Morphogenetic Field,Making,Tools and Context
Published by bharath haridas,
A framework is the field. A framework can be imagined as web of nodes. These nodes will be the ingredients that sets up the space for the exploration.
This field is then activated by a makers gesture, however that is not enough to start creating cohesive content. It crates fragments.
When applied to a context through a set of appropriate tools with an end goal in ming these fragments stitch together based on the designers memory and craft. Media takes shape into forms that an audience can interface with.
Indeed the basket holds together, and assumes a rigid form, precisely because of
its tensile structure.1 In short, the form of the basket is the result of a play of forces, both
internal and external to the material that makes it up. One could say that the form unfolds
within a kind of force field, in which the weaver is caught up in a reciprocal and quite muscular
dialogue with the material.
its tensile structure.1 In short, the form of the basket is the result of a play of forces, both
internal and external to the material that makes it up. One could say that the form unfolds
within a kind of force field, in which the weaver is caught up in a reciprocal and quite muscular
dialogue with the material.
Tim ingold - On Weaving a basket
The actual, concrete form of the basket,
however, does not issue from the idea. It rather comes into being through the gradual
unfolding of that field of forces set up through the active and sensuous engagement of
practitioner and material. This field is neither internal to the material nor internal to the
practitioner (hence external to the material); rather, it cuts across the emergent interface
between them. Effectively, the form of the basket emerges through a pattern of skilled
movement, and it is the rhythmic repetition of that movement that gives rise to the
regularity of form.
however, does not issue from the idea. It rather comes into being through the gradual
unfolding of that field of forces set up through the active and sensuous engagement of
practitioner and material. This field is neither internal to the material nor internal to the
practitioner (hence external to the material); rather, it cuts across the emergent interface
between them. Effectively, the form of the basket emerges through a pattern of skilled
movement, and it is the rhythmic repetition of that movement that gives rise to the
regularity of form.
Just as organic form is generated in the unfolding of the morphogenetic
field, so the form of the artefact evolves within what I have called a field of forces. Both
kinds of field cut across the developing interface between the object (organism or artefact)
and an environment which, in the case of the artefact, critically includes its ‘maker’.
The world of our experience is, indeed, continually and endlessly coming into being
around us as we weave. If it has a surface, it is like the surface of the basket: it has no
‘inside’ or ‘outside’. Mind is not above, nor nature below; rather, if we ask where mind
is, it is in the weave of the surface itself. And it is within this weave that our projects of
making, whatever they may be, are formulated and come to fruition. Only if we are
capable of weaving, only then can we make.
around us as we weave. If it has a surface, it is like the surface of the basket: it has no
‘inside’ or ‘outside’. Mind is not above, nor nature below; rather, if we ask where mind
is, it is in the weave of the surface itself. And it is within this weave that our projects of
making, whatever they may be, are formulated and come to fruition. Only if we are
capable of weaving, only then can we make.