User:Anita!/projectproposal: Difference between revisions
(Created page with " ==What do you want to make?== A large scale textile 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, enhancin...") |
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==What do you want to make?== | ==What do you want to make?== | ||
A large scale textile 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 | 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?== | ==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 an | 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?== | ==What is your timetable?== | ||
'''October''' - recording, collecting and listening, early prototyping (drawing circuits, read more on interactive textiles) | '''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 | '''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 | '''December''' - recording, collecting and listening, experiment with circuit connections, weaving circuits | ||
'''January''' - recording, collecting and listening, start testing on a smaller scale | '''January''' - recording, collecting and listening, start testing on a smaller scale | ||
'''February''' - weave first test patches | |||
'''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?== | ==Why do you want to make it?== | ||
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==References/bibliography== | ==References/bibliography== | ||
Deep Listening A Composer's Sound Practice, ''Pauline Oliveros'' | Deep Listening A Composer's Sound Practice, ''Pauline Oliveros'' | ||
Going Out Listening, Walking and Soundmaking, ''Elena Biserna'' | Going Out Listening, Walking and Soundmaking, ''Elena Biserna'' | ||
to still read! | |||
Uneasy Listening, ''Anouchka Grose and Robert Brewer Young'' | 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'' | |||
Latest revision as of 19:19, 3 October 2024
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