‘[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.


Elastic Band Drone

The elastic band drone machine is being rethought and programmed for new output. A development of an assemblage – new emergence! Vibration still lies at the core of the instrument that now seeks explores interference of waves across FM and electromagnetic spectrums. The instrument demands or desires new potential due to its extremely simple setup of parts. It is simple to remove or add elements to such a basic assemblage. Coiled wire brings in new vibrations of electromagnetic pick ups and (mini)fm broadcast (narrowcasting). The physical vibration of coiled wire with a tiny 3v vibration motor introduces new timbres into the field of amplified sound, alongside the rubber bands. These coils, by their very nature, explore the electromagnetic spectrum – basic magnetism. A physical vibration in the circuit is now heard through vibrations of molecules of radio waves on a short FM broadcast. Next to explore is the addition of capacitance to the circuit – understand proximity of hands in the physical playing of instrument. This can be done by adapting the ‘hyperpot’ along with the arduino code to work with the nails. Also, still to explore the development of home made solar panels – this could be interesting to explore alongside homemade piezo crystal.


In preparing devices for performance I have begun thinking of Gilbert Simondon and beginning to realise his influence over many of the phrases used in this sprawling text so far. Initially, thoughts were based around his writing on ‘transduction’ – use of physical transducers on wooden surfaces is part of the development work I am doing on the drone machines. Feeding the audio signal back into the materials that are generating the sound but through physical vibration – this is still sound and can be heard by our ears but exploring a more visceral connection the materials. ‘Transduction is a process where a disparity or a difference is topologically or temporally restructured across some interface. It mediates different organizations of energy.’ (Simondon, Transductions) Don’t want this to merge into interface studies. The use of transducers in the work brings into question all materials at use – it engages them all in sound / noise making practice. All in the aim for stable resonance between emerging sound and parts – as the mathematician Rene Thom stated ‘All interaction rest, in the last analysis, upon a phenomenon of resonance.’ Rene thom has now appeared again in The Birth of Physics by Serres – first encountered him through Deleuze and Guattari.

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