• As Anne Sauvagnargues suggests, in Gilles Deleuze thought “every[-thing] is defined as an assemblage of movements and affective vibrations.” Interestingly, Sauvagnargues’ proposition aligns neatly with Tim Ingold’s idea of correspondence, where things perdure, “carry on together, and answer to one another,” and where the additive ‘and…and…and’ of the assemblage changes to the attentional and contrapuntal ‘with…with…with’. Considering, therefore, the generative component of language, revealing concepts as concretely mixed assemblages, it may be that these imperceptible movements can be attend-ed with-in a concept’s “usership.” That is to say, concepts–with–users not only trace a concept’s “transformational component” by abstracting its content through acts of translation and repurposing, but also reveal the contrapuntal, affective correspondences—or else, the “with-ness” between the two multiplicities—that provide the diagrammatic context for effectuating forms of expression.

    This paper will attempt to translate ‘com-provisation’ as sún-schediasmos by proposing ‘composition’ (GR: súnthesis) as a phenomenon enacted by all participants in an ecology of ‘com-ponents’ and by suggesting ‘im-provisation’ (GR: autoschediasmos) as a performance practice that manifests a process of discovering akin to that of “wayfinding and drawing” (GR: schediázo: “to draw”). The presentation will involve examples of the notational environments I have been developing during the last six years, also discussing the correspondences that enframed their development. Echoing Jonathan Impett’s proposition of notations as forms of soft-technology, the discussion will attempt to demonstrate that these environments act as (bracketed, perhaps) “abstract-machines” effectuating ‘com-provisation’ into a usership oriented practice. A short summary of the notational system can be found here: https://tinyurl.com/t2q9q8z