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Lilian: Processes: Acting performatively, material as process itself<br>
Lilian: Processes: Acting performatively , material as process itself<br>
collaborative procedures (Anke, Karin, Lilian)
collaborative procedures (Anke, Karin, Lilian)
Version vom 16. Januar 2020, 14:24 Uhr
first notes about the topic of mesh(work)
more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
see the following "startsequence"-pad:
arrangement of questions into "chapters"
What kind of questions are sensible and suitable for us? Which questions are suitable for our project and the main question of our project (which is...)? Which are relevant for each of us coming from different directions and with different starting points.
aspects / terms
see also Startsequenz-pad
3-4 sentences about each term/aspect
Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials? Thinking is the movement” (Ingold)
Lilian: “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.
Anke: Is a meshwork transferable to translational procedures? The meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. How do artistic processes with material relate to the description of action-reaction? What are terms of acting, with and within and outside of material aspects?
Lilian:Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.
Lilian: Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.
Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes.
Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. In her book "Das Material der Kunst" from 2001, Monika Wagner wrote about central materials of the art of the 20th century, besides paint a.s.o. she also reflects on volatile materials like air and light. Now, obviously we are dealing with translations, with processes of transformations,
Lilian: Translation is a procedure of transformation, a form of transfer from one material state into another, but also from a tangible image into a digital file, or a notation into a sound piece, a set of heterogenic materials or things into one composite or installation. Translation means also understanding and a transfer from one cultural or material environment to another, from one field into another: Which role does a material bonding plays in architecture and which one in sculpture? Translations requires a trans- and interdisciplinary thinking across disciplines materials and their treatment.
Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as "immaterial" gas, "material" liquid or "material" solid.
Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. Still, the data of the digital recording is stored on a physical server, somewhere in this world, in a bunker, underground, out of our view. And the digital file is played back again by a physical loudspeaker. Last but not least, sound can be produced digitally, e.g. it can be live-coded and at the same time played back in the physical world. This is all very basic.
Anke: In architecture and material sciences for instance physical processes are driven by digital information. Industry 4.0 is based on a physical-digital-physical (PDP) loop. Some movements are only possible in the digital world. As the line between digital and physical continues to blur, we are facing a continuous and cyclical flow of translations. But what is the "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?
Karin: translations from one system to the other, the inbetween talking about process and processualization
- production processes (industrial / artistic etc)
- material itself
- smart materials as an initiated process in itself
aspect of transformation and/or change: in relation to matter and decay; material and "mutation"
- concept of transfer and transformation within systems
- physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
- change of world view/perspectives
- transformation of material
- adaption and change of aesthetics
open circle: no feedback, rather a refeed cycle
Lilian: Processes: Acting performatively on and with materials, material works also as process itself
collaborative procedures (Anke, Karin, Lilian) to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, conteptualize, coalesce, skid,
points of contacts
Karin: meshwork-context, contextualization
- meshes as overlapping fields of nodes, rather a confluence
- interaction of nodes, points of contacts
- intra-action between meshes?
- the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
physical examples? (mainly textile structures)