The polychronic bowls, as the material driver of the research, are an ongoing series of small bowls that combine materials from different historical eras. The knowledge gained from these three positions aids navigation through the practical experience of making as mapping. Firstly, an aerial cultural viewpoint proposed by digital visual theory secondly, the conceptualisation of time through the act of mapping, crumpling and pleating of material history as an emergence practice and thirdly, a practical translation of speculative realist approaches to materiality. The research seeks to understand the implications of a potentially different making space opened up by a triangulation of concepts. Through making, it maps digital cultural theory, contemporary ideas of crumpled time and the practical implications of object orientated ontology.
Abstract In the light of current debates on the future of making, the Polychronic Object research uses material experimentation to identify possible paradigm shifts. Making Polychronic Objects Can an aerial perspective, crumpled time and material democracy, reframe material choice in objects? Key words: polychronic, crumpling, time, mapping, materials, actants. This is then contextualized through a polychronic re-reading of the history of technology and an exploration of different design approaches that offer appropriate models for this practice. The knowledge gained from these three positions aids navigation through the practical experience of making, producing pleated material history as polychronic objects. Thirdly, a practical translation of speculative realist approaches to materiality through the writing of Jane Bennett, Levi Bryant and Timothy Morton. Secondly, the application of non-linear time in making through the act of mapping and crumpling as defined by Giles Deleuze, Félix Guattari and Michel Serres. Firstly, digital aerial viewpoints proposed by theorists such as Amelia Groom and James Bridle. The research interrogates a triangulation of concepts. In the light of current debates on materials and the future of making, the polychronic object research combines temporal theories with material experimentation to identify possible paradigm shifts in making for a networked society. The practice of storytelling through making and writing endeavours to open up an alternative material narrative of spoons. The aim of this is to better understand some barriers to a polychronic approach to design. By shifting the material narrative in a selection of spoons, the research seeks to interrogate and problematize inherent material assumptions. Spoons are intimate objects, closely related to, but separate from the body that have consistently channelled our desire and consumption of both food and material status, becoming effective narrative vehicles to communicate our cultural values. This has been extended by focusing on spoons as objects that carry cultural narratives such as hygiene, modernity, disposability and inherited history embedded in their material use. A series of small polychronic bowls that combined materials from different historical eras, formed early material experiments in the research. The research triangulates: an aerial cultural viewpoint proposed by new media theory a re-conceptualisation of time through the act of crumpling material history and a practical translation of cultural narrative approaches to materiality through para-design, using both materials and fiction. In the light of current debates on the future of making, the Polychronic research focuses on what influences our decisions in material selection when designing objects, and how these decisions might be changed.
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