Collaboration – D.I.W.O?

D.I.Y, D.I.W.O, D.I.T – essential methodologies for considering when developing the workshops. How does D.I.W.O share space with collaboration? Is doing something with a group of others a collaboration or is it something else? With a focus on the importance of objects and materials what is the limit of ‘others’? When we engage with objects at a level of vibrancy then they are equally, if not more, as important to the mix of skills, ideas, techniques. The objects are as much part of the noise in the workshop than the ‘other’ participants. They disturb and create ruptures in the flow of knowledge by offering certain usage and challenge the users to re-think their use. These ruptures are developed through necessity of knowing how they should work – levels of knowledge are required in order to power a DC motor and we can learn about that object once we can use it. The error of attaching a power source the wrong way around delivers new knowledge about the way a DC motor functions. This can then be applied to further workshops but the initial error emerges through noise in the workshop. Are we then in collaboration with a DC motor, a battery, some wire and other workshop participants?



Workshops… how do we move away from the clinical and repetitive working methods of Fordist production lines? By clearly messing with order, how can we still learn and teach via workshops? How do we move away from the master of the workshop? Is it useful to move away from this position? Auctoritas – the Latin word for someone who inspires fear and awe and, therefore, submission. The original workshop owner (Medieval) would command this position – one of authority in order to control the workshop space and the workers within. A position of hierarchy, an established structure. How can we move to a workshop space of noise and chaos? Introduce a heterarchichal structure, flatten the approach to new knowledge. Hannah Arendt introduces the concept of natality as a point where acting together can produce the unexpected. Is there still a sense of community around workshops and participants as we shape the ground in which the work takes place to develop more noisy approaches and attempt to become more heterarchical? What are the political implications of the modern, noisy, chaotic workshop? Are there roots within the open source community? How is the knowledge disseminated? How is the knowledge archived / is it important to archive this knowledge? Is there a power in the ephemeral workshop (pop-up) that leaves no trace? Ephemeral / Ethereal Workshops.

New transmitter circuit

Testing out a different LED transmitter circuit that is working well. Next test with laser for working with dust. 
This circuit is made of much more readily available parts (resistors, capacitors) rather than audio transformers. It sounds a little noisier / rougher but still very clear sound transmitted. Will continue to swap out components to get best signal and then post circuit.


Just got hold of Dust by Michael Madder from the great Object Lessons series. Should be very useful when I start making and playing and collecting dust.

Dirt is designed. It is uniquely composed, site specific, and innately intelligent. … Dirt is a design tool. Collecting and composing dirty matter is a fruitful foundation for the creation of spaces, artifacts, and atmospheres.

[Bjorn, Furjan and Jencks in Bed Rossiter, Dirt Research]


‘[Hyperobjects] present us with viscous surfaces from which nothing can be forcibly peeled. There is no Away on this surface, no here and no there.’ [Timothy Morton, Hyperobjects, p. 31]

… we have everywhere? or are we left with nowhere? Exploring the wooden surface and structure of nails of the elastic band drone machine can the viscous nature of sound across this surface be creative / be performative?


Transduction of sound through materials is, through process, exploring the viscous nature of materiality. Sound sticks or travels across, speeds up or slows down, repels, repeats and folds because of the materials, the frequency and the interaction between them.

Is dust the expression of this viscosity? What is emergent from viscous sound materials?

‘Light itself is the viscous thing of all, since nothing can surpass its speed.’ [Timothy Morton, Hyperobjects, p. 32] How is the viscous nature of light changed by using light to transmit sound? Is sound then just as viscous as light. Connections to Deleuze discussing light within pleats of matter in The Fold.

Hyperobjects are viscous. Dust is a hyperobject. Dust is viscous. A viscous sound performance of dust and vibration – suggests low frequency extremes. Build a system of drone devices, viscous drone devices, or dusty viscous drones.


Emergence, interaction, expression, affect, potential, tendencies, capacities. What is happening when a vibration motor is attached to a power source and forces the movement of another physical property (elastic band or metal wire)? The motor can turn an unbalanced mass at a variable speed when attached to power and control (potentiometer, Arduino). This turning motion has the capacity to send waves across fields of nearby objects – the turning motion itself is a tendency of the vibration motor. The tendency is emergent from the motor due to the interaction of the parts that produce it as well as the addition of voltage. Addition? Are ‘addition’ and ‘subtraction’ emergent properties? Spin the motor fast enough or place it in an environment of extreme high temperature and other tendencies will emerge, flowing as liquid metal from the motor. The motor only has the potential to vibrate objects if other objects susceptible to those forces actually exist. Interaction and maybe intra-action at play in the objects inner workings.


Beginning with dust and light.

Remembering Felix Hess circuits and cracklers. 

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