Attuning to Materials

CAVE, University of Leeds

Scott McLaughlin  focuses on  sounds that things ‘want’ to make, resonances allowing us to listen in a traditional musical sense.

School of Fine Art, History of Art, and Cultural Studies

<p>We move everyday through worlds of fleeting pitches in the resonance of the ‘thingly’ materials around us that we interact with. We are continuously touching, moving, knocking, brushing, clanging, and pinging our way along, gifting things with momentary excitation that they return to us as pitches, which are mostly lost to noise or otherwise outside our attention in the moment. Attuning to materials is about the focussing in on the sounds that things ‘want’ to make, specifically in my case this is about pitchiness, the resonance that allows us to listen in a traditionally musical sense but without the Heideggerian ‘enframing’ imposed by standardised tuning systems and deliberate construction of melodic patterning. The focus here is on Andrew Pickering’s version of cybernetics; "not a dream of perfect control, but a performative experimental openness to what the world holds". Attuning is an active listening that encompasses both the ‘prick […] or pointing of the ears’ (Mowitt 2015) that tunes our attention, but also a continuous ‘becoming-with’ (Haraway 2016) where we can hear the sonic manifestation of material agencies, preferences, and behaviours.</p>

<h3>Part of <a href="https://lahri.leeds.ac.uk/projects/sadler-seminar-series/sadler-seminars-2021-22/tunings-of-the-world/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Tunings of the World</a>, a CAVE and Sadler Seminar Series, Faculty of Arts, Humanities and Cultures, University of Leeds.</h3><p></p>

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Attuning to Materials

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Attuning to Materials

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