Amy Ireland has taken up where the CCRU 90’s cyberpositive cultural remix left off, delving into the techno occulture of that era’s dark hyperstitions. In her latest essay on The Poememenon: Form as Occult Technology she explores the diagrammatic production of thought as hyperstitional invocation. Of course in my own research it is in the work of Félix Guattari that this a-signifying production of thought will have its revisioning origins within those singular and plural texts both private and combined with those of Gilles Deleuze from Anti-Oedipus onward until his untimely death. In Amy’s rendition she charts the realms defined and explored by the CCRU Unit and the modernity influx of literature, philosophy, and the occulture of this strange world.
Before exploring Amy’s essay let’s delve into the diagrammatic thought of Guattari. The concept of the diagram appears in A Thousand Plateaus (ATP 141- 144 ,531 n. 41/176-1 80, 177 n. 3 8), but the details of its development are found in Guattari’s writings of the 1970s. The notion was adapted from Charles Sanders Peirce, who includes the diagram among the icons in his index-icon-symbol model of the sign. Peirce identifies three types of icon: image, metaphor, and diagram. For him, the icon operates through a relation of resemblance between the sign and its referent. Guattari would agree that the image and the metaphor signify through resemblance, which is to say representation, but his version of the diagram functions differently because as he defines it, the diagram does not signify; it is “a-signifying”.1