Revision as of 22:36, 14 November 2022

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Questions

_What do you want to make? 
_How do you plan to make it?
_What is your timetable? [stages] [deadlines] 
_Why do you want to make it? 
_Who can help you and how? 
_Relation to previous practice 
_Relation to a larger context 
_References/bibliography 
_Who is the work for (part of why do you want to make it)

What do you want to make?

"sound jams" is a modular non-linear handbook with tools to facilitate listen-and-respond jams & publish their outputs

A handbook presenting a method to produce and publish collective sound-based publications. This hands-on guide will explore and share various tools to facilitate sound-making and sound-publishing moments.

Sound can be an informative and important part of any artistic research. It is a strong medium for artists practising any kind of discipline and is often overlooked by visual artists, media designers and facilitators. Thus, this handbook aims at bringing another medium (or opening more possibilities for exploration of it) to mixed-media artists, designers and educators.

(Deep Listening) Sound Jams: Method of Producing Collective Sound-Based Publications [working title] is focusing on bringing deeper attention to sound in the ways we perceive it, and the way we respond with it. The method explores various ways to facilitate sound-making and publishing moments on the basis of “listen and respond”. The invitation is to analyse how deep listening affects sound jams.

Why do you want to make it?

Facilitation is a substantial element of my artistic practice. Since 2016, I am experimenting with various ways of creating time and space for people to try out new artistic tools, no matter their previous experiences and training. Visual arts and digital communication were mainly the focus of the tools I was researching, but as a mixed-media artist, I am interested in bringing sound more as a format in these laboratories. During the first academic year of my studies at Experimental Publishing, I already noticed my increased interest in using sound more in my artistic practice. Highlights of my research and experiments were the pieces made for Special Issue 18: Radio Implicancies; the care-taking process of facilitating and the editorial work for some weekly releases; as well as participation in improvisational jams with the other XPUB students. I also facilitated my first sound-based artistic residency in September 2022, which allowed me to bring a new medium in my facilitation practice, a medium that worked well in a group of people, and that was a completely new form of expression to many of the participants in the workshop.

The element of collective making is also an important entry point for me. I am interested in exploring opportunities for collaborative creative work. I aim at bringing and establishing some principles in my art and facilitation practice: openness, inclusivity, and collectiveness. I want to create a safe space for experiments, where everyone is welcome, no matter their previous experiences and training.

How do you plan to make it?

What is your timetable?

Who can help you and how?

Relation to previous practice

Relation to a larger context

References/bibliography

WIP - what informs the research

reads

Oliveros, P., 2005. Deep Listening. New York. Deep Listening Publications. [annotated pad]
adrienne maree brown, 2019. Pleasure Activism. The Politics of Feeling Good. Chico, Edinburgh. AK Press. [annotated pad]
Evens, A., 2005. Sound Ideas: Music, Machines & Experience. U of Minnesota Press [annotated pad]
Kreidler, J. 2013. loadbang. Programming Electronic Music in Pure Data. 2nd edition. Hofheim: Wolke Verlag.
Weiss, A., 2001. Experimental Sound & Radio. The MIT Press.
Groot, M. 2019. The Amateur's Armour. [online] Available at: <https://underbelly.nu/wp-content/uploads/2015/04/The-Amateurs-Armour.pdf> [Accessed 11 October 2022].

sound publications

Brown, A. R., 2022. Beneath Maiwar.[online] Available at: <https://www.explodingart.com/arb/2022/06/28/beneath-maiwar/> [Accessed 30 September 2022]. [annotated pad]
Nagy, A., 2018. Hackpact / Sonification Studies. [online] Available at: <https://stc.github.io/HackPact/> [Accessed 30 September 2022]. [annotated pad]

Who is the work for?

[methods to facilitate collective sound publication creation]

_educators: people who are facilitating various educational activities and are looking for ways to bring more mixed media in their activities;
artists: who are looking for new techniques for their practice and ways to experiment, boost their creative process; to find more ways to reflect over topics and contents;
_tba: who else? tba

[publish and perform audiozines]

artists: who are looking for new techniques for their practice and ways to experiment, boost their creative process; to find more ways to reflect over topics and contents;

topic-related interest: if the audiozines reflect on a particular topic, could be interesting for people who are triggered by the topic?
tba: who else? tba

Research places

@@ Line 29: / Line 29: @@
 ==<span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> Why do you want to make it? </span>==
-Facilitation is a substantial element of my artistic practice. Since 2016, I am experimenting with various ways of creating time and space for people to try out new artistic tools, no matter their previous experiences and training. Visual arts and digital communication were mainly the focus of the tools I was researching, but as a mixed-media artist, I am interested in bringing sound more as a format in these laboratories. During the first academic year of my studies at Experimental Publishing, I already noticed my increased interest in using sound more in my artistic practice. Highlights of my research and experiments were the pieces made for Special Issue 18: Radio Implicancies; the care-taking process of facilitating and the editorial work for some weekly releases; as well as participation in improvisational jams with the other XPUB students. I also facilitated my first sound-based artistic residency in September 2022, which allowed me to bring a new medium in my facilitation practice that worked well and was a completely new medium to many of the participants in the workshop.
+Facilitation is a substantial element of my artistic practice. Since 2016, I am experimenting with various ways of creating time and space for people to try out new artistic tools, no matter their previous experiences and training. Visual arts and digital communication were mainly the focus of the tools I was researching, but as a mixed-media artist, I am interested in bringing sound more as a format in these laboratories. During the first academic year of my studies at Experimental Publishing, I already noticed my increased interest in using sound more in my artistic practice. Highlights of my research and experiments were the pieces made for Special Issue 18: Radio Implicancies; the care-taking process of facilitating and the editorial work for some weekly releases; as well as participation in improvisational jams with the other XPUB students. I also facilitated my first sound-based artistic residency in September 2022, which allowed me to bring a new medium in my facilitation practice, a medium that worked well in a group of people, and that was a completely new form of expression to many of the participants in the workshop.
 The element of collective making is also an important entry point for me. I am interested in exploring opportunities for collaborative creative work. I aim at bringing and establishing some principles in my art and facilitation practice: openness, inclusivity, and collectiveness. I want to create a safe space for experiments, where everyone is welcome, no matter their previous experiences and training.

Al's XPUB2 proposal draft: Difference between revisions