In the film Shaping, we see a close-cropped frame of hands gently manipulating wet clay on a spinning wheel. The pale wet substance subtly changes form in response to the inputs of the hands. We watch it undulate and distort with each physical gesture and motion and we begin to feel the synergy between body and material, thought and form. We are privy to an endless, cognitive loop where desire, intention and suggestion transform into action and outcome. The material world is quite literally being shaped by the immateriality of thought itself. The accompanying sound is of a vinyl record on a turntable, the needle picking up the static sounds so characteristic of the revolutions of this analogue media. The sound of the audio turntable mirrors the turning of the clay table, the grooves left in the unused clay reminiscent of the grooves on a record. The audio, too, begins to evolve. We hear the subtle static noise slowly become a gentle drone. While it is not melodic per se, it is atmospheric and textural, and certainly composed as a-tonal music. This itself reveals a sense of shaping. The shaping of one’s intention, making signal from noise, form from material, meaning from information.