// 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?

Why do you want to make it?

How do you plan to make it?

What is your timetable?

Who can help you and how?

Relation to previous practice

My complicated relation to music and sound started in my early years of childhood when I was attracted to music but discouraged by my parents to pursue any musical training. However, listening to music was always a big part of my life and in 2012 I started my side-project "Lazy Indie Sundays" - monthly curated playlist with indie music. Then, I started performing in Sofia by DJ mixing this kind of music in conceptual events (listening to indie music in bars and clubs in Bulgaria is rather an underground and subcultural thing and not popular at all). After turning 30, I decided to try to learn playing a musical instrument and took acoustic guitar lessons in 2015. I was travelling for work too often, which made this process difficult and inconsistent. Thus, I started a music production 6-month course in 2018 which I couldn't finish because I had to travel. Just finally started to focus on my artistic practice development for the first time at that moment, I had to choose a focus between learning music or working more in illustration and visual translation. I decided to develop my visual practice.

In 2019 I designed an Erasmus+ project which aimed at researching how music can be made accessible for people without musical training and how it can be used in educational activities. Because of COVID-19 outbreak, the project couldn't take place earlier than September 2022. The Music Moves You[th] residency was completely liberating for me and made me realise that I can still pursue my passion in music and sound. What was a really strong backbone to this liberation, were the events part of my studies at XPUB in Spring 2022: Radio Implicancies publication, visiting Resister at WORM, taking part in a jam session organised by Tisa (XPUB alimni), and all the jams we did with my XPUBies during the first year at the master programme.

[wip] list of previous projects, related to this one - to draw from:

2022-09 - Music Moves You[th] residency about experimenting with tools to make music accessible in educational activities [what i did: project design; facilitation; contribution]; facilitated and participated in creating a sound publication on Nomadwaves

2022-06 - Diffractive live DJ mix at XPUB grad show (with Mitsa & Supi) - live dj set with the contributions created during the special issue 18: Radio Implicancies

2022-06-22 - participation in X-unPublic concert facilitated by Harrold Schellinx

2022-04/06 - a few mini projects for special issue 18: care-taking of release 5 Nested Narratives [facilitation; editing; contribution]; contributions for other releases - "voices of hierarchy"; prototyping exercise "[[Special Issue 18 Work#01. How Does Anxiety Sound Like / individual work [prototyping]|how does anxiety sound like]]" and "reversed words".

2018 - curated and coordinated a festival in France which was based on collective co-creation and co-facilitation: Créestival

2018 - took a 5-month course in music production. During the training i created and published 3 pieces: indulge, a heartbreak & autobahn.

2012+ - curated and published playlists with indie music on Mixcloud

Relation to a larger context

ideas to explore:
-accessibility - everyone is welcome and collective creation is possible
-pleasure and enjoyable activity while also doing work (deep listening, paying attention, group bonding and exploring various topics)
-sound in artistic research
-sound publications and audiozines importance?

References/bibliography

WIP - what informs the research

reads

Oliveros, P., 2005. Deep Listening. New York. Deep Listening Publications. [annotated pad]
adrienne maree brown, 2019. Pleasure Activism. The Politics of Feeling Good. Chico, Edinburgh. AK Press. [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?

[methods to facilitate collective sound publication creation]

_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

[publish and perform audiozines]

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;

topic-related interest: if the audiozines reflect on a particular topic, could be interesting for people who are triggered by the topic?
tba: who else? tba

Research places

Al's XPUB2 proposal draft

Contents