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One-page summary of the main concepts in the book Waves and Forms

ZIMMERMANN, Basile

ZIMMERMANN, Basile. One-page summary of the main concepts in the book Waves and Forms . Université de Genève : 2015, One-page summary of the main concepts in the book Waves and Forms

Available at:

http://archive-ouverte.unige.ch/unige:79030

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One-page summary of the main concepts in the book Waves and Forms

Imagine an engraved seal is used to make an imprint on a piece of wax, and then on a piece of soap. On the basis of this example (here I recycle a famous metaphor from Aristotle [De anima, 424a, Book II], but this is another story), we consider the following aspects of materiality:

– The matter-atoms structure of the seal, the wax, and the soap. Atoms are located inside each of these physical objects. Each atom is unique, and each of the objects is physically unique. Atoms cannot be destroyed, as Lavoisier once said: "Nothing is lost, nothing is created, everything is transformed";

– The shape of the seal which is transmitted to the wax and the soap. In a similar way that matter is made of atoms, we consider that the shape is made of lower-level elements which we call waves (what is exactly a

>9#8'?+5016%.'#4.;&'A0'&+06*'$11-+6+5,7566*'+&'#1(6*'':+56'0%'1(#.19'56.'8'.'06+6;1(5*#2' If human beings observe the shape of the seal on the wax and on the soap, they will recognize it as the same imprint, even if there are differences between each imprint caused by the material structure of the wax versus the soap, or caused by variation of pressure by the hand who stamped them. From this, we can say that human

$'+0)5*#8'#52'%+A%%#2#%+6;61+&'06+(;5*#2'51(/#66'4 '%#..#0;5*#2'#0;>#))4')#6'1(9#8'5?6*#6 +5+&'06+A'&57$,'%6+8'.;$;#*7/#0$'+0)#form.

As illustrated by the transfer of the shape of the seal to the wax and then to the soap, waves can be replicated,

#0&6*'06*';#4'.1%#6'&5+/7.6#0'175.;+0&+(('4'062*;5+%#.1$,'%65 #8'5#4'01670+37'$76/7.6+2.'+06*' same way that there are multiple instances of the imprint with more or less the same shape. Differently than atoms, "waves can be created, dissipated, or conserved" (here it connects with Lavoisier's "everthing is

transformed"). For instance, variations creations/disapearances of waves account for small differences between the wax and the soap imprints.

*;+56*+575'(7.105+&'4(14+056#0%'6*'+557'1(%7.674'

*'/#+0241$.'/9+6*6*'016+101(%7.674'+56*#62'12.'#66'/26616#.-#$176A:'&'06+6+'59*+.'-019+0) that these entities are multiple and have varying borders and varying contents. For instance, we try to to speak

#$176*+0'5'%7.674'$769'&10@6(''.%1/(146#$.'9+6*6*+5+&'#$'%#75'6*'*+0'5'#.51*#8'%10#.&5 +0*+0##0&%10#.&@5#4'572215'&61$'2#461(>/'4+%#0%7.674'?0&9'#.51&106(''.%1/(146#$.' 9+6*6*'(#%66*#66*'*+0'5'%7.674'+0'+,+0)+0+5%*#0)+0)(14+056#0%'+6+5&+(('4'066*#06*'10' '+,+0)*#&+0%105'37'0%'1(6*+5241$.'/+56*#65%*1.#45%1056#06.;4'('4616*'5'%10%'267#.(#+.74'5 9*'06*';&+5%75557%*2*'01/'0#')10'9+..94+6'9+..&+5%755*+0'5'%7.674'+0'+,+0)*+55#+&1(

%1745'6*'4'+501A:'&'06+6;1(*+0'5'%7.674'14*+0'5'0'559+..4'('461

However, if we reformulate culture as the circulation of forms, it becomes perfectly valid to consider that

*+0'5'%7.674'*#5%10#.&59*+.'/'4+%#0%7.674'*#5#.51%10#.&5=$'%#75'#5*#2'%#0$'/7.6+2.' it can be located at several different places at the same time. And it is possible to describe the changes between

#0&+0'+,+0)$'%#75'6*'5*#2'51(/#66'4#4'%1056#06.;$'+0)&'5641;'&%4'#6'&4'#44#0)'&

transmitted etc. From this perspective, we don't need to refer to conceptual failures (e.g. one can write "I will discuss the forms of... and describe how they circulated from... to... ").

In a nutshell, two features of the framework make a difference with the way scholars usually discuss materiality:

– The notion of shape enables us to speak about a same thing being present at several places at the same time;

– The concept of wave allows for things to be created, dissipated or conserved.

And the concept of form'0#$.'57561&'#.9+6*9*#6+552'%+A%#$176*7/#0$'+0)59*'0+6%1/'5619#8'5 circulation, and with the issue of human subjectivity.

The core idea in the book is the notion that a design is a displacement. It is illustrated with the sand castles on the cover: the same sand can take a different shape by a different hand or culture. For instance, either a dribble/

#7&+'537'%#56.'14#4'#6 #..'537'%#56.'

Zimmermann, Basile. Waves and Forms: Electronic Music Devices and Computer Encodings in China. Cambridge, Mass.: MIT Press, 2015.

http://mitpress.mit.edu/books/waves-and-forms

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