Not Signed-In
Which clippings match 'Cloth' keyword pg.1 of 1
14 NOVEMBER 2014

Smooth and striated interactions between sound and digital technologies

"In the plateau '1440: The Smooth and Striated' from their book A Thousand Plateaus: Capitalism and Schizophrenia, Deleuze and Guattari propose a distinction between smooth and striated space. Presenting a dialectical construction of space in which 'the two spaces in fact exist only in mixture' they argue 'smooth space is constantly being translated, transversed into a striated space, striated space is constantly being reversed, returned to a smooth space' [46]. In particular the technological model of smooth and striated space Deleuze and Guattari put forward serves as a useful construction of the interaction between sound and digital technologies. Using the example of fabric, Deleuze and Guattari explain a conception of striated space in which there are 'two kinds of parallel elements; in the simplest case there are vertical and horizontal elements, and the two intertwine, intersect perpendicularly' [47].

Performing different functions, one of these remains fixed, the other mobile, as demonstrated by one piece of thread remaining in place while another interweaves, or transverses, it or by the x–axis of time in a digital sound buffer which remains linear, straight, as its corresponding y–axis of amplitude simultaneously traces and diverges from it. It is crucial that 'a striated space of this kind is necessarily delimited, closed on at least one side', as 'fabric can be infinite in length but not in width' and though time does not constrain sound the limited headroom of digital audio means amplitude must [48]. Technological striated spaces are constructed with top and bottom, as belied by the seams of fabric or bit depth of digital sound [49]. Digital sound involves a constant process of translation in which sound moves between the smooth phenomenal space of actualized sonority and the striated space of potential that is the digital domain, while still presenting a smooth space of its own, and so is itself nothing more than a functional abstraction."

(Ben Byrne, 2009)

Byrne, B. (2009). "Digital Sound: On Technology, Infidelity and Potentiality". Totally Huge New Music Festival Conference. Edith Cowan University, Perth.


2009 • actualised sonority • amplitude • bit depth • cloth • dialectical construction • digital audio • digital sound • digital technologiesfabricFelix Guattarifunctional abstractionGilles Deleuze • headroom • infinite length • intersect perpendicularly • intertwine • interweave • mixture • parallel elements • Perth • process of translation • recording in analogue • recording sound • smooth and striated interactions • smooth phenomenal spacesmooth space • sonority • sound • sound capture • spacestriated space • technological striated space • thread • transverse • warp • warp and woof • weaving • weft • woof • x-axis • y-axis


Simon Perkins
13 MARCH 2013

Concrete Canvas and Concrete Canvas Shelters

"Concrete Canvas Ltd. manufacture a ground breaking material technology called Concrete Canvas that allows concrete to be used in a completely new way. Concrete Canvas was originally developed for the award winning Concrete Canvas Shelters, a building in a bag that requires only water and air for construction."

(Concrete Canvas Ltd.)



architectural building cladding • buildingcanvas • canvas building • cement • cement impregnated fabric • civil engineering • cladding • clothconcrete • concrete canvas • concrete cloth • concrete layer • construction • durable • fabricfabrication • flexible forms • form and spaceformation and materialisation • humanitarian crises • hydrated • hydrophilic • impregnated fabric • inflatable • inflatable concrete building • infrastructurematerial interventionsmaterial practicematerials innovationmaterials sciencemutability • mutable structures • new materialsproduction and assembly • rapidly deployable infrastructure • sheltertemporary buildingtemporary structures


Simon Perkins
13 DECEMBER 2012

Journey (Video Game)

"The studio describes it as an interactive parable, the story of a lone traveller and their path through life told in the form of a voyage that starts in the vast expanses of a desert and ends ... well, to tell you how it ends would spoil it. You think you know what Journey is going to be about after the first five minutes, but you don't. I came to it expecting something charming, visually stunning and perhaps even mildly edifying. I left thinking that it may well be, in many ways, the best video game I have ever played.

You play a traveller swaddled in red robes, beginning atop a desert sand dune with a view of a shining mountain on the horizon. You're given no direction; instead you're guided by the natural impulse to move towards that looming, distant beacon. Control is intentionally simple and unobtrusive; you can only walk, jump and sing, but Journey still crafts some astounding scenarios from those bare gameplay ingredients. It has you surfing down sand dunes in the fading light, scaling towers, flying on the wind and cowering in underground ruins as you slowly uncover what could have happened to the civilisation that must have once lived there."

(Keza MacDonald, 13 March 2012, The Guardian)






2012abandoned ruinsancient cityatmospheric presence • Austin Wintory • barren land • beacon • clothcontinuous • crevice • cutscene • desertdesolate space • endless desert • environment as antagonist • float through the air • floating in spaceflyinggame worldheros journeyhorizonindie game • interactive parable • Journey (2012) • lone traveller • mountain • musical chime • natural impulse • open worldPlaystation 3quest • reach the summit • redrobe • robed figure • ruins • sand dune • scarf • smooth spacesnowSony Computer Entertainmentstone • Thatgamecompany • timelessnesstower • underground ruins • video gamevoyagewindwordless


Guannan (cassie) Du

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