cutting against the grain- sounding the record
To record is not only to inscribe, but to attend.
This essay begins with the sound of a Japanese pull saw gliding through timber. An uneven, high-pitched rhythm that marks the grain’s resistance.
Each draw is a negotiation between body, tool, and material.
It is not silent.
It remembers.
This making explores recording as a feminist-material practice: not capture, but attunement; not document, but resonance.
It performs as much as it describes, written in a register that moves between theoretical incision, poetic fracture, and tactile detail.
The record here is not a citation or sealed file but the lingering hum of relation- made with friction, refusal, and care.
I offer this work as an experiential-essay-manifesto.
It retains a scaffold of academic structure while deliberately unsettling its smoothness.
Line breaks enact resistance- cuts interrupt flow.
Sound insists.
Writing becomes method: a correspondence between theory, tool, and the ethics of attention- a living bibliography, where citation is felt rather than formatted.
This is not writing about praxis; it is praxis.
I hope you’ll receive it as a record: one that hums, holds, and sounds.