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| Tie it all together. | | Tie it all together. |
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| = OLD Thesis Outline =
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| == Topic Introduction ==
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| Talking about improvisation, its possibilities for wider agency and as a method for resisting the current systematic standardisation of our lives. Relating this back to my practice as a performing artist in the field of music, as well as expanding this to other artists, techniques and beyond. I would also like to introduce the idea of it being a tool for resistance and alternative understanding within what I consider a soft-oppressed society.
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| == The Practice ==
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| <blockquote>this may be split into two sections, a reflection on my practice and motivations, and that of a wider music, hacking, diy movement. Or maybe it is better that I write it into one?
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| </blockquote>
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| === Music ===
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| I will expand on the backgrounds of my improvisation practice, pull on political and cultural discourses of its origins and understand its regards to my work and living space. Here I would also like to talk about artists who engage in various levels of improvisation, their political and cultural contexts and relate it to my/our own.
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| === Software/Hacking ===
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| Here I want to make the connection of music, patterns, and improvisation with software making, particularly in the sense of understanding ones tools, mastering language, and understanding how to break it. As well as this I want to suggest that the opensource software movement practices forms of improvisation through its fluid collaborative work.
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| === The State of Improvisation ===
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| Considering my motivations, and reflections of its existence, I want to understand in what form it exists now - whether that be in music, art, software etc. Consider the alternative practices and why they may be dominant.
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| == Beyond an artistic practice ==
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| I think it would not be difficult to connect the improvisational methodology, to acts beyond artistic pursuits. Here I would like to examine in more detail the wider contexts in which improvisation exists/existed and highlight the core motivations that make up improvisation, and consider why these qualities may have arisen at particular times.
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| === Technological Context ===
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| This may be further to the political context, but could be more specific to the comparison of a desire of machine perfection and output. Again this is more attributed to a progress = product, industrial revolution style of thinking. Nice to reference the discussion between John Cage and Morton Feldman.
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| === Political Contexts ===
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| Here I would like to start to examine spaces that share political and cultural pressure points within and exterior to the arts to begin to open up the idea of improvisation as an alternative method for research, creation, and collaboration that differently poses resistance to the standard flow.
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| === The Resistance ===
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| Here would be an opportunity to outline the qualities of an improvisational practice, and re-contextualise them beyond their standard scope. For now I can think of the following;
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| Non-heirarchical collaboration, fluidity and chance, responsibility, and fragility. I also want to suggest how these qualities do not readily fit, or can pose resistance against the neo-libralist capitalist framework, our hegemonic, patriarchal, divided society. Intent, Action, Responsibility - but not framed in an aggressive do or die kind of way. I think what is important is the fragility of the action, disallowing the possibility of restriction, and an onus on ethical behavior.
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| == Conclusion ==
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| Pulling this all together (somehow)
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| == References == | | == References == |
NEW Outline
Introduction (1000w)
Outline of thesis. Touch on the structures of improvising, improvised music and F.L.O.S.S. proposing similarities. Relate that to my interests and motivations to develop a practice around the principals of each. Outline a proposition of the merits of how the improvisational method can be (or is) applied outside of artistic practices.
Improvisation and F.L.O.S.S. (3000w)
Foundation (1500w)
Represent the foundations of improvisation and F.L.O.S.S.. This being an understanding of tools and structure. Breaking down the roles of user/creator, musician/composer etc.
Activity and Community (1500w)
Examine activities of these practices and their corresponding communities. Draw parallels between the nature of collaboration and collective work. Also examine other merits of their respective ethos' like liberation, agency, without any loss in identity. A resistance, or antidote to standardisation.
Improvising (3000w)
Context of the Action (1500w)
Draw on the outlines of merits, actions of existing practices defined in the previous chapters to talk about the potentialities of Improvising. Consider the difference of an improvisational method versus the status quo and its inherent political and cultural challenges it poses.
Extension (1500w)
Demonstrate these existences and propose an extended application to improvisation. Tie this back into my practice linking FLOSS and Improvisation in a further attempt to step away from pre-defined heritage.
Conclusion (1000w)
Tie it all together.
References
- DEMOS, TJ. Decolonizing nature: contemporary art and the politics of ecology. Max Bach. Sternberg Press, 2016.
- FULLER, Matthew. Media ecologies: Materialist energies in art and technoculture. MIT press, 2005.
- FULLER, Matthew y GOFFEY, Andrew. Evil media. MIT Press, 2012.
- ILES, Anthony. Noise & Capitalism. Mattin and Iles, Anthony. Gipuzkaoko Foru Aldundia - Arteleku, 2009.
- MANSOUX, Aymeric y DE VALK, Marloes. Floss+ art. Openmute, 2008.
- MATTIN. "Free Software Series". Neural. 2010, vol 38, p. 22-25.
- DE VALK, Marloes. "Tools to fight boredom: FLOSS and GNU/Linux for artists working in the field of generative music and software art". Contemporary Music Review. 2009, vol 28 Issue 1.
- STENGERS, Isabelle. In catastrophic times: Resisting the coming barbarism. Open Humanities Press and meson press, 2015.
- RUSHTON, Steve. "The Roland Kirk Question". Unpublished.
- CAGE, John and FELDMAN, Morton. John Cage and Morton Feldman In Conversation, Radio Happening I to V. recorded at WBAI. New York City. 1966 - 1967.
