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For now this is a page for the second year
More things is a sub page I would like to put random things that are being worked on that do not relate to other things, kind of like a junk drawer for now.
 


==Continuing the city soundscape==
==Continuing the city soundscape==
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I also like the idea of somehow also connecting the original audio files, but I am not sure yet of how and if i will do that. Maybe its nice to also just try to imagine the spacing between these sounds, the length of the walks, how close of far they feel, not hearing the sounds, but imagining what we remember they sound like. But lets see
I also like the idea of somehow also connecting the original audio files, but I am not sure yet of how and if i will do that. Maybe its nice to also just try to imagine the spacing between these sounds, the length of the walks, how close of far they feel, not hearing the sounds, but imagining what we remember they sound like. But lets see
==Thinking about research==
I want to continue working with sound in the context of public space, that I already know, but how? Listening is something I focused on a lot during the last Special Issue, and it is a topic that I know i want to experiment with more. While listening in the past, I have tried to focus on different aspects of it, for example, listening in a nominal way (yes sound, no sound), which forces you to focus on observing the rhythm of sound.
I also know that I want to incorporate some form of garment construction technique into the final project, but that relates more to the end representation project than the research itself.
==PMMoMs==
“Sound is pervasive, it spreads out in a space, connecting all bodies that it encounters. It is not an object or an attribute of an object but is generated by the reciprocal relationship between context object and subjects.” Elena Biserna in Going out
===What?===
A large scale textile soundboard (made as an interactive textile), containing a series of noises collected from public spaces. The soundboard can be played to create different city noise soundscapes, inviting the person playing with it to  listen, move and imagine a path. Different points produce different sounds caught in the city. The person playing has to move and 'perform' because of the distance between the push sensors playing the sounds, enhancing the physicality aspect and physically embodying the soundscape.
===Why? ===
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’. Imagining and playing with mundane sounds, exploring the landscape with no visual aid, to notice and create new imaginary paths.
===Workflow===
Select and record single sounds from most Rotterdam squares. At least 10 sounds, from thoughout the day.
Record and pick the sounds to be used
Design a soundboard
Program the microcontroller
Sew the circuit for it and connect
Test and play by myself
Adapt based on tests
Test and play with public
Adapt based on tests
Readyyyyy
===Timetable===
October - recording and listening, early prototyping (drawing circuits, read more on interactive textiles)
November - recording and listening, learn more about interactive textiles, do smaller projects involving them
December - recording and listening, experiment with circuit connections, sewing circuits
January - recording and listening, start testing on a smaller scale
===Relation to previous practice (two sentences, draw on Text on Practice)===
Listening, sewing, list making, noticing, moving and playing in public space.
===Plan!===
???
two different plans, that will enhance each other and inform each other. for research in book and research in public space. i would like the structure of the thesis to be kind of like a conversation between these two sides, kind of like sounds talking to each other.
==Interactive textiles==
Ways to make a textile interactive:
- conductive ink screenprint (the area with ink could be connected to push or touch sensor)
- metal fibers woven into fabric (possibility of spinning my own yarn to knit with for the soundboard)
- optic fibers (according to https://textileinnovations.wordpress.com/research-focus-2/, "– transmit data signals, transmit light for optical sensing, detect deformations in fabrics due to stress and strain and perform chemical sensing.")
I still have to do extensive research on this, to properly select the best tool for me. It could be interesting to weave using re purposed optic fiber, to include pieces of the public infrastructure of the city into the piece itself but might be unrealistic as a thought.
Silkscreen printing would probably be the easiest option, but my least favorite one at this moment in time. The metal and conductive properties of the circuit soundboard being an actual part of the fabric, how it is constructed and flows seems much more organic and genuine to me, so even though it might potentially be more time consuming, I would prefer either weaving or knitting the circuit.
Plan:
reasearch the interactive fabric construction
talk to people at fabric and interaction station
weave a small patch and connect it with microcontroller and push sensors
=Project Proposal! for real=
{{:User:Anita!/projectproposal}}
=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)

Latest revision as of 15:23, 10 October 2024

For now this is a page for the second year

Continuing the city soundscape

In the end, I ended up with a lot of recordings of solo walks and cycles. What to do with them? I listened to all of them, annotating what sounds I would hear.

These are two examples of the soundscape.

screenprint result
trial on paper, too thin


First, I tried on transparency paper, i liked the idea of attempting to create a small sewn zine with overlapping maps, but thinking back, after trying it, i ended up screenprinting this on cotton fabric, as it would allow for me to really use the material to my advantage, placing all the wondering walks and cycles on one singular map, instead of one route per map if that makes sense.

Now I will begin sewing the connections between the sounds, creating many layers.

I also like the idea of somehow also connecting the original audio files, but I am not sure yet of how and if i will do that. Maybe its nice to also just try to imagine the spacing between these sounds, the length of the walks, how close of far they feel, not hearing the sounds, but imagining what we remember they sound like. But lets see


Thinking about research

I want to continue working with sound in the context of public space, that I already know, but how? Listening is something I focused on a lot during the last Special Issue, and it is a topic that I know i want to experiment with more. While listening in the past, I have tried to focus on different aspects of it, for example, listening in a nominal way (yes sound, no sound), which forces you to focus on observing the rhythm of sound.

I also know that I want to incorporate some form of garment construction technique into the final project, but that relates more to the end representation project than the research itself.


PMMoMs

“Sound is pervasive, it spreads out in a space, connecting all bodies that it encounters. It is not an object or an attribute of an object but is generated by the reciprocal relationship between context object and subjects.” Elena Biserna in Going out

What?

A large scale textile soundboard (made as an interactive textile), containing a series of noises collected from public spaces. The soundboard can be played to create different city noise soundscapes, inviting the person playing with it to listen, move and imagine a path. Different points produce different sounds caught in the city. The person playing has to move and 'perform' because of the distance between the push sensors playing the sounds, enhancing the physicality aspect and physically embodying the soundscape.

Why?

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’. Imagining and playing with mundane sounds, exploring the landscape with no visual aid, to notice and create new imaginary paths.

Workflow

Select and record single sounds from most Rotterdam squares. At least 10 sounds, from thoughout the day. Record and pick the sounds to be used Design a soundboard Program the microcontroller Sew the circuit for it and connect Test and play by myself Adapt based on tests Test and play with public Adapt based on tests Readyyyyy

Timetable

October - recording and listening, early prototyping (drawing circuits, read more on interactive textiles) November - recording and listening, learn more about interactive textiles, do smaller projects involving them December - recording and listening, experiment with circuit connections, sewing circuits January - recording and listening, start testing on a smaller scale

Relation to previous practice (two sentences, draw on Text on Practice)

Listening, sewing, list making, noticing, moving and playing in public space.

Plan!

???

two different plans, that will enhance each other and inform each other. for research in book and research in public space. i would like the structure of the thesis to be kind of like a conversation between these two sides, kind of like sounds talking to each other.

Interactive textiles

Ways to make a textile interactive: - conductive ink screenprint (the area with ink could be connected to push or touch sensor) - metal fibers woven into fabric (possibility of spinning my own yarn to knit with for the soundboard) - optic fibers (according to https://textileinnovations.wordpress.com/research-focus-2/, "– transmit data signals, transmit light for optical sensing, detect deformations in fabrics due to stress and strain and perform chemical sensing.")

I still have to do extensive research on this, to properly select the best tool for me. It could be interesting to weave using re purposed optic fiber, to include pieces of the public infrastructure of the city into the piece itself but might be unrealistic as a thought.

Silkscreen printing would probably be the easiest option, but my least favorite one at this moment in time. The metal and conductive properties of the circuit soundboard being an actual part of the fabric, how it is constructed and flows seems much more organic and genuine to me, so even though it might potentially be more time consuming, I would prefer either weaving or knitting the circuit.

Plan:

reasearch the interactive fabric construction
talk to people at fabric and interaction station
weave a small patch and connect it with microcontroller and push sensors

Project Proposal! for real

What do you want to make?

A large scale textile map soundboard (made as an interactive textile), containing a series of noises collected from public spaces. It can be played to create different city noise soundscapes, inviting the person playing with it to listen, move and imagine a path. Different points produce different sounds caught in the city. The person playing has to move and 'perform' because of the distance between the push sensors playing the sounds, enhancing the physicality and embodying the soundscape. The fabric will be woven using a mixture of thread, yarn and conductive found in the spaces where the listening and recording took place in combination with new yarn, to create a stronger connection to the place where the sounds originate from.

How do you plan to make it?

Collect sounds, collect pieces of conductive materials and fabric strands. Weave smaller prototypes at school and prepare for the big weave. Test all patches and design an 'interface' for the audience to play.

What is your timetable?

October - recording, collecting and listening, early prototyping (drawing circuits, read more on interactive textiles), apply for using big looms at Textile Museum in Tilburg in April (nice fancy machines that would make my life easier)

November - recording, collecting and listening, learn more about interactive textiles, do smaller projects involving them

December - recording, collecting and listening, experiment with circuit connections, weaving circuits

January - recording, collecting and listening, start testing on a smaller scale

February - weave first test patches, make sure everything is ready for the final weave, test the sensors distances with people to observe the movement and choreography they perform

March - start

Why do you want to make it?

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’. Imagining and playing with mundane sounds, exploring the landscape with no visual aid, to notice and create new imaginary paths. Re-publishing existing and common sounds, bring a memory of public space and imagine upon it.

Who can help you and how?

Joseph and Manetta, the people from interaction station and fabric station, maybe individuals still to be contacted with interactive textile experience like Wendy Van Wynsberghe, Anja Hertenberger and maybe more:)

Relation to previous practice

Relation to a larger context

References/bibliography

Deep Listening A Composer's Sound Practice, Pauline Oliveros

Going Out Listening, Walking and Soundmaking, Elena Biserna

to still read!

Uneasy Listening, Anouchka Grose and Robert Brewer Young

Listening: A Research Method in Art & Design, Femke Dekker

Basta Now: women, trans & non-binary in experimental music Fanny Chiarello

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)