Form Follows Practice

Abstract

Objects do not necessarily reach completion once they are designed, for their shapes do not freeze once designed and manufactured, but keep evolving and developing—they are put back at stake, taken over, and thereby relieved—through a number of practices. Just like with movement, whose notion had never truly been comprehended until it was put into practice via “chronophotography”, we slowly get a mental picture of them, and become increasingly familiar with them. Today, more than ever, there is a point in defending this argument—whose outcomes stem from traditional philosophical analyses, as well as from historical and anthropological data. This theory enables one to take to contemporary and technological means comprehensively, bearing in mind that these very means do not limit themselves to the mere trivial act of programming items, but that, on the contrary, they can open the above-mentioned items up to interpretation. This phenomenon—interpretation—contains musical undertones, among which is improvisation. “Users” are like or could be seen as musicians bringing to life a score that would not contain the whole range of components pertaining to its musicality. Writing is a proposal here. Not an organizing agent. What has yet to be shaped—and will be practice-induced—is the soon-to-come concert of objective proposals triggered by our argument. Relying on contemporary, music-related data, we hereby intend to back up the open forms and ways of orchestrating this concert.