In A Thousand Plateaus, Gilles Deleuze and Félix Guattari use Jakob von Uexküll’s theory of transcodance in nature, according to which nature is treated as music with “components as melodies in counterpoints”; Deleuze and Guattari develop this idea proposing the example of an encounter between two different components—a wasp and an orchid— where the implication is reciprocal. As they say, “the two cases, however, are never pure; they are in reality mixed (for example, the relation of the leaf, this time not to water in general but to rain).”
Artists experimenting with sound use water in different water states (sinking, dropping, and flooding). The sound of flooding gives a special opportunity to think about art from a Deleuzo-Guattarian perspective. It opens territory into absolute chaos, “it is instead a catastrophe in which ‘form collapses’” and “everything changes direction” (Zepke, Art as Abstract Machine: Ontology and Aesthetics in Deleuze and Guattari). Flooding means the other consistence of space, which requires a changing gaze and understanding of things, of which positions they take. It creates conditions on a very broad scale: from contemplation to affectation, seeing, hearing, and being in different regimes, finding novelty, which arises from the encounter between two different elements that appear incidentally different—the variation of singularities among relations.
Lithuanian artist Vladimir Tarasov, a drum player experimenting with the sound of water and aleatoric compositional subtleties, has created numerous installations to investigate the possibilities and limits of sound (Incident in the Museum or Water Music, 1994; Installation at Solitude, 1996; Music on the Water, 1996; The First River, 2007). In his work he gives impulses for the independent fluctuation and unpredictable logic of installations, combining sound and image and different perceptions of time and space. I focus in particular on Incident in the Museum or Water Music (1992, 1993, 1994), displayed at the Chicago Museum for Contemporary Art, the Ronald Feldman gallery, New York (where the initial idea and the visual realisation were by Ilja Kabakov), and in other galleries around the world, where he experimented with the sound of drops of water falling into buckets during the performance of a major leak in an art gallery. Encountering the sound of water falling onto metal and onto plastic gave Tarasov the stimulus to compose in the same manner.
A much more catastrophic example is presented in American artist Bill Viola’s video installation The Raft (2004), where the art “venture[s] into this catastrophe-chaos in order to bring something out” (Zepke, Art as Abstract Machine: Ontology and Aesthetics in Deleuze and Guattari). The visualisation of a tidal wave encountering a crowd on a platform is strengthened by electronic water sounds, which work not so much as sound transformation than as images.
The installations present an encounter between different objects mediated by sound (natural, acoustic, or electronic) during a catastrophe, which is involutional creation “in the domain of symbioses that bring into play beings of totally different scales and kingdoms, with no possible filiation” (Deleuze and Guattari, A Thousand Plateaus). I am trying to discover how artists using the speed and variation of intensities of sounds and images of a catastrophe create different diagrammatic movements.