poz: notes 1


{poz, pin, 191216}

I'm using this page to "pin" some parts of your responses (sentences, ideas, keywords etc.)

ji (about edges)

expanding the space

  • amplification
  • slight distorsion

the sound of the space itself can slowly melt into/transfer into the one that is slightly abnormal/weird to our ears

instead of thinking too much of the concept of 'division,' we can think of an open set in  a topological space.

presence / absence


it's more a page for myself, to have everything in one place and to have it at hand for our phone call later

hh (about edges)

Morton Feldman's admiration of the paintings of Mark Rothko also had to do with the way the edges were faded

   Minard: articulating or conditioning an atmosphere

if there are no recognisable boundaries, there is no object

                What is interesting is not the blindspot, but the moment when you recognise that something has disappeared from our perceivability.

     One does not have to cover the other, they can intersect, they can be distributed, parallel.

What are the edges between the four layers?

hh (about affection)

I would tend to a small vocabulary

ideally the communication system we establish has to do with mutuality, there needs to be a related bidirectional flow

      there is mutual exchange of information, which undergoes a twofold selection process. Selection by the layer that selects data for transmission, and selection by the layer that selects how to deal with that received data

hh (about presence/absence)

Throw a positron and an electron together, and they produce annihilation (but that is not void, right?)

The question of absence/presence seems related to the edges, whether they fade, whether we perceive them.

         absence/presence seems orthogonal to occupying/transparent. It is not a zero sum game. You can create a sound that does not "take away" space from other sounds and element, but can coexist with the rest. Occupation means occupation of attention. 

the relationship between the temporality of a sound and its spatiality does, in my opinion, not have a generalisable relation

            an object sound could either articulate the existing space (focus on particular properties, work them out, exaggerate them), or it could stress its independence

i'm mostly pinning stuff related to my questions, but I also enjoyed the "lurking" feeling of reading other parallel conversations

dp (about edges)

I would like the
two elements or agents to retain a certain individuality, a more or
less clearly perceivable boundary along which their intra-action takes

I'm interested in the integration /movement/, the
/evolution/ of the interaction, the /deforming/ of both agents (space
and installation) due to their actions and reaction and less in a
static situation in which they become "one"

           /plausible/ is a sound

that is at the /margin/ of the set of sounds that may be ignored

dp (about affection)

some connection here with my concern regarding interconnection
and interaction between our segments and the comment about "bridge(s)"
by Ji. I really think, as I think also Ji suggested, it could be very
interesting to include the possibility to have these "bridges" or
channels of influence open on just a few segments of time, or to have
the single works "decide" when they would be ready to be affected.