Analytical Experiment: A Snapshot of Mediation

Practicing analysis of visual ethnography. It is one thing to use field nots, words, quotes what can be told from an image?

An actor-network reading of a workshop still life

Snapshot of Mediation

What appears to be a still life (see below) — a wrench, pliers, a battered utility knife, a tube of lubricant — is, in truth, a snapshot of mediation.

This is not a photograph of tools waiting to be used. It is a moment caught mid-network: a constellation of human and non-human actors in temporary stillness, their capacities suspended but not withdrawn. Drawing on Bruno Latour’s Actor-Network Theory, we see that agency here is distributed. These objects are not inert. They are actants, shaping the contours of labour as much as any human hand.

Take the utility knife — improvised, hacked, personalised. It is not a factory product but a constructed device, with its blade wrapped in tape, transforming it into a usable tool despite — or because of — its brokenness or just being at hand. This is repair-as-design, a gesture of necessity and familiarity. It speaks of a person who knows their tools intimately, who responds not by discarding but by adapting.

The pneumatic wrench mediates air into force. The pliers extend grip and torque. The lubricant ensures continuity. Each of these tools translates intention into effect, maintaining a network of function. But it is the knife-as-invention that most clearly reveals the human trace — not just in how it is used, but in how it is made usable again.

The workbench surface, covered in blue and grey splatters, is not mere backdrop. It records past actions — cuts, drips, pauses — a history of negotiation between material, machine, and person. This too is part of the network, holding memory in texture.

What we witness is not just labour, but the infrastructure of doing: improvisation, maintenance, and care. Latour reminds us that the social is not what connects people to people, but what connects actors through actions. This bench, these tools, and their user are linked through ongoing acts of mediation and delegation.

This image is not about stillness. It’s about suspended motion — a network at rest, but never at an end.

Workshop Bench
Snapshot of Mediation by Brett Allen

I acknowledge the Woi Wurrung people of the Kulin Nation, the Traditional Custodians of the land on which I live, work, and create. I recognise that these lands were never ceded and remain, always, their land. I pay my deepest respects to Elders past and present, and to all First Nations people whose cultures and connections to Country continue to shape and strengthen this place.

As a white Australian with ancestry tracing back to First Fleet convicts, colonisers, and more recent immigrants, I acknowledge the privileges I have inherited through systems built on dispossession and ongoing injustice. I recognise that my presence here is part of a broader legacy—one that has caused deep harm, directly and indirectly, to First Nations communities.

I commit to listening, learning, and working in ways that honour the sovereignty, knowledge, and enduring strength of Aboriginal and Torres Strait Islander peoples.