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== More recent version ==
__NOTOC__
In this project, i’ll researched the various ways in which abandoned media can be re-purposed into sound devices. I see “abandoned media” as discarded devices that no longer serve their original intended purpose, but could still function as something else. For instance, a printer being repurposed into a percussive instrument, as happened in paper Jam<ref>video naar de paper jam</ref>
''make: synthesizers after the apocalypse''


As a maker and collector of “things”, further exploring/expanding my artistic practice, I’ve been dealing with the question my own environmental footprint. I feel like I cannot on the one hand critique Hogeschool Rotterdam for offering 1TB of (Microsoft) cloud storage to every student<ref>[https://www.hogeschoolrotterdam.nl/go/Edu010/a%20pplicaties-en-faciliteiten/microsoft-teams/ Microsoft Teams - Hogeschool Rotterdam]</ref> , yet also buy Arduino clones from AliExpress<ref>[https://nl.aliexpress.com/w/wholesale-arduino-uno.html?spm=a2g0o.productlist.search.0 arduino uno – Koop arduino uno met gratis verzending op AliExpress version]</ref>.
In this project, I will research the various ways in which abandoned media can be re-purposed into sound devices. I see “abandoned media” as discarded devices that no longer serve their original intended purpose, but could still function as something else. For instance, a printer that has an “Internal Communication Problem” being repurposed into a percussive instrument, as happened in Printer Jam.<ref>video naar de paper jam</ref> I’ll explore the ideas of speculative sound circuits<ref>[https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVAC18.33 Speculative Sound Circuits]</ref> , where, trough ''“playful and absurdist methodology” “unlikely technological devices are combined to create sound and performance”'', and Salvage Computing<ref>[https://wiki.xxiivv.com/site/salvage_computing.html XXIIVV — salvage computing] &amp; [https://damaged.bleu255.com/Salvage_Computing/ Salvage Computing]</ref> trough a series of DIY/DIWO workshops/hangouts. The workshops will be hosted at Klankschool<ref>wat is klankschool</ref>, together with Riviera Taylor.


During the research, I’ll explore the ideas of speculative sound circuits<ref>[https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVAC18.33 Speculative Sound Circuits]</ref> , where, trough ''“playful and absurdist methodology” “unlikely technological devices are combined to create sound and performance”'', and Salvage Computing<ref>[https://wiki.xxiivv.com/site/salvage_computing.html XXIIVV — salvage computing]</ref>. Trough a series of sound devices, performances and maybe even DIY/DIWO workshops. As the project is set up in a modular way, each sound device, performance and/or DIY/DIWO workshop combines into a larger “orchestra of things”
<span id="salvaging-sound-devices"></span>
=== Salvaging sound devices ===


<blockquote>Figuring out how to make the best possible use out of the millions of devices which already exist.
<blockquote>The real long-term future of computing consists of figuring out how to make the best possible use we can out of the literal millions of devices which already exist https://damaged.bleu255.com/Salvage_Computing/#fn:12 [how to reference a nested reference?]
<cite>[https://wiki.xxiivv.com/site/salvage_computing.html XXIIVV — salvage computing]</cite>
</blockquote>
</blockquote>
<span id="how"></span>
Buying new (electronic) parts &amp; components is usually cheaper then repairing or salvaging. Even more conveniently, in the online community of DIY Synthesizers it is common practice to share an Mouser Project Cart<ref>over wat is mouser</ref> alongside the schematics, when publishing your project. This allows you to buy all the needed parts within just a few clicks. To me, this introduces the idea that you <span style="font-style: italic; color: tomato; text-shadow: 0px 0px 10px tomato; font-weight: bold;">need</span> to buy these super specific components in order to succeed, instead of making the inconveniences that come with salvaging part of the creative process. I’ve found that DIY/DIWO moments where these notions are less prominent, way more empowering and educational.
== How ==


I’m collaborating closely with Riviera Taylor on our continuation of Paper Jam, a performance i did with Riviera around printers and live coding. As a thesis project, I want to push this idea even further. Salvaging components and hardware from abandoned media to make new sound devices, as we for sure need electronic music after the inevitable apocalypse.
<span id="diwo-hangouts"></span>
=== DIWO Hangouts ===
 
During the hangouts, we will explore various methods around salvaging components &amp; dismantling devices, making our own instruments using these materials, live coding hardware trough MQTT/OSC<ref>Over wat is MQTT/OSC</ref> servers &amp; applications, and everything in between. Ultimately, they could lead up to a BYOP (Bring Your Own Printer) Orchestra.
 
The hangouts will be held at the Klankschool, and involve the klankschool community. Me and Riviera will divide the responsibility of hosting, where Riviera will focus more on the server side of things, and my focus will be around hardware. The hangouts will be documented thoroughly, so it can be part of [https://pzwiki.wdka.nl/mediadesign/User:Vitrinekast/Thesis_Proposal My thesis] and shared back to the community of Klankschool, using web2print FLOSS.  


== Who ==
== Who ==
* GHG e.d. - lijst uitschrijven! → ook in timeline
* The klankschool community
* Trashure expert Joak
* Operator Radio to talk about post apocalyptic electronic music, but also to create the workshop in a different environment
* Roodkapje to host events such as the BYOP orchestra
* XPUB community
* Creative Coding Utrecht - space to host workshops


<span id="why"></span>
== Why ==
== Why ==
When reading about Salvage Computing I got very excited, as it could give me a different vocabulary when working with salvaged electronic components as a material. The last year I’ve been a part of various workshops around DIY/Electronics/Circuit bending etc. and I’ve been increasingly surprised by the way some people spoke about the materials being used. Especially around material that is “broken” (what is broken anyway, who decides when something is broken), it was sometimes seen as valueless and waste, to be discarded and not thought about again.
Instead of turning this project into a consumer blaming, finger-pointing, activist project, I want to take the opportunity to explore if it is actually possible to go in full-salvage mode. What workflows do I need to come up with to salvage these components? Which are the most salvageable, how to recognise them? What can they be used for? And, how to deal with the carcass of the printer? Is the approach a viable way of working, or only for those privileged enough where they can actually spend this much time.


<span id="when"></span>
<span id="when"></span>
== When ==
== When ==


<span id="what-came-before"></span>
<div class="thumb tright">
== What came before ==
    <div class="thumbinner" style="width:420px;">
        <img src="https://vignette.wikia.nocookie.net/thegoodplace/images/a/a7/Jeremy_Bearimy.jpeg/revision/latest?cb=20181026224942" style="width: 100%">
        <div class="thumbcaption">Keeping track of time with [https://www.youtube.com/watch?v=RFm9ClqlGuo Jeremy Bearimy]</div>
    </div>
</div>
 
<span id="november"></span>
==== November ====
 
''!No read november!''


<span id="which-context"></span>
* Start salvaging an inventory &amp; an inventory of schematics
== Which context ==
* Continuation of [[the repair club at klankschool]]
* Create a documentation template for salvaging projects
* write this proposal


<span id="references"></span>
<span id="december"></span>
== References ==
==== December ====


* ey yo
* Contact some from the “who” list for possible workshops/DIWO events
* Continue salvaging &amp; documenting
* Prepare DIWO hangouts
* Define DIWO topics
* Continuation of [[the repair club at klankschool]]


Extra references: - Garnet Hertz, Critical Making[http://conceptlab.com/ Garnet Hertz - conceptlab.com]
<span id="januari"></span>
==== Januari ====


Met wie Die lijst opschrijven
* Contact some from the “who” list for possible workshops/DIWO events
* Continue salvaging
* Continuation of [[the repair club at klankschool]]
* 1st DIWO hangout at klankschool<br />


<references />
<span id="februari"></span>
==== Februari ====


* Continue salvaging
* Continuation of [[the repair club at klankschool]]
* 2nd DIWO hangouts at klankschool<br />


== More chaotic version ==
<span id="march"></span>
Hello reader. I am +/- 1 - 2 weeks behind on writing project proposals. But i'll get there eventually. Sorry (but not really that sorry) for the mess.
==== March ====


Project proposal
* Contact some from the “who” list for possible workshops/DIWO events
**1 What do you want to make?**
* Continue salvaging
I'll research ways of re-purposing abandoned media in the making of sound devices and performances. The first version was Printer Jam, a performance i did with riviera around printers and live coding. As a thesis project, I want to push this idea even further. Salvaging components and hardware from abandoned media to make new sound devices, as we for sure need electronic music after the inevitable apocalypse.
* Continuation of [[the repair club at klankschool]]
* 3rd DIWO hangouts at klankschool ''14th March 2025 Deadline First Draft Thesis''


2 How do you plan to make it? Do the steps proposed sound feasible? Are there any steps omitted?
<span id="april"></span>
TBA
==== April ====


3 What is your timetable? Does the timing of the project’s realisation sound feasible?
* Contact some from the “who” list for possible workshops/DIWO events
TBA
* Continue salvaging
* Continuation of [[the repair club at klankschool]]
* 4th DIWO hangouts at klankschool ''18th April 2025 Deadline Thesis''


4 Why do you want to make it? Is the motivation for undertaking the project clear? If not, how can this be improved?
<span id="may"></span>
I really want to make sound devices, and I really want to try and compose with these somewhat unorthodox instruments.
==== May ====


5 Who can help you and how? Are there people in your network that might be of help in developing this project?
* Contact some from the “who” list for possible workshops/DIWO events
I will collaborate closely with Riviera to make the performance, and make the performance on top of the klankserver, a server that she hosts.
* Continue salvaging
* Continuation of [[the repair club at klankschool]]
* 5th DIWO hangouts at klankschool<br />


6 Relation to previous practice:
<span id="june"></span>
yes
==== June ====


7 Relation to a larger context: Is it clear how the work is embedded in a broader context of art works, theory, etc.?
* Contact some from the “who” list for possible workshops/DIWO events
* Continue salvaging
* Continuation of [[the repair club at klankschool]]
* 6th DIWO hangouts at klankschool


8 References/bibliography: Are there any references or sources you feel are connected to this project?
<span id="what-came-before"></span>
== What came before ==


Thesis
During my previous studies, my graduation project was about collaborative synthesizers using web technologies. This background in web development means I am very exited about using web2print FLOSS to create a snapshot in time of a living document.In the last couple of years I’ve shifted my focus a bit from the web as a material, to (re)making with hardware. At XPUB, this resulted in turning [[printers into musical devices]], hosting a [[Colloquium about making music with (salvaged) motors]] and an earlier attempt to turn a [[printer into a battery powered pen plotter]].


1 Intro aka WHAT do you want to research: Is it clear what this text is about, what is its central research question?
Workshops as a method of sharing knowledge and experience is one of my interests. I’ve been part of many workshops around DIY/Circuit Bending/Synthesizer Building/Permacomputing, and found this a very non-hierarchical way of sharing knowledge and uncovering unknown concepts.
2 For each proposed chapter: Is it clear what this chapter will look into and is it clear how it relates and works towards answering the central research question?
3 Method aka HOW will you go about answering your research question: Is there a choice of research method and if so, is it a good fit with the central research question?
4 Mode of address aka HOW you want to tell your story.: Is there a choice for a mode of address and if so, does it fit the topic and method of the thesis?


== Previous version ==
<span id="which-context"></span>
== Which context ==


I want to write about the current state of repairs? Where we as consumers no longer own devices (or "stuffs"), we also no longer feel obligated to maintain those devices. Not only that, we as consumers are discouraged to repair or modify the devices. Afraid of losing warranties, we lose repair skills instead. I consider the ability to repair something an important skill.
I want to position the research in the middle of the ideas of salvage computing and (my own perspective on) DIY culture. Within the DIY synth community, DIY/DIWO is a common practice, experimenting with various circuits and sound making components in workshop settings. However, these circuits come in kits, with brand new components and a rigid how-to-guide. This, to me, goes against my (probably romanticised) ideas of punk in DIY culture, where you work with what you have (Xerox printers).


There is already written loads around this topic. There is the Right to Repair movement, more focussing on politics, repair cafe's, where knowledge is exchange (and maybe some things are repaired), online platforms such as ifixit or other repair wiki's. So i'm not sure yet what this thesis will add to it, but i guess it's an important topic to me.
<span id="references"></span>
== Key texts ==


If your vacuum breaks there are , in my understanding for the general public, a few things you could do. You can take your shitty vacuum to a repair cafe where an unpaid volunteer will fix it or you could buy a new shitty vacuum and throw the plastics in a recycling bin, where a small percentage of your shitty vacuum might turn into a fairphone, but since your shitty vacuum is probably created out of mixed plastic, it will most likely be burned.
''Dear reader, as I’ll spend a lot of time de-soldering components the coming period, I’m looking for audio references. So if you have any podcasts/radio shows/interviews/audio books/etc, please let me know!''


However, there are a few methods/practices/ideas/proposals around the ecosystem of this shitty vacuum. And i'd like to write about that too. (Celebration of end of life products)
''TODO: make it the right format!''


The three issues i want to explore are:
* Garnet Hertz, Critical Making[http://conceptlab.com/ Garnet Hertz - conceptlab.com]
- Being discouraged to repair
* Richards, J. (2013) Beyond DIY in Electronic Music. Organised Sound
- (Celebration of) end of life products
* Speculative sound circuits Richards J.
- Media archeology? What to do with devices that have no use in it's intended design? (Yes, pushing printers in there).
* The rise of LOFI culture, spencer A 2008
* Hardware hacking and recycling strategies in an age of technological obsolescence
* [Salvage Computing](https://damaged.bleu255.com/Salvage
* the art of electronics
* Shannon Mattern, “Maintenance and Care,” 
* Weggooien? Mooi niet! Martine Postma


Mode of address is personal/from my perspective.
=== References ===
<references />


also, it will be in markdown, not in wikisyntax
== Related ==
* [[User:Vitrinekast/Thesis Proposal|Thesis Proposal]]

Revision as of 14:07, 18 November 2024

make: synthesizers after the apocalypse

In this project, I will research the various ways in which abandoned media can be re-purposed into sound devices. I see “abandoned media” as discarded devices that no longer serve their original intended purpose, but could still function as something else. For instance, a printer that has an “Internal Communication Problem” being repurposed into a percussive instrument, as happened in Printer Jam.[1] I’ll explore the ideas of speculative sound circuits[2] , where, trough “playful and absurdist methodology” “unlikely technological devices are combined to create sound and performance”, and Salvage Computing[3] trough a series of DIY/DIWO workshops/hangouts. The workshops will be hosted at Klankschool[4], together with Riviera Taylor.

Salvaging sound devices

The real long-term future of computing consists of figuring out how to make the best possible use we can out of the literal millions of devices which already exist https://damaged.bleu255.com/Salvage_Computing/#fn:12 [how to reference a nested reference?]

Buying new (electronic) parts & components is usually cheaper then repairing or salvaging. Even more conveniently, in the online community of DIY Synthesizers it is common practice to share an Mouser Project Cart[5] alongside the schematics, when publishing your project. This allows you to buy all the needed parts within just a few clicks. To me, this introduces the idea that you need to buy these super specific components in order to succeed, instead of making the inconveniences that come with salvaging part of the creative process. I’ve found that DIY/DIWO moments where these notions are less prominent, way more empowering and educational.

DIWO Hangouts

During the hangouts, we will explore various methods around salvaging components & dismantling devices, making our own instruments using these materials, live coding hardware trough MQTT/OSC[6] servers & applications, and everything in between. Ultimately, they could lead up to a BYOP (Bring Your Own Printer) Orchestra.

The hangouts will be held at the Klankschool, and involve the klankschool community. Me and Riviera will divide the responsibility of hosting, where Riviera will focus more on the server side of things, and my focus will be around hardware. The hangouts will be documented thoroughly, so it can be part of My thesis and shared back to the community of Klankschool, using web2print FLOSS.

Who

  • The klankschool community
  • Trashure expert Joak
  • Operator Radio to talk about post apocalyptic electronic music, but also to create the workshop in a different environment
  • Roodkapje to host events such as the BYOP orchestra
  • XPUB community
  • Creative Coding Utrecht - space to host workshops

Why

When reading about Salvage Computing I got very excited, as it could give me a different vocabulary when working with salvaged electronic components as a material. The last year I’ve been a part of various workshops around DIY/Electronics/Circuit bending etc. and I’ve been increasingly surprised by the way some people spoke about the materials being used. Especially around material that is “broken” (what is broken anyway, who decides when something is broken), it was sometimes seen as valueless and waste, to be discarded and not thought about again.

Instead of turning this project into a consumer blaming, finger-pointing, activist project, I want to take the opportunity to explore if it is actually possible to go in full-salvage mode. What workflows do I need to come up with to salvage these components? Which are the most salvageable, how to recognise them? What can they be used for? And, how to deal with the carcass of the printer? Is the approach a viable way of working, or only for those privileged enough where they can actually spend this much time.

When
Keeping track of time with Jeremy Bearimy

November

!No read november!

  • Start salvaging an inventory & an inventory of schematics
  • Continuation of the repair club at klankschool
  • Create a documentation template for salvaging projects
  • write this proposal

December

  • Contact some from the “who” list for possible workshops/DIWO events
  • Continue salvaging & documenting
  • Prepare DIWO hangouts
  • Define DIWO topics
  • Continuation of the repair club at klankschool

Januari

  • Contact some from the “who” list for possible workshops/DIWO events
  • Continue salvaging
  • Continuation of the repair club at klankschool
  • 1st DIWO hangout at klankschool

Februari

March

  • Contact some from the “who” list for possible workshops/DIWO events
  • Continue salvaging
  • Continuation of the repair club at klankschool
  • 3rd DIWO hangouts at klankschool 14th March 2025 Deadline First Draft Thesis

April

  • Contact some from the “who” list for possible workshops/DIWO events
  • Continue salvaging
  • Continuation of the repair club at klankschool
  • 4th DIWO hangouts at klankschool 18th April 2025 Deadline Thesis

May

  • Contact some from the “who” list for possible workshops/DIWO events
  • Continue salvaging
  • Continuation of the repair club at klankschool
  • 5th DIWO hangouts at klankschool

June

  • Contact some from the “who” list for possible workshops/DIWO events
  • Continue salvaging
  • Continuation of the repair club at klankschool
  • 6th DIWO hangouts at klankschool

What came before

During my previous studies, my graduation project was about collaborative synthesizers using web technologies. This background in web development means I am very exited about using web2print FLOSS to create a snapshot in time of a living document.In the last couple of years I’ve shifted my focus a bit from the web as a material, to (re)making with hardware. At XPUB, this resulted in turning printers into musical devices, hosting a Colloquium about making music with (salvaged) motors and an earlier attempt to turn a printer into a battery powered pen plotter.

Workshops as a method of sharing knowledge and experience is one of my interests. I’ve been part of many workshops around DIY/Circuit Bending/Synthesizer Building/Permacomputing, and found this a very non-hierarchical way of sharing knowledge and uncovering unknown concepts.

Which context

I want to position the research in the middle of the ideas of salvage computing and (my own perspective on) DIY culture. Within the DIY synth community, DIY/DIWO is a common practice, experimenting with various circuits and sound making components in workshop settings. However, these circuits come in kits, with brand new components and a rigid how-to-guide. This, to me, goes against my (probably romanticised) ideas of punk in DIY culture, where you work with what you have (Xerox printers).

Key texts

Dear reader, as I’ll spend a lot of time de-soldering components the coming period, I’m looking for audio references. So if you have any podcasts/radio shows/interviews/audio books/etc, please let me know!

TODO: make it the right format!

  • Garnet Hertz, Critical MakingGarnet Hertz - conceptlab.com
  • Richards, J. (2013) Beyond DIY in Electronic Music. Organised Sound
  • Speculative sound circuits Richards J.
  • The rise of LOFI culture, spencer A 2008
  • Hardware hacking and recycling strategies in an age of technological obsolescence
  • [Salvage Computing](https://damaged.bleu255.com/Salvage
  • the art of electronics
  • Shannon Mattern, “Maintenance and Care,” 
  • Weggooien? Mooi niet! Martine Postma

References

  1. ↑ video naar de paper jam
  2. ↑ Speculative Sound Circuits
  3. ↑ XXIIVV — salvage computing & Salvage Computing
  4. ↑ wat is klankschool
  5. ↑ over wat is mouser
  6. ↑ Over wat is MQTT/OSC

Related

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