04/////////////////////////////////////////////////////////////////////////////////// PERFORMATIVITY OF A FILE
“digital files appear by clicking on their names - as in earlier times we conjured spirits by calling their name”, (Groys, 2016).
Transduction also happens in dimensions. In the case of audio files, data becomes vibration. This screen flatness becomes spherical and resonant, bringing the information back to space, suggesting it to vibration and friction. Sonics touch our bodies; mp3s undergo a becoming-haptic when amplified. The digital file is a ghost until ‘staged or performed’, they always need the performative agency of the other, thus they “do not exist until they have a here and now”.
......racing files are looped to create an imitation of data-processing rhythms. Files perform their chaotic expression: airdropped over a rolling amen break - the sample which defines the drum and bass genre. This drum break from The Winston Brothers 1969 ‘Amen Brother’ originally lasting 7 seconds carries with it the gesture of the drummer [the controlled muscular spasms, performed by the body in a moment of energy exertion] , the resonance of the recording space in Washington D.C, the texture of the recording material, the haptics of the vinyl [the damage of the needle], digitised and shared online again and again. The looping of these 7 seconds, often at double speed resurrects this moment of freestyle again and again and relocates this spatially. A reel to reel reconstructs the syncopated structure over a mechanical re_chronology, accelerating and duplicating the bassline.