By A. Sanguineti
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Extra resources for 200 Victorian Fretwork Designs: Borders, Panels, Medallions and Other Patterns
Clothing collections and museums comprise fabrics, sometimes according to type. Design and art exhibitions may be divided up into products of stone, ceramics or wood. Archaeology commonly works with categories of substance. Hence the Kew Gardens economic botany collection has only recently come to be seen as a ‘materials‘ library. 2 In the Sustainable Materials Library, Kingston, with Jakki Dehn acting as a human ‘mediator’ to the collection. Photo by Adam Drazin. 2). Subsequently, this collection too came to be recognized as a ‘materials‘ library, but the term ‘materials’ in that instance makes no sense without the qualifier ‘sustainable’.
The pertinence of this alternative is testified to by the ways that Chinese companies have managed to supersede the marketing-led behemoths of Unilever and Procter & Gamble in the Chinese bath products market, through the scents in their products. The topic of fragrance is especially interesting, because it is testament to an instance in which the properties of a material (such as soap) are demonstrated to be detachable and negotiable. Soap and scents are different materials in the industry. The possibility of a movement between form and substance, the existence of materials in other words, is what makes properties detachable.
It has always been to a certain extent inadequate to conceive of material things as tool-like; it is doubly inadequate to see them as forms. We wish to, not so much propose other ways of understanding, but in the main to try to elaborate on this materials problem. The imagination of a materials world is not necessarily an act of explanation but can be an act of problematization, a challenge to the inevitability or given-ness of the composition of the world. What is the problem of materials exactly, in instances where the material comes to the fore?