concept of intra-action helps to materially and discursively deconstruct the dichotomy of turning something ON and OFF, and turns it into a performative relation open to change and difference. Barad argues that we are part of the world through intra-action. Intra-action is “cutting-together apart (one move)” (Barad, 2014, p. 168). But how does this work? To understand this, we need to begin thinking of borders and differences in a new way, one that does not have difference set against sameness (Trinh, 2011). In intra-action the differences are iteratively and repeatedly on-going, never closed, refusing to sit still. Barad claims, “Intra-actions are constraining but not determining” (2014). This gives hope since that which looks hopelessly determined and dead can come alive, and be an example of change. Technology, pedagogy, and art are all constraining, but no constraint needs to exist forever, or for that matter as determining (Taylor, 2016).
In order to introduce intra-action as part of these particular material-digital sound events, it is useful to continue with the envisioning of a border as difference. A border is the slash between the M as in male and F as in female when filling in a form; it is the distinction we make between foreign and domestic. A dichotomy cuts into two. A dichotomy can also be a student finding out about a pass or fail on an exam, or the flipping of a light switch, ON-OFF, ON-OFF—only two to choose from. It is a performed and relational dichotomy of ON on one side of the border and OFF on the other side of the border.
In understanding the everyday use of a light switch in an event, it is helpful to consider something we usually perceive as faulty—a loose connection. A loose connection creates a flickering of light instead of a stable light. Electrical devices that mimic the flickering of candlelight, like tea-lights running on batteries, have proven that flickering can be appreciated and thought of as valuable in certain circumstances. An experimental intra-action light switch causes more effects of differences to appear, enhances engagement and material relation, and ←39 | 40→questions the discursive value systems embedded in the words candlelight and loose connection.
Within the events described in this chapter, both humans and technology are engaged in different forms of doings and agencies. Matter, including bodies and technology, is “substance in its intra-active becoming—not a thing but a doing, a congealing of agency” (Barad, 2007, p. 151; author italics). For example, an ON OFF switch is really just a un/closing of a circuit, and this circuit could happen somewhere else than between a design packaged switch and human body. On the one hand, the example of a loose connection the circuit is un/closing embedded in technology. On the other hand, a person is trying to fit a battery in its holder and creates a flickering; the closing of circuit is part of movements of the human body. The body and environment, and body and mind, are seen as a whole and foundational to the material sound examples and vague events (Taylor, 2016). This means that the senses or parts of the body (like the hand) are not considered in singularity but always as an inherent part of the body. The body is neither a closed entity with defined agency nor a finalized representation, even if it is utilized as such. “A body as such does not exist—a body is not, it does” (Manning, 2009, p. 212; author italics). A technological listening device and a body together could, therefore, be thought of as an apparatus of listening. In an intra-action experiment, this means that when one uses earphones, the human and technological divide is not necessarily the most important or meaningful division to consider. Other phenomena that occur during events should be noted. In the vague events, we look for other meaningful divisions, differences, and borders other than those between the human and the machine. These border differences and divisions can be embedded in technology, for example, as threshold values. These differences can also be thought of as part of bodies, or the environment as a sources of technology, body movement, or listening.
VAGUE RESEARCH STUDIOS EVENTS AT THE LONGWATER
Here, three examples of Vague Research Studios (VRS) events are introduced that involve material sound. We have attempted to challenge ourselves by tweaking and fine-tuning some conventional divisions that relate to listening and sounding. For example, not accepting the division between human-machine, and instead, noting and developing other divisions of phenomena. The vague events we have chosen to perform are outdoor events. By moving outdoors, new sets of experiences are possible. Obviously, there is nowhere to plug in for electricity. One must use batteries, solar panels, or generators to run the sound system. There are other new sets of experiences. For instance, in woods one is unlikely to find any tables or chairs; in this case, we must work on the ground. Another aspect of operating outdoors is ←40 | 41→the opportunity to reflect on the materials that have been selected to bring along. There is a responsibility to care and plan for the materials that are brought outdoors and brought back, and to leave no traces.
The vague events here rely on an audio system which allow for plurality and richness of perspectives. By decomposing the technology system into separate components, the relation between phenomena as energy, sound waves, and sound signals can be explored. Following are three examples of how this concept presents opportunities to experiment with sound through material-digital sound, ultimately creating other stories and sensibilities. In the experiments, we explore the components of the sound output—the speaker.
Material Sound
Use the simplest speaker element as a loudspeaker in your system and play any sound or music. Find any material that you have around you; it could be grass, sticks, leaves, soil, or garbage and put it on the speaker element. Look carefully when the materials start to move as the sound makes the tissue move on the speaker driver. Now take away the material and touch the speaker with your body. This is a very simple way of touching sound, you can touch sound also via the air, but then you need a stronger amplifier to create higher volumes and that requires more electric energy. For us, sitting on our knees bending forward to touch the speaker driver and feeling the music that materializes through touch and listening became a meditative movement of the body. Feeling the sound while adjusting and engaging in the outdoors, allows for both the material sound and the natural conditions to become a part of our experience and memory. The sensation feels inexplicably meaningful. The conventions of listening to digital sounds outdoors becomes apparent. Making use of nature and the wilderness as a context for the events, instead of a lab or a studio, challenges the setup and the performance. Limitations in modern facilities such as transportation, electricity, and maintenance must be considered, as well as everyday necessities like water, food, and restrooms.
By focusing on touching sound through its vibrations and by relating to the source of sound differently than through earphones, other phenomena appear. Listening becomes an apparent phenomena of the body, the sound technology, and the environment. The division of earphone and human ear is not the emphasized intra-action here. The movement of the individual person’s eardrums are, in this specific intra-action less emphasized. Instead, the tree’s movement by the wind make sounds, the leaves and sticks on the ground move from the vibration, the touch of the skin from the vibrations of the membrane of the speaker, the sun shining or not all becomes a vague event of listening. This illustrates that specific material engagements do matter in “(re)configuring the world” (Barad, 2007, p. 91).
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Enchanted Listening
In the vague event, enchanted listening, we explore how sound intra-acts via a tuning material, a paper
