Why is it so important to store analogue knowledge? Because our collectives with their extended analogue illiteracy
waste to much energy and develop too many negative behaviours, instead of inspiring people to solve common problems in sustainable ways. Developing sustainable forms of analogue interaction is crucial to our collectives, but without an efficient method of storing this knowledge, it is soon lost in our ephemeral societies.
If you are confused about my use of the terms analogue and digital, please read my blogpost Analogue and digital processes
In collectives sharing a strong folklore, dance, music and storytelling are efficient sites for developing, storing and retrieving analogue knowledge. The activities are inclusive, cross modal and open ended. Participants are guided by a common knowledge about steps, rhythms, scales, etc., and possible ways of combining them. Events develop according to a number of open factors, being sensitive to context and to the participant’s intentions. They are improvised, and may turn in several directions, like a dinner conversation.
A strong, inclusive and open ended culture for dance and music gives a collective the means for developing a refined attunement to the physical and mental space of the other, giving the participants a common, codified language for analogue interaction.
In our welfare society, our capacities for dancing, music-making and storytelling have been colonised by market economy, setting up clear boundaries between producer and consumer.
A major obstacle for our communities to have an efficient replacement for our lost folklore is our fragmented way of life. What about the new technologies, can they be the glue that restores our lost proximity?
Since analogue processes are gradient and embedded in context, storing information about them is an enormous challenge. We might think that the new technologies for making traces of visual and auditive elements give us the sites necessary for storing and retrieving analogue information. To some extent, I believe they have the opposite effect. Since film, sound recording and photography are so seemingly close to our instantaneous perception, we are easily tricked into believing that what they depict is a somewhat true picture of the actual event. This is of course only a surface point of view since we all know that a movie actually just consist of many pictures/frames taking in a row, – remember the root of the word: moving pictures – and a sound recording is a “mechanical inscription of sound waves” as it says in Wikipedia. Whether done by what we call ‘digital’ or ‘analogue’ equipment, these inscriptions are basically digital, in the sense I use here, since they proceed from a linear approach, taking one frame or sample at a time, storing them in a long row, on a disc or a tape. The procedure shares its conceptual framework with writing, and you might say that we merely have rebuild the (phonetic) typewriter into an audio and an image typewriter. It is true that the bitrate of our devices makes these small images/sound samples appear so rapidly one after the other that our senses are completely tricked into perceiving movement. Nevertheless, the linear character of this method for storing analogue information makes it inefficient when it comes to building up a culturally sustainable collective:
- A recording is myopic. It can only collect information that it is constructed for collecting, ignoring all the other types of analogue information we receive in an event. The hegemony of the video recording, as stated by the success of Youtube, boosts the existing hierarchy of the senses, where the visual is by far the most foregrounded sense.
- A recording is uni-directional. The different interactions in an event flow in multiple, and often contradictory directions, and since the one who produces the recording must make a choice about which stream(s) to follow, the consumer is left with limited if any possibilities to follow other streams of interaction. These underprivileged streams might be present as traces, but you cannot follow them further since they are cut away or continue outside the frame. New supposedly revolutionary technologies like 3D video and surround sound broaden the field of the linear recording, but they do not come with a solution to the basic problem about the decision of the viewpoint, which still lies in the hands of the producer of the recording.
- A recording petrifies potentiality. In a given event, there is an infinite number of potential combinations of interaction between the participants, whether human or non-human, animate or inanimate. In order to interact adequately in a situation, you must be able to read the potential intentions, movements and reactions of the other participants.
Directors , photographers, and composers are tweaking their respective media in order to challenge these build in limitations. Just like the writers tweak text in order to convey the totality of an event. Being a competent user of text requires years of study.
For some reason we believe that visual literacy and auditory literacy is easier to achieve. Although the technologies are available to everyone now, the users’ possibility for impregnating the process of recording with significant analogue information is limited. The abundance of apps, programs and gadgets that should help us do ‘as the professionals’ result in an enormous amount of works that appear ‘professional’. Nevertheless, since these tools are generally based on a surface understanding of the choices in artistic processes, they give you ready made options that will mimic (commercially) successful works, while impeding you from making choices according to an understanding of the context your process is embedded in, with all its potentiality, agency and … analogueness.
Our folklore-deprived collectives need new sites for analogue storing. Although the new technologies for recording sound and image are now completely democratised, their capacity for giving the average user a site for storing and retrieving analogue information doesn’t compete with the capacities lying in a strong culture for dance, music and storytelling.
Our current level of analogue literacy leaving us with an almost autistic society, where we are challenged in reading the non-binary information in our interactions, a need for new methods is apparent. We allocate most of the time available in our childhoods to the development of (phonetic) literacy and numeracy, and it seems improbable that this is going to change in the near future.
Can we develop methods and tools that will shortcut the steepness of the learning curves for analogue literacy?
Music, dance and storytelling didn’t come out of thin air. They are rooted in our inherent competencies for prosody, gesture and speaking. Everyone is capable of expression through these modalities, and this is where the key to new sites for developing analogue knowledge lies.
These tools and methods for developing, storing and retrieving analogue knowledge must enable the extraction of information about the existing (rudimentary) analogue infrastructure of a collective, providing a site for the playing around with these elements, and
offering simple methods for reassembling them into enhanced and sustainable analogue infrastructures. The tools and methods must deliver intelligent, humanised interfaces, ready to read the analogue information in gesture, movement and speech, while being sensitive to context and the agency of the participants, not only human, but also non-human or inanimate. They must be open ended, open for the users to tweak and hack them, developing extensions or ‘plugins’, including new elements from the local context, and the surrounding processes in society, in popular and elite culture. And finally, they must include storing methods that facilitate the sharing, distribution and efficient retrieving of analogue know-how in the collective over time, and between collectives working with similar processes.
“No ear, no piece of apparatus could grasp this whole” (www.akutsk.tumblr.com)
Do you want to microsponsor akutsk?