Domain Shifts

‘Domain shift’ – a phrase coined by Richard Sennett in ‘The Craftsman’ is useful to explain the the movement of skills and ideas within a workshop environment. Sennett uses it to explain how a tool designed for one purpose becomes used for another – a form of appropriation and certainly seems linked to the practices of making, breaking and hacking in the field of contemporary technological arts. The domain shift also enables the movement of knowledge to cross borders (Sennett describes geographical / political domains here) and I would think that the switch from one use to another is precisely how something shifts across borders. Different cultures re-shaping the tools experienced elsewhere to fit their needs. How does the border of the domain shift become experienced across the small, localised space of the workshop? Within these spaces objects and materials are bent and appropriated to alternative needs suggested by participants and materials themselves. The impact from the form of one object or thing being shifted in its domain to act differently knocks on to the neighbouring objects and things. This resonance throughout the workshop is made of domain shifts and as the workshop physically and mentally adjusts to accommodate appropriated materials.

Advertisements

Collective Agency

The workshop is an assemblage of different carriers of information and knowledge. If the ‘master’ of the workshop is removed from the hierarchy of the workshop, how do we access the starting point or identify the aims of the workshop? Can noise be an effective method to expose an area to follow in a workshop? The clash of information from each carrier in the workshop links or rejects or folds into each other to develop points of interest – peak areas where knowledge is enhanced and increased from the multiple inputs or troughs of knowledge where there are gaps, spaces of lack of knowledge. This is built from the participants and the materials in the workshop and forms a collective agency in the workshop. This would not exist without the combination of people, objects and information and through that, a workshop is then a great method for moving through areas of difficulty in learning and helping to find point of collective interest. Through Bennett’s Vibrant Materialism and Harman’s OOO we are aware of the agency in things but this is not just then between things. Things have agency with humans and vice versa – a collective agency realising the potential in all information carriers within the workshop space.

Viscosity

‘[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?

elastic_drone

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.

Dust…

threatens, covers, infects, assembles, moves, flies, disrupts, interferes, muffles, dims, blocks, spirals, chokes, irritate, tastes, smells, shapes, filters, collapses, blinds, floats…

— Tim Ingold is entering my mind whilst reading The Fold by Deleuze. Mentions of lines and blobs – this is happening within the research project RADIX too. Felt pleased to notice Deleuze was getting into epigenetics during Pleats of Matter – never yet found a place for that in my writing / practice. The folding of signal and vibration into every ‘living’ part of the sounding machine – follow each vibration down through all the parts that make it – the seeds for that vibration exist in everything. Follow the wire attached to the motor – the seeds of vibration are existing within each strand of copper wire encased in plastic. Can’t quite get into what Deleuze mentions about the soul.

On plastic forces: ‘A mechanism is faulty not for being too artificial to account for living matter, but for not being mechanical enough, for not being adequately machined. Our mechanisms are in fact organized into parts that are not in themselves machines, while the organism is infinitely machined, a machine whose every part or piece is a machine, but only “transformed by different folds that is receives.”’ [Deleuze, The fold p.8]

Love this discourse around noise from Yan Jun in describing how we form music and there is leftover sound: ‘However, it is not this ‘rest’ that produces noise, but the excess. The definition of zao, ‘noise’, in classical Chinese is as an excess of sound.’–

— Elan Vital – life in matter. If we understand that there is life in objects then what is the collective life of assemblages? Constructing new life through assemblages. As Jane Bennett writes – ‘there is agency in assemblages’. New fields of interaction are established within the ever changing assemblage of objects – this field has a geography. Every body (object / thing) has its geography (according to Levi Bryant) – its internal geography that is its compositional body (another assemblage?) and its location within the field of other bodies in that larger assemblage. [Bryant, Ethical bodies].

— just watching Robert Henke’s Fragile Territories installation again. The resonance, vitality, vibrancy or ‘shimmer’ of the laser dot / point is entirely created because it is not there. It’s resonance is because of the in-between. The laser draws one point then moves to another point on the screen, draws a point there before returning and continuing the first point – the point now becomes a line (Tim Ingold) but when we look at it the point is now being drawn as a line elsewhere at the same ‘time’. This is persistance of vision (POV) – too quick for the eye and lasting on the retina.–

— Tim Ingold is entering my mind whilst reading The Fold by Deleuze. Mentions of lines and blobs – this is happening within the research project RADIX too. Felt pleased to notice Deleuze was getting into epigenetics during Pleats of Matter – never yet found a place for that in my writing / practice. The folding of signal and vibration into every ‘living’ part of the sounding machine – follow each vibration down through all the parts that make it – the seeds for that vibration exist in everything. Follow the wire attached to the motor – the seeds of vibration are existing within each strand of copper wire encased in plastic. Can’t quite get into what Deleuze mentions about the soul.

On plastic forces: ‘A mechanism is faulty not for being too artificial to account for living matter, but for not being mechanical enough, for not being adequately machined. Our mechanisms are in fact organized into parts that are not in themselves machines, while the organism is infinitely machined, a machine whose every part or piece is a machine, but only “transformed by different folds that is receives.”’ [Deleuze, The fold p.8]

Love this discourse around noise from Yan Jun in describing how we form music and there is leftover sound: ‘However, it is not this ‘rest’ that produces noise, but the excess. The definition of zao, ‘noise’, in classical Chinese is as an excess of sound.’–

— ‘must plunge into the world instead of surveying it’ merleau-ponty in inertia of matter. This reflects Barad’s ‘We do not obtain knowledge by standing outside the world; we know because “we” are of the world. We are part of the world in its differential becoming.’ —

— explore the potential of a ‘wandering methodology’ – this coming out from the art / science or lab / gallery / field  collaboration RADIX (me, Robinson, Rundle)

Blog at WordPress.com.

Up ↑