As said in the previous post, at BTmix, we’re “mixing it up” by doing a series of blog posts on disposable static mixers (for sale on our webpage) and art criticism. Herein one finds the first post, a short commentary on the photograph, “Bestir Motionless,” by an unknown artist.

jenna_1_three static mixers

First of all, appreciate the artist’s intention. The point was to create symmetry and balance between shapes and patterns. Direct your attention to the three helical static mixers, which are arranged from largest to smallest as the eye moves from the bottom of the picture to the top, thus creating a triangular-like shape–try and imagine it. Superimposed atop that, a circle of alternating red and yellow tomatoes. The alternation is important, again, because it speaks to the concerted effort on the part of the photographer to achieve balance and symmetry. Think of how different the picture would look if the tomatoes were of random colors (or even all of the same color). As the eye moves to the left, there’s another circle (the flower); and then don’t forget about the picture’s background, which is a mesh substance of tiny squares. Tringle, circle, square: a preliminary reading would suggest that “shape” weighed heavily on the artist’s mind during this photograph’s composition. Altogether, the effect is extremely “artificial,” if only in the sense that one would not expect to find these objects so arranged in nature. Likewise, whereas the artist could have chosen to let chance or contingency play a larger role within the frame (for instance, capturing the epoxy mix tips and tomatoes as they fell from a Yahtzee cup), instead, each object’s position is carefully thought out and almost obsessively determined in relation to every other: if you took a ruler to measure the space between tomatoes, the difference between one measurement and the next would be negligible. In other words, the photograph is highly “mediated,” or reflects a meticulous–almost paranoid–ethos opposite to that of the “hands off” approach, to the philosophy of “just letting things be as they are.”

While there are certainly problems with this photograph (formally, the asynchronic rhythm of the background mesh against the motionless mixers’ 45 degree angle, or the violation of the “rule of thirds,” for example), and while one also ought not to expect this photograph to fetch a tidy sum at a gallery auction, in art, to trifle with the details often runs counter to the fun you can have. If we think of the mixing nozzle in terms of its concept, of what it’s designed to do, we recall that it blends two liquids at a precise ratio–so precise in fact that, with regard its function, it far outperforms the human hand. The dispenser as an engineered object achieves a composed perfection (say, of silicon or epoxy) in reality that the artist only clumsily gestures toward through the photograph. That obsessive character of the photograph’s composition, or the static, geometric exactitude of the artist’s constellation of man-made and “organic” objects, can be “read” as an all-to-human compensation for the mixer’s timeless reliability, its capacity to “get it just right” each and every time, which, given our status as finite knowers, we fail to “live up to.” Similarly, if the idea of the static mixer is weighed against the artist’s variously interwoven material “levels” or “layers,” which give the backgrounded patterns and differently shaped arrangements a “busy” feeling, the picture might then suggest a sort of “primal” desire to eliminate the inconsistency of choice from life (choice occasionally leading to poor results), a desire either exacerbated by or ironically redeemed through the mixtip’s predictably successful application, save for its being materially destroyed beforehand.

Now all that is a long way from making static mixing nozzles available for purchase at a fair price, which, coincidentally, we also do, too. Recently, the website’s been updated a bit; and check out the new product page, where you’ll see different sizes of static mixers for different purposes or applications. To see if inline static mixers apply to your manufacturing process, call us today and talk to our mixing nozzle expert.