each time there is no strict subordination in
one direction or the other but when sight discovers in itself a function
of the touching that belongs to and to it alone and which is independent
of its optical function.
21

The work generates a state of corporeal inseparability rather than transcendence from the
body it produces intensity through this (e)mergence. Deleuze and Guattari emphasise
the becoming rather than the being. The philosophical position of the BwO is one of
immanence not transcendence.
22
When affects and precepts are successfully generated
from human perceptions, one is not in the world, one becomes one with the world,
one becomes in contemplating it. All vision, becoming. One becomes universe.
Becomings animal, vegetable, molecular, becoming zero.
23
You are not escaping from
your body; rather you remain and unfold to the emergent experience.
A BwO is made in such a way that it can be occupied, populated only
by intensities. Only intensities pass and circulate. Still, the BwO is
not a scene, a place, or even a support upon which something comes
51 ( E ) ME R GE NCE
to pass... It is not space, nor is it in space; it is matter that occupies
space to a given degree -to the degree corresponding to the intensities
produced. It is non-stratifed, unformed, intense matter, the matrix of
intensity, intensity=0... Production of the real as an intensive magnitude
starting at zero.
24
Deleuze describes zero as unlimited fnity he proposes that any fnite number of
components produce an infnite number of combinations.
25
Zeros volume of intensities and
materialities is the infnite pool of materials we work with to make an event-sense occur,
while zero is that moment when a event-sense is created in time and space as illustrated by
Tuftes confection.
26

According to Deleuze the BwO experience requires folding to resist the subject / object
distinction as exteriors and interiors merge herein the fold announces that the inside is
nothing more than the fold of the outside.
27
(E)mergence and its spatialisation is not
enclosed, it is not defned by absolutes that ft and are polarized together; it is defned by
a continual unfolding. Accordingly to Doel origami or the art of folding
28
provides
a model of complex relationships between objects and actions across time and space.
He further argues this folding process mobilises infnite disadjustment, disjointure, and
destabilisations.
29
These concepts of folding are explored in Midden through the use of jigsaw pieces and
their constructions. Operating simultaneously is the deployment of surfaces that conceal
and reveal structures. Stafford discusses the effect of camoufage in terms of spatialisation
and metaphysics arguing camoufage
remind the beholder that there is a stratigraphy of hidden forms lodges
beneath any painting or indeed, any material surface dense with inlaid
information, for which we require a perspectival or subjectively angled
key.
30

52 ( E ) ME R GE NCE
In each of the projects I attempt to demonstrate how layered forms alter in relation to the
viewers position. As the order of representation is destablised, spaces of uncertainties and
sensations may arise. This dissonance activates the imagination of the beholder to attend to
what they are seeing and experiencing.
Annotated notes from workbook:
A series of objects are being covered in the jigsaw puzzle pieces that
have been de-laminated from the cardboard base. As the objects
become camoufaged a layered accretion of data is suggested. The
individual pieces (islands) are accumulating into a site that sits between
excavation and construction. The certainty of the object and their
relationships between each other shift by mixing various scales; life-size
objects sit alongside a miniature house. What coalesces is the surface
pattern; the parts of the whole assemblage emerge incomplete and
rupture into pieces a form of camoufage.
31
They remind me of foating
face-down in Havanah Harbour above the submerged broken wings
of a WWII bomber covered coral formations; then they redraw into the
pilots last moment his accelerated fractured sight/site exploding into a
million pieces.
The abstract nature of the raw data (pieces of the puzzle) and their ongoing re-confguration
have been infuenced by several trajectories; the frst function of the jigsaw in teaching
geography; the futile attempt to develop a piece of the life-size cartographic map described
in Borgess short story Rigor in Science;
32
the visualisation of data mapping through
on-screen representations; and Bartillebooths life-long ritual with jigsaws.
33
Resonating
with these referrals is Alfred Korzybskis dictum that the map is not the territory,
34
and
furthermore Baudrillards formulations on hyperreality.
Cartography is a process of drawing parts together to make a representation of a space.
It is generally agreed that the frst jigsaw was an educational tool designed to teach
Puzzle works in progress, 2011.
53 ( E ) ME R GE NCE
geography. Around 1760, John Spilsbury, a London engraver and mapmaker, mounted one
of his maps on a sheet of hardwood and cut around the borders of the countries using a
marquetry saw. Until about 1820, jigsaw puzzles remained primarily educational tools.
35

The mapping in Borgess story explores Alfred Korzybskis map-territory relation.
The work alludes to our desire to chart and thereby control a territory by tracing it point
by point.
36
However as the story unfolds the life-size map eventually erodes into fragments
artifacts of an unsuccessful effort to create simulacra. The attempts to simulate territories
continue in contemporary life through on-screen mapping; the fragmentary nature bits of
data as the computer screen redraws visual information. These examples of generating and
dismantling information reverberate with Bartlebooths life-long processes involving puzzles
and processes of forming and re-forming.
37
And his steady reduction of his labours to zero
a blank slate from which to draw upon Deleuzes unlimited fnity.
I explore these concepts of emergence through materialities in all three projects that blend
different assemblages of material and theory. These methods and their artifacts reveal an
unfolding cartography of stratifcation, gaps, edges and events; frameworks that do not
resolve into closed singular systems rather (e)merge into contiguous forms and ideas.
54 ( E ) ME R GE NCE
1 Simon OSullivan, Art Encounters Deleuze & Guattari
(Hampshire: Palgrave Macmillan, 2006), 115.
2 Maurice Merleau-Ponty, The Primacy of Perception, ed. James M.
Edie, trans. Carleton Dallery, Evanston: Northwestern University
Press, 1964.
3 Simon OSullivan, From Geophilosophy to Geoaesthetics.
Accessed 5/4/11. www.simonosullivan.net/articles/
geophilosophy.pdf
4 Laura Marks, Touch: Sensory Theory and Multi-Sensory Media
(Minneapolis: University of Minnesota Press, 2002), 18.
5 OSullivan, 42.
6 Lyotard (1988), cited in OSullivan, 38.
7 OSullivan, 49.
8 Lyotard (1988), cited in OSullivan, 49.
9 Brian Massumi, cited in OSullivan, 21.
10 Gilles Deleuze, The Logic of Sense. ed. C. V. Boundas, trans.
M. Lester and C. Stivale (New York: Columbia University Press,
1990), 31.
11 Rosalind Krauss, Formless; A Users Guide (New York: Zone
Books, 1997), 103.
12 Ibid.
13 Ibid.
14 Barbara Maria-Stafford, Echo Objects (Chicago: University of
Chicago Press, 2007), 151.
15 Deleuze, 31.
16 Elizabeth Grosz, Chaos, Territory, Art. Deleuze and the Framing
of the Earth, Womens and Gender Studies (New York: Rutgers
University, 2005), 24.
17 Simon OSullivan, Defnition: Fold, 1. Accessed 5/4/11. http://
www.simonosullivan.net/articles/deleuze-dictionary.pdf
18 Elizabeth Grosz, 3.
19 en.wikipedia.org/wiki/Uncanny_valley, accessed 5/4/11.
20 Ronald Bogue, Deleuze on Music, Painting, and the Arts (New
York: Routledge, 2003), 169-171.
21 Gilles Deleuze, Frances Bacon: Logique de la sensation. Paris :
Editions de la difference, (1981).
22 Cited in OSullivan, Art Encounters Deleuze & Guattari, 115.
The BwO experience is a state immanence not transcendence
of the body. It breaks down the subject object feld. The
ontological iron curtain between beings and things (OM 8).
23 Deleuze and Guattari, What is Philosophy? Trans. Hugh
Tomlinson and Graham Burchell, (New York: Columbia
University Press, 1994), 158: 167
24 Felix Guattari, The Plane of Consistency (Penguin Books, New
York 1984), 153. Accessed 6/4/11. http://www.t0.or.at/delanda/
geology.htm#19.
25 Simon OSullivan, Defnition: Fold, 3. Accessed 5/4/11. http://
www.simonosullivan.net/articles/deleuze-dictionary.pdf
26 Edward Tuft, Visual Explanations (Connecticut: Graphic Press,
1997), 121.
27 Ibid.
28 Gilles Deleuze, The Fold: Leibniz and the Baroque, trans.
T Conley (Minneapolis: Minnesota Press, 1993), 6. Cited in
Marcus Doel Unglunking geography, 126.
29 Marcus A Doel, Un-glunking Geography, Thinking Space,
(London: Routledge, 2000), 126.
30 Barbara Maria-Stafford, 127.
31 Anna Ellias in Camoufage and Deception discusses the role of
Australian artists and designers adaptation of their experiments
in abstraction and illusionism into war camoufage during World
War II. She explores camoufage is both a physical entity, and a
metaphor for subjectivity, and our fascination with its ability to
deceive the viewer. Accessed 6/4/11. http://www.acuads.com.au/
conf2003/papers_refereed/elias.pdf.
55 ( E ) ME R GE NCE
32 Jorge Luis Borges and Adolfo Bioy Casare, Of Exactitude
in Science trans.by Norman Thomas de Giovanni
Accessed 6/4/11. http://www.kyb.tuebingen.mpg.de/bu/
people/bs/borges.html
...In that Empire, the craft of Cartography attained such
Perfection that the Map of a Single province covered the
space of an entire City, and the Map of the Empire itself
an entire Province. In the course of Time, these Extensive
maps were found somehow wanting, and so the College
of Cartographers evolved a Map of the Empire that was of
the same Scale as the Empire and that coincided with it
point for point. Less attentive to the Study of Cartography,
succeeding generations came to judge a map of such
Magnitude cumbersome, and, not without Irreverence,
they abandoned it to the Rigors of sun and Rain. In the
western Deserts, tattered Fragments of the Map are still
to be found, Sheltering an occasional beast or beggar; in
the whole Nation, no other relic is left of the Discipline
of Geography.
33 George Perec, Life a Users Manual, trans. David Bellos,
Massachusetts: Godine, 1987.
The character Bartillebooth in George Perecs novel
Life: A Users Manual undertakes a life long enigmatic
process which includes travelling the world extensively
for 20 years and painting the scene of every port he
visits (500). These paintings are then sent back to France
where he employs a craftsman to laminate these pictures
onto wood and then cut into jigsaws. On return to
France Bartillebooth then re-assembles the puzzles of
each scene. Each fnished puzzle is treated to re-bind
the paper with a special solution invented by another
craftsman. After the solution is applied and cured, the
wooden support is removed, and the painting is sent
back to the port where it was painted. Exactly 20 years to
the day after it was painted, the painting is placed in the
seawater until the colors dissolve, and the paper, blank
except for the faint marks where it was cut and re-joined,
is returned to Bartlebooth.
34 Accessed 28/4/11. http://en.wikipedia.org/wiki/Alfred_
Korzybski
35 Accessed 6/4/11. http://www.woodentoys-uk.co.uk/
jigsaw-history.html
36 Jorge Luis Borges and Adolfo Bioy Casare, accessed
6/4/11. http://www.kyb.tuebingen.mpg.de/bu/people/bs/
borges.html
37 George Perec, 1987.
56 MI D D E N - A Q U OT I D I A N D I G - DOCUME NTAT I ON
Midden, gallery view west, 2011
Midden, detail, foor piece, 2011 Midden, detail, foor piece, 2011
Midden, detail, foor piece, 2011
57 MI D D E N - A Q U OT I D I A N D I G - DOCUME NTAT I ON
Norfolk, detail, in Midden, 2011
Norfolk, in Midden, 2011
Horses by a Lake, in Midden, 2011 Matterhorn, in Midden, 2011
58 MI D D E N - A Q U OT I D I A N D I G - DOCUME NTAT I ON
Midden, gallery view east, 2011
Monticello, detail, in Midden, 2011 Midden, foor piece, 2011
DECLARATION CONCERNING THESIS
Authors full name: Ana de Lancy Terry
Title of thesis: (E)mergence
Department: Dunedin School of Art
Otago Polytechnic
Year of submission: 2011
I agree that this thesis may be consulted for research and study purposes and that reasonable quotation may be made from it, provided that proper acknowledgment of its use is made.
I consent to this thesis being copied for the purpose of private study or research as set out in Section 56 of the Copyright Act 1994.
The Bill Robertson Library will stamp the following declaration on any copy: This copy is made for your private study or your research. The Copyright Act 1994 prohibits the sale, letting for hire
or copying of this copy.
Signed:
Date: 15 August, 2011
Note: This is the standard library declaration form used by the Otago Polytechnic for all theses.
The form is designed to protect the thesis work of the candidate by requiring proper acknowledgment of any quotations from it. At the same time, the declaration preserves the philosophy that
the purpose of research is to extend knowledge and that the results of such research should be available to others.
DECLARATION by CANDIDATE: Ana de Lancy Terry
I certify that this dissertation does not contain material which has been accepted for the award of any other degree or diploma; and that to the best of my knowledge and belief it does not
contain any material previously published or written by another person except where due reference is made in the text or in the footnotes.
Signed:
Date: 15 August, 2011

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