Clarice Lispector

‘She missed the roses.They had left an empty space inside her. Remove an object from a clean table and by the cleaner patch that remains you see that there was dust all around it. The roses has left a patch without dust and without sleep inside her.’

(Clarice Lispector, Family Ties)

Dust is ‘a filha das coisas’ (‘the daughter of things’)

(Clarice Lispector, Um Sopro de Vida)


‘[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.



The open circuits of the earth pre-date those closed metallic structures of wire, metals, resistors, capacitors and signal. [Parikka] Signal is, of course, naturally in and of the Earth and the approach of psychogeophysics embraces this earth signal (Earth Sound Earth Signal – Douglas Kahn) to open back up the connection between us and earth. This has been occurring in the field of sonic arts since mid-twentieth century – exploring materials and their sonic properties / acoustics as well as the wider fields of electromagnetism. The South West has a history of extracting the metals of the earth – the soil is electromagnetically rich with copper – ripe for earth circuit practices. Inspired by Martin Howse’s Earth Computing – the copper in the soil investigated through probing for potential sonic interference. Need to re-read Graham Harwood’s short text, along with Raqs Collective, ‘Aluminium’ [2008]. The earth has the signal and dirt (dust) and decay and life for developing next stages of practical work. Copper is essential for the creation of D.I.Y solar cells for light measurement and modulated signal reception – the earth measures. The work begins to move to acknowledge the anthropocene in a direct way. METALLURGY.

Read – Parikka, Kahn, Howse, Harwood, Morton, Bryant, Deleuze, Bennett


To introduce noise and interference into text repetition may be an interesting approach. To fold lines back into the body of text begins to create points of disturbance in the writing and reading. It acts as a disruption or interruption – reminded here of David Hall’s amazing TV Interruptions from 1971 – causing new connections to be formed. To introduce noise and interference into text repetition may be an interesting approach. Like the bundles of dust collecting in a corner where points shift and fold into new proximities the lines of repeated text begin to force new connections of concepts. A shifting resonance of ideas. With repetition comes difference – Deleuze. There are no two identical readings of the same line. There are no two identical readings of the same line. Lines from Tim Ingold. A shifting resonance of ideas. This line is an interference in the writing and reading – it acts to disrupt both author and audience. To code some process of this repetition, to excite the writing process with a challenge or game to compete with the repetition. A shifting resonance of ideas. To introduce noise and interference into text repetition may be an interesting approach. Lifting and placing text across the page is a cut up.


Dust is everything but dust is hidden. We need to encourage dust. Dust is noise. Dust is darkness. Reza Negarestani explores dust through its central influence in the Middle East where dust is place and dust is time. Dust is surface and boundaries whilst also travelling across territories. It is carried on the lightest of wind and made by elements carried in the same way. Dust is always an assemblage in continuous flux marking territories. As noise it is the crackle on vinyl surface – try listening to Christian Marclay’s record without a sleeve – it is dirt in solder joints, it is interference between light transmission and receiver. The dirt of dust is in our media devices as written by Jussi Parrika. Dust moves nomadically.


The silent assumption underlying this view is the strange notion that objects themselves are nothing but a simple pile of dull material blocks […] As Heidegger himself seems to suggest, it is only with the human use of these dead masses that any ambiguity arises; only then are these torpid clods of atoms swept up into a fascinating existential drama, a People’s Republic of Ontology.

[Graham Harman, Tool-Being, p103]

Springs and Coils

Springs and coils. The alteration from a single line of material with turns and twists and repetitions of those enables that material to now enter the electromagnetic sphere. A coil of wire now becomes an antenna for mini fm broadcast – to send signal over a small area to a receiver. A coil of wire becomes a pick-up of electromagnetic signals enabling the building of particular ‘sniffing’ devices – listen to your mobile phone or laptops internal processors working. Continue reading “Springs and Coils”

Encountering Noise

Noise is encountered across all interactions of signal and object. There is potential within that noise for creativity to emerge. Noise can be the final output from a system in regards to a sonic arts performance or an installation and challenges preconceived ideas about what sound or music can be. Noise pushes at the very limits of what we culturally understand as music. Continue reading “Encountering Noise”

The Fold

After spending a day in Baroque Cathedrals in Berlin with images of Leibniz I return to my desk to discover ‘The Fold: Leibniz and the Baroque’ by Deleuze. Some things just seem to occur that way… Slightly stunned by the opening page in ‘Pleats of Matter’ where Deleuze mentions the cryptographer as someone who is needed to peer into the folds – need to explore this within steganography. Through creating messages that transmit via steganographic means am I folding these sounds, texts, images into the digital noise that enables hidden transmission? To utilise steganography in digital code a user can simply manipulate the Least Significant Bit (LSB) of the binary string for example the final ‘1’ in this 8-bit string 10011101 could be changed to ‘0’ and the original thing, let’s say digital photo, would not appear to change. The photo of the dog will still look like a dog – the user has simply manipulated the noise in the image. If this is done across the entire file then it is possible to hide another picture, of a cat, inside the picture of the dog, or a sound file – video gets big and complicated but still possible. Are there folds in the 8-bit string? Are there other folds in the physical objects and devices at use in my practice?

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