‘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.
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.
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.
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]
Dirt is the stuff that makes a system jump.
[Born, Furjan, Jencks 2012 in Ned Rossiter, Dirt Research]
A central claim of Deleuze’sDifference and Repetition is that we only ever create something new through repetition. Here, then, we might encounter a fundamental difference between Badiou and Deleuze (or is it a proximity between the two?). For Badiou the new is created as a result of a truth-procedure that is evoked through fidelity to an event. Wedon’t, in fact, have toawait events as people sometimes suggest of Badiou; for there are plenty of events that have already occurred throughout history. It is not the event that produces newness in Badiou’s universe, but rather fidelity to that event and the transformation of a situation or world in terms of what is uncounted by the encyclopedia of that situation. One can continue to pay fidelity to the Paris Commune or May of 68 (if the latter was an event) today, unfolding its consequences in the present.
View original post 1,561 more words
Sometimes light vibrates color in the pleats and crannies of matter, sometimes light vibrates in the folds of an immaterial space.
[Gilles Deleuze, The Fold, p 36]