Al's XPUB2 proposal draft: Difference between revisions
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'''''What is the exact focus of the project?''''' | '''''What is the exact focus of the project?''''' | ||
With my current research, I am exploring ways to create audiozines in a collective way. From my professional experience as a facilitator and editor, I find it much more interesting to bring some constrain while creating time and space for people to co-create. Having freedom within a predefined structure and frame. Thus, the format of audiozines in a particular restrain of length and concept [topic/practice etc.] is a method I am interested in researching and trying out with groups of people with or/and without musical training. I am excited about doing the jams together with Mitsa and others, because I have always felt jamming sessions quite closed and inaccessible for people without musical training. As an amateur | With my current research, I am exploring ways to create audiozines in a collective way. From my professional experience as a facilitator and editor, I find it much more interesting to bring some constrain while creating time and space for people to co-create. Having freedom within a predefined structure and frame. Thus, the format of audiozines in a particular restrain of length and concept [topic/practice etc.] is a method I am interested in researching and trying out with groups of people with or/and without musical training. I am excited about doing the jams together with Mitsa and others, because I have always felt jamming sessions quite closed and inaccessible for people without musical training. As an amateur in music and an absolute music-lover, I have always dreamt to take part in jams, but I couldn't find people nor access to any jams. After the Music Moves You[th] residency in France in September 2022; but also after attending Tisa's home jams and Resister at WORM during 2022, I felt liberated to take part and even facilitate/host my own jams, which is something I want to do collectively (with Mitsa for our master research). | ||
As a final output of the project, I would like to make series of sound publications in the format of audiozines. I am interested in exploring the connection between fanzines and audiozines as an independent, radical, self-publishing practice that can be created with others - embracing the DYI and DIWO culture. Audiozines are small format sound publications that are based on a particular concept, they are curated and mixed, unlikely today's format of podcasts and radio shows. An important element in this research and practice, for me, is the raw and pure, self-made aesthetics of the format. Accessibility to people without musical training to jam and create sound pieces (''as per the improvisation methods of Pauline Oliveros''). | |||
As a final output of the project, I would like to make series of sound publications in the format of audiozines. I am interested in exploring the connection between fanzines and audiozines as an independent, radical, liberating, self-publishing practice that can be created with others - embracing the DYI and DIWO culture. Audiozines are small format sound publications that are based on a particular concept, they are curated and mixed, unlikely today's format of podcasts and radio shows. An important element in this research and practice, for me, is the raw and pure, self-made aesthetics of the format. Accessibility to people without musical training to jam and create sound pieces (''as per the improvisation methods of Pauline Oliveros''). | |||
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'''_01 [exploring and communicating a method of producing sound based publication collectively]''' | '''_01 [exploring and communicating a method of producing sound based publication collectively]''' | ||
with the method in focus, the project is about researching the methods, trying different ways to facilitate jams and collecting them in a final publication. The form of the publication is not a focus, but a result/output of the research. | with the method in focus, the project is about researching the methods, trying different ways to facilitate jams and collecting them in a final publication. The form of the publication is not a focus, but a result/output of the research. Since this is a really big project that can be developed in a longer time frame, it might make sense that this starts now and continues after graduation. | ||
or | or | ||
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'''_02 [publishing and performing audiozines]''' | '''_02 [publishing and performing audiozines]''' | ||
with the form of the publication in focus, I put constrain in the final outcome and the way the content is being created is not that important. We are creating a library of sounds that will be published and performed as a final project. | with the form of the publication in focus, I put constrain in the final outcome and the way the content is being created is not that important. We are creating a library of sounds that will be published and performed as a final project. As a "smaller-scale" project focus, this might make more sense to focus at this point for the master proposal. | ||
Revision as of 15:14, 13 October 2022
// back to Ål's main page
// back to Graduate Seminar
Questions
- What do you want to make?
- How do you plan to make it?
- What is your timetable? [stages] [deadlines]
- Why do you want to make it?
- Who can help you and how?
- Relation to previous practice
- Relation to a larger context
- References/bibliography
- Who is the work for (part of why do you want to make it)
What do you want to make?
[collaborative research] this project is being done [partially] in collaboration with mits🤖. Together, we aim at researching and working on sound publication as a format for our project/s and on collective creation (jams) as a method.
=======================================
13-10-2022
What is the exact focus of the project?
With my current research, I am exploring ways to create audiozines in a collective way. From my professional experience as a facilitator and editor, I find it much more interesting to bring some constrain while creating time and space for people to co-create. Having freedom within a predefined structure and frame. Thus, the format of audiozines in a particular restrain of length and concept [topic/practice etc.] is a method I am interested in researching and trying out with groups of people with or/and without musical training. I am excited about doing the jams together with Mitsa and others, because I have always felt jamming sessions quite closed and inaccessible for people without musical training. As an amateur in music and an absolute music-lover, I have always dreamt to take part in jams, but I couldn't find people nor access to any jams. After the Music Moves You[th] residency in France in September 2022; but also after attending Tisa's home jams and Resister at WORM during 2022, I felt liberated to take part and even facilitate/host my own jams, which is something I want to do collectively (with Mitsa for our master research).
As a final output of the project, I would like to make series of sound publications in the format of audiozines. I am interested in exploring the connection between fanzines and audiozines as an independent, radical, liberating, self-publishing practice that can be created with others - embracing the DYI and DIWO culture. Audiozines are small format sound publications that are based on a particular concept, they are curated and mixed, unlikely today's format of podcasts and radio shows. An important element in this research and practice, for me, is the raw and pure, self-made aesthetics of the format. Accessibility to people without musical training to jam and create sound pieces (as per the improvisation methods of Pauline Oliveros).
_01 [exploring and communicating a method of producing sound based publication collectively]
with the method in focus, the project is about researching the methods, trying different ways to facilitate jams and collecting them in a final publication. The form of the publication is not a focus, but a result/output of the research. Since this is a really big project that can be developed in a longer time frame, it might make sense that this starts now and continues after graduation.
or
_02 [publishing and performing audiozines]
with the form of the publication in focus, I put constrain in the final outcome and the way the content is being created is not that important. We are creating a library of sounds that will be published and performed as a final project. As a "smaller-scale" project focus, this might make more sense to focus at this point for the master proposal.
=======================================
29-09-2022
=======================================
[for the final graduation moment] i would like to make a sound performance and/or sound installation using the audiozines, created during our research during the whole year [could make a rhythm of making one zine per month, e.g.]. Those zines would be also documented in printed zine versions [the two formats can also go together - transmedia storytelling - like some part of the content is only on the printed zine; some - on the audio].
I am struggling with finding my research question.
Why do you want to make it?
Last year I loved the format of weekly releases - doing small experiments and reflecting on some topics/ideas with sound (and sometimes an image). I imagine that the experiments can then build up a bigger topic and research question.
I am looking for a research question that can include collecting data through sound.
How do you plan to make it?
I would like to try out the following:
_1 - collect and map methods to collect sound; also ways to edit it and looking for the reasons behind both choices of method;
_2 - starting doing small experiments with different ways to create sound (computer-base and analog, by jams, by field recording) - I feel like I need to try some of them out first (explain what is electronic and what analog);
_3 - creating small experiments with a particular ask/question/intention behind - in search of the research topic maybe?
_4 - recording sound, mixing it due to some concept and then creating small zines to see how it's going to look like
_5 - idea to create an instrument (maybe facilitating sessions when others play with this instrument with an assignment to create something specific)
_6 - idea of using Room for sound - invite residents to participate - diffractive mixing of their contributions
What is your timetable?
october
ways to collect and edit sound + ways to facilitate jams
1_ reflect on the mixing we did - to unpack what we did // with Mitsa 2_ schedule jams and collecting sounds moments // with Mitsa 3_ filed recording experiments // 10-14 oct 4_ public moment in leszaal - ??? what to do // (idea of sound installation or recording people doing stuff)
outcomes:
_documentation and raw-raw draft of proposal _field recordings _sounds created _experiments with edited sound _pure data experiments _facilitated jam(s) experiments
november
ways to collect and edit sound + ways to facilitate jams + proposal draft
1_ get inspiration // 2 nov Bon Iver live // 25 nov Arooj Aftab, Lucrecia Dalt live 2_ prototype of audiozine + print zine - test the combo - put all experiments together 3_ edit music and sound + document methods 4_ explore topics: what makes all the experiments so far come together? 5_ thesis outline - what form will it take (a report of the research and practice?)
outcomes:
_proposal ready // 18 nov _thesis outline (form) // 18 nov _prototype of audiozine _topics drafting start
Who can help you and how?
[space] would like to try out different spaces and locations in rotterdam; also inviting different people and orchestrating jams with various publics [when that is possible]
- make a list with spaces that we are interested in making jams in;
- what are the characteristics of these places and how to use them in relation to our jam?
[publics] define different publics and test with them; who is also doing something similar in the area?
[xpub]
- check with tutors: places in Rotterdam where we can make jams + do we have budget to rent rooms & equipment; read & works recommendations on audiozines and sound publications
Relation to previous practice
Relation to a larger context
References/bibliography
WIP
reads
Oliveros, P., 2005. Deep Listening. New York. Deep Listening Publications. [annotated pad]
Evens, A., 2005. Sound Ideas: Music, Machines & Experience. U of Minnesota Press [annotated pad]
Kreidler, J. 2013. loadbang. Programming Electronic Music in Pure Data. 2nd edition. Hofheim: Wolke Verlag.
Weiss, A., 2001. Experimental Sound & Radio. The MIT Press.
Groot, M. 2019. The Amateur's Armour. [online] Available at: <https://underbelly.nu/wp-content/uploads/2015/04/The-Amateurs-Armour.pdf> [Accessed 11 October 2022].
sound publications
Brown, A. R., 2022. Beneath Maiwar.[online] Available at: <https://www.explodingart.com/arb/2022/06/28/beneath-maiwar/> [Accessed 30 September 2022]. [annotated pad]
Nagy, A., 2018. Hackpact / Sonification Studies. [online] Available at: <https://stc.github.io/HackPact/> [Accessed 30 September 2022]. [annotated pad]
Who is the work for?
_educators: people who are facilitating various educational activities and are looking for ways to bring more mixed media in their activities;
artists: who are looking for new techniques for their practice and ways to experiment, boost their creative process; to find more ways to reflect over topics and contents;
_tba: who else? tba
Research places
wiki
▶ Al Nik's Hackpact
▶ Sound jams research
wip
▶ the first draft pad [created during the Graduate Seminar on 29-09-2022]
▶ jams ideas
▶ references - collective pad with Mitsa
research pads
▶ audiozines
▶ pure data
▶ live coding