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Thesis Outline | =Thesis Outline draft= | ||
a. What do you WANT to write? [What will the text be about? (thesis). What do you want to explore? | |||
Be clear about HOW you want to tell your story.] | |||
Sound connects. It is not physical but exists so powerfully in space. It identifies places but is not usually thought of, or used to describe one, other than the simple ‘noisy’ or ‘silent’. I want the reader to imagine and play with mundane sounds, explore the urban landscape with no visual aid, to notice and create new imaginary paths in their mind. | |||
I want the text to be an invitation to listen, truly listen and not just hear. I plan to do this by reporting on listening exercises and experiments i will carry out in public space, as well as expanding on the activities themselves and inviting the reader to perform them. I will also illustrate and reference the work of other artists and composers who engage in similar practices surrounding the topic. | |||
In order to do this, I feel it is extremely determining to directly ‘talk’ to the reader, making them feel engaged and prompted to try this out for themselves and look further into the topic. I want the thesis to be a love letter to listening, and the reader to want to write a love letter to listening at the end of it as well. | |||
b. Outline three key issues you want to explore. (Please think of only 3 key issues): | |||
=== Chapter 1: Do you listen or do you hear?=== | |||
Chapter containing previous references to this practice, other artists and researchers work on the topic. | |||
=== Chapter 2: Methods for listening=== | |||
Methods, exercises and experiments I have made through the development of the text to listen carefully, this chapter to me is the heart of the thesis, as it will be crucial in involving and inviting the reader to do this in their time. | |||
=== Chapter 3: Caught sounds=== | |||
An outline of the findings and results coming from the ‘methods for listening’ chapter, as well as observations on the sounds encountered during the research period. I would like to include samples of sounds in the text, both in an auditory and written capacity. (Thijs suggests adding a little cassette strip to glue onto the page and then a reader head comes with the publication. I really like this idea and i think i will use it) | |||
Revision as of 11:36, 16 October 2024
Thesis Outline draft
a. What do you WANT to write? [What will the text be about? (thesis). What do you want to explore? Be clear about HOW you want to tell your story.]
Sound connects. It is not physical but exists so powerfully in space. It identifies places but is not usually thought of, or used to describe one, other than the simple ‘noisy’ or ‘silent’. I want the reader to imagine and play with mundane sounds, explore the urban landscape with no visual aid, to notice and create new imaginary paths in their mind. I want the text to be an invitation to listen, truly listen and not just hear. I plan to do this by reporting on listening exercises and experiments i will carry out in public space, as well as expanding on the activities themselves and inviting the reader to perform them. I will also illustrate and reference the work of other artists and composers who engage in similar practices surrounding the topic. In order to do this, I feel it is extremely determining to directly ‘talk’ to the reader, making them feel engaged and prompted to try this out for themselves and look further into the topic. I want the thesis to be a love letter to listening, and the reader to want to write a love letter to listening at the end of it as well.
b. Outline three key issues you want to explore. (Please think of only 3 key issues):
Chapter 1: Do you listen or do you hear?
Chapter containing previous references to this practice, other artists and researchers work on the topic.
Chapter 2: Methods for listening
Methods, exercises and experiments I have made through the development of the text to listen carefully, this chapter to me is the heart of the thesis, as it will be crucial in involving and inviting the reader to do this in their time.
Chapter 3: Caught sounds
An outline of the findings and results coming from the ‘methods for listening’ chapter, as well as observations on the sounds encountered during the research period. I would like to include samples of sounds in the text, both in an auditory and written capacity. (Thijs suggests adding a little cassette strip to glue onto the page and then a reader head comes with the publication. I really like this idea and i think i will use it)