In the first few weeks of classes, I have found that my understanding and comprehension of entanglement is continually growing and developing – and thus sharing an arguable likeness of the concept itself.
Initially, I grasped entanglement to exhibit the underlying connections and relationships between one thing and another, links that weren’t typically surface level or acknowledged. Upon reflection, although this is a form of entanglement – it is but one thread that “contributes to its ever-evolving weave” (Ingold, 2011). Entanglement does not just embody these various linear links between things, as this contains the relationship “within a perimeter boundary” (Ingold, 2011) understating its complexity.
The noticing exercise looking at entanglement within inanimate everyday things proved to be an applicable way I was able to conceptualise entanglement. Taking the object of a seemingly basic chair, it was interesting to start mapping out objects associated with a chair, exploring alternative contexts, uses, origins and materials. After seeing other classmates also share similar and differing ideas; such as culture and society, I began to realise the scope of entanglement that was present in every aspect of life. I pondered further existence of entanglement in areas such as art and philosophy, considering this was just the faintest analysis, barely scratching the surface of the entanglement of simple teaspoons and chairs. Further, this exercise prompted me to begin considering the media making that extends from exploring entanglement. I realised it was one thing to ponder, recognise and list aspects of the “meshwork” (Ingold, 2011) but going on to create media depicting this entanglement forges even more endless interpretations and connections.
Additionally, coming into this class with a predominately visual based media background – although basic at that, various exercises and field recordings in class have aided me to consider the possibilities of exploration within other mediums such as sound. In exploring sound as a medium in depicting entanglement I hope to delve into unexpected angles or “different areas of perception” (Cusack, 2013) within various subject matter, ultimately again perpetuating the entanglement itself.
In considering the two short media works I intend to make, I have previously pondered the concept of slightly transformative piece documenting a ‘trash to treasure’ or ‘rags to riches’ story based around item(s) in an Op Shop. Relating this idea to entanglement, I can envision a still motion video of an object such as a vase placed on a scattered shelf looking dusty and unloved in dim lighting. This frame would attempt to depict the possible relationships that entangle the vase; its bleak environment, the objects next to it on the shelf or the story of the person who donated it. The video would perhaps dissolve into a new frame, showing the vase thoroughly polished and displaying fresh flowers in a vibrant setting. This visual transformation would attempt to represent the story of this vase – depicting merely one perspective of entanglement.
When further considering how I could explore this Op Shop concept of a vase through my own media works, I still remain quite stumped in creating sound works as a stand alone medium. It is hard to envision the sounds that would depict an Op Shop or a living room, let alone a vase on its own. In continuing brainstorming ideas for these media works I intend to try to persevere past these doubts and road blocks, remembering that entanglement knows no bounds so nor should my interpretation and creativity.
References
- Ingold, T (2011) ‘Rethinking the animate, reanimating thought’, Being alive: essay on movement, knowledge and description, Routledge, London, New York: 67-75 (69-71)
- Cusack, P. (2013). Field Recording as Sonic Journalism. In A. Carlyle & C. Lane (Eds.), On Listening(pp. 25–29). Devon: Uniformbooks.