Although Sound is generally thought as ethereal, it too, as a relationship among material configurations, can be classified into distinct components and form a categorical list of qualities such as material constitutions, significance, processes, etc. Meaning that as long as it is an object of our attention (whether at present or in recollection), sound, like other phenomena, belongs to a cascading system of interactions that may start or point towards particular Typologies. From this perspective, the necessity of a Typology cannot be discounted, for it is that which grants us a peek into contextual definitions of a particular piece, a plant, or a philosophical school of thought, and provides an abstract foundation to engage with a categorical object on the terms of its presence in anthropocentric environments. In this post, I explore briefly the necessity of Typological choice making while giving a loose description of its use in its relationship with sound.
The work of Lebbeus Woods is a prime example of an architecture emphasising the intrinsic differences between materials, and how such conflict can offer an insight into the internal and external relationship of these substances. Where some see pacification of form, Woods sees the tensile strength of structure battling against the forces of gravity. Consequently, his work resembles unfinished projects; designs and installations caught in the process of shattering or disassembly, as if unsatisfied with their final form. Continue reading “Tension Fields, Diagrams, and the event horizon”
If we incorporated a Vibrant Materialist worldview which takes in consideration the active participation of Things in the everyday life of humans, what type of relationships would such perspective problematise? I recently picked up a copy of Jane Bennett’s book Vibrant Matter: A Political Ecology Of Things in which she discusses the affects and interventions of Objects upon human life, and how treating these Objects as actants, instead of passive inert matter, might change ecological and political thought. A particular aspect however, which has really struck a chord with me, is how in developing such a relationship with Objects, instead of banishing them into passivity, might transform the foundation necessary within ecological and political thought: that is the bond between humanity and the matter that composes us and our surroundings. Continue reading “Vibrant Matter & the Subject-Object relationship”
If Deleuze and Guattari, challenge us to think with the world, then is it also possible to compose with the world? How would such a composition sound like, or in the case of the creative, how would its composition be undertaken? In this post I outline a personal methodology based around analogies inspired from the reading Bonnet’s Order of Sounds : A Sonorous Archipelago and the Rhizome chapter from A Thousand Plateaus, both of which have stirred in me a change of perspective in regards to listening and composing. And since in both these texts there is a reference to maps, whether directly or indirectly, I will be exploring the parallels between the production of creative sound work with maps, topography, and terraformation. Continue reading “Maps, Topography, Terraformation”
In a recent Tweet, a friend of mine mentioned how the phrase ‘silence is violence’ could pose as a challenge to Sound Art if we started to consider how sound can be an action in itself, later arguing that she considers sound as a doing, or a verb. However, sound is clearly more than an active event, or the product of one, even despite its dependency on the actions that incite it. For in bringing us closer to the event and emphasise it, the sonic also physically and ontologically distances itself from its genesis, developing an individual ontology formed from multiplicities. Continue reading “Ontology, Dynamicity”