Al's XPUB2 thesis
Drafting [wip pads]
▶ thesis visual structure
▶ Very WIP pad
▶ chapter 1 // intro
▶ chapter 2 // glossary
▶ chapter 3 // the sound jams
▶ chapter 4 // methods
▶ chapter 5 // outro
Research questions
_what methods can be applied to produce collective sound-based publications?
_What elements are key for the collective making and publishing of the sonic pieces?
Intro
_about the project
Sound Jams: Methods of Producing Collective Sound-Based Publications (working title) is a handbook presenting a various methods to produce and publish collective sound-based publications. The hands-on guide explores an applied approach to listen-and-respond sound jams by inviting the contributors to participate in a collective sound-making and publishing process. This paper aims at exploring the process of collective sound-making and publishing by explaining the methodology used and analysing some enclosed and documented examples.
_sound jams
By sound jam, I understand any facilitated process of sound-making and publishing that includes more than one person. Its core principle is inclusivity: it is open to people with or without musical training and offers a facilitated process in which everyone is invited to find a suitable role. This paper explores different (categories of) sound jams that provide such processes, giving a safe space for makers coming from various backgrounds to open up to a moment of collective sound-making and sharing.
_method
This project aims at finding a process of approaching the goal: to collectively make and publish sound publications. It presents a collection of ways to facilitate a sound jam and gives an explanation for each one of them.
The sound jams shouldn’t be about the instruments and what instruments the participants will use in order to make sound, does not matter for the successful implementation of the sound jam. It is about the process: the invitation of what steps to be followed and the use of any object as an instrument. However, in the examples there will be particular instruments used when a sound jam is tested with a group of people. Nevertheless, they are not important for the instructions and the method itself.
_producing collectively
This research has a focus on the element of collectivity. The project aims at bringing ways to make a sound publication with a group of people. It explores ways of facilitating a process of creating space and time for people to do it as a collective. It is intended also to bring new methods into collective publishing practices.
_sound-based
Sound is my choice for the core medium of this project because even though we are surrounded by it on a daily basis, it still feels quite inaccessible for many educators, facilitators, artists and artivists. Often associated with music, it is a reserved territory for people with musical training and for sound artists. In reality, it is far more accessible and there are many ways sound-making can be open for practitioners from any kind of background. Thus, this handbook aims at bringing another medium (or opening more possibilities for exploration of it) to all kinds of makers and researchers.
_publications
This research explores the act of making things public. It asks questions about when does this act take place and what makes a creation public? When is the collective ready to share it with others and who are they? What is the role of the facilitator in the process of publishing (are they an editor) and how does it work for the contributors?
_thesis
This thesis explores and analyses a series of sound jam experiments I am implementing over the course of 7(?) months. In order to prepare for the sound jams, I collected and developed various ideas for collective sound-making moments. Those experiments are being documented in audio, text and visual form. Afterwards, I am analysing the process, the final result and the reflections of the contributors, who are interviewed after the sound jams. The reflections and learning outcomes from the sound jams are an essential part of this paper, in chapter(s) Making and Publishing.
Works such as Nature Study Notes and Wicked Arts Assignments contributed with various background to giving instructions and props to groups.
Glossary
[about] There are many terms in this research that have different meanings in other contexts. It is also possible that you might have not come across some of them. By creating this space, I aim to bring the words I am using into a particular context and explain how I understand (and therefore, use) them.
I believe in clear communication. Even though it is something “easier said than done”, it definitely worth the effort. Trying to be clear when communicating whatever you want to express, can save us from many misunderstandings and misinterpretations. It is quite often when we see something differently from someone else, even when we are convinced that our point of view is somewhat universal.
This effort of bringing our context into the conversation also saves us from being presumptuous. We are much more generous to our reader if we don’t assume what they already know and what they don’t. Thus, explaining the key terms I am using in this research helps keep clear and honest communication.
In this chapter, you will find terms and their definitions that might look copy-pasted from a proper dictionary. However, that is not the case here and this glossary is not universal. It is a collection of terms brought into context by me in relation to my artistic and research practice. Of course, most of their description comes from real definitions and usage in more universal contexts. Nonetheless, bear in mind that my personal touch is also part of them.
core terms for the project
[sound jam] In the context of this project, by sound jams, I understand any facilitated process of sound-making and publishing that includes more than one person. They are not restricted by form, time, place or environment. Thus, some of the sound jams are literally facilitated jam sessions with musical and sound instruments, whereas others are open calls on the internet for submitting contributions, or several months-long sound residencies.
[sound or sonic publication] Sound/sonic publication or sound-based publication is a term that is commonly used in this paper. By it, I understand an audio piece that is shared with the public. There are two core elements in this term: sound or sonic, as being an audio piece (but not limited to) and publication, as a piece that is shared publicly, that is being published. Thus, being a wider term, it may vary - from musical pieces to podcasts or audiozines - anything whose core medium is sound (music, noise, voice, ambient sounds etc.).
[listen and respond] The basis of the approach to sound jams is to listen and respond with sound. By this, I mean giving the contributors the time to listen to others' sounds before jumping into the sound jam. Inspired by the work of Pauline Oliveros, this approach gives space for awareness and mindfulness in the collective making. To listen and respond in this research means that the contributors are invited to take the time to perceive the soundscape around them before adding their own sound to it.
[score] In music, a score is a musical composition in written or printed notation. It is basically the written form of the piece which highlights rhythms, frequency, pitch, and instrumental notes in the song. The scores of the sound jams in this project are also a visual representation of the piece. However, they might have the form of text, sketch, illustration or a mix of all.