Themen/Sätze Sammlung für dialogische Einleitung
Version vom 16. Januar 2020, 13:52 Uhr von Karin
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. And this process seems to be multiplied in realtime, there are several forces in several directions at the same time. So how do artistic processes with material relate to these descriptions?
Johannes: what does it mean as a materialisation - micro, makro
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.
points of contacts
- The importance of words and metaphors
- Actor–network theory
- meshwork - entanglement
- intra-action - unstable becoming
- Agents and agency
- Identity / permeability
- understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces
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)
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.
Johannes: Translation as a simplification tool to understand an idea and layer of a complex system. Architecture uses different kinds of plans to communicate/isolate certain immanent aspects. If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen But this is documenting a fixed state, what about more ephemeral materials and how to document them?
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,
- 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
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. How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm? What is the "inbetween" of material?
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"
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,