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Objects in Flux - RMIT Research Repository - RMIT University

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[Figure 5-28]<br />

L<strong>in</strong>ear encoder, 2006.<br />

It’s a l<strong>in</strong>ear encoder, just like the mouse’s encoder wheel<br />

except straight. I presume it was used by the pr<strong>in</strong>ter to check<br />

pr<strong>in</strong>t head movement.<br />

[Figure 5-29]<br />

L<strong>in</strong>ear encoder – detail, 2006.<br />

Here’s a close-up. The perforated strip alternately blocks or<br />

allows light to pass between an optical encoder’s send and<br />

receive modules.<br />

[Figure 5-30]<br />

Test<strong>in</strong>g the l<strong>in</strong>ear encoder, 2006.<br />

Here you can see the mouse’s circuit board liberated from<br />

its enclosure and positioned on the strip so that left and right<br />

Tell<strong>in</strong>g Stories<br />

sumption and my general belief structures.<br />

Through this journey I have developed a deep<br />

familiarity with specific objects and processes.<br />

This experience is, however, different from be-<br />

<strong>in</strong>g an expert <strong>in</strong> a particular field; my knowl-<br />

edge is materially and contextually sited with<strong>in</strong><br />

my own life. Practices of object modification en-<br />

gage the world <strong>in</strong> a very immediate and physi-<br />

cal way. There is someth<strong>in</strong>g primitive about<br />

this form of engagement <strong>in</strong> that it describes an<br />

<strong>in</strong>timate and responsive relationship between<br />

the <strong>in</strong>dividual and their surround<strong>in</strong>gs. xxvi Rather<br />

than be<strong>in</strong>g the antithesis of consumer practices<br />

this relationship runs through acts of consump-<br />

tion, resid<strong>in</strong>g at the localized po<strong>in</strong>t <strong>in</strong> time and<br />

space where <strong>in</strong>dividuals negotiate themselves<br />

<strong>in</strong>to the world. Our ability to speak of this<br />

relationship as ‘primitive’ highlights the extent<br />

to which commercial entities have structured<br />

and obscured the <strong>in</strong>dividual’s relationship to the<br />

material environment.<br />

While my engagement with hack<strong>in</strong>g and mod-<br />

d<strong>in</strong>g practices produced an <strong>in</strong>creased sense of<br />

personal agency, it also brought a degree of<br />

tension. As I hacked or modified an object I<br />

xxvi. I use the term ‘primitive’ here <strong>in</strong> a similar<br />

sense to Col<strong>in</strong> St. John Wilson’s description of<br />

architect Eileen Gray <strong>in</strong> The Other Tradition<br />

of Modern Architecture. Here Wilson claims<br />

Gray’s practice has an ‘<strong>in</strong>timacy, responsiveness<br />

and authenticity that we normally consider<br />

to be unique to those structures that we call<br />

‘primitive’, that is to say, carried out by the<br />

<strong>in</strong>habitants themselves, us<strong>in</strong>g only their own<br />

hands and the materials locally to hand, cop<strong>in</strong>g<br />

with the prevail<strong>in</strong>g environment, develop<strong>in</strong>g any<br />

and every advantage from local topography, and<br />

erect<strong>in</strong>g means of defence aga<strong>in</strong>st any adverse<br />

conditions’ (1995, p. 170).<br />

101

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