Al's XPUB2 thesis outline
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// see Al's XPUB2 proposal draft
Guidelines
_What do you want to write? (Personal interest, curiosity) _What mode of address do you want? How do you want your text to speak to the reader? _What form(at) should your thesis have? (The mode of address dictates the form: essayistic, academic, narrative, non-linear, glossary, script, diary, field report etc.) - or a combination of several of them _What are your 3 key issues / key research questions? (Each key issue could lead to a chapter outline) _1500 words
Thesis Outline
About
Sound Jams: Method of Producing Collective Sound-Based Publications [working title] is an exploration of experiments for collaborative making of sound publications. The thesis will follow the process of testing various combinations of tools, exercises and ideas for facilitation of sound jams. It will document and explain the experiments as well as the research learning outcomes. It will try to systemise the non-linear collection of tools and exercises.
_research question: what could be the process of creating collective sound-based publications?
_sub-questions: // method // how do we respond with sound? how do listening and responding affect the process of collective making? // making // how to facilitate a process of collective sound-making and publishing by providing a safe space and accessible tools for people with or without musical training? // publishing // what does make it a publication? how and when do we share the result of the collective sound-making?
Mode of Address
The tone of address will be informal. I plan to use simple and straightforward language to communicate the process and learning outcomes in a clear way. I will address the reader, a fellow artist, facilitator or educator, as a partner in looking for ways to expand our artistic practice with new mediums, tools and experiences.
Format
The thesis will be a documentation of the process of creating the handbook. As such, it will be a mixture of non-linear report, diary/journal, with glossary and visual translation.
There are several chapters that will overlap with the project itself (the handbook) in their core. Those are the introduction (though there will be some difference regarding the address to the public and explanation how to use the handbook and what is the thesis about), the glossary and the method introduction.
Structure
A draft outline of the structure of the thesis:
Introduction
Introduction to the thesis and the project. In this chapter, I will unpack the meaning behind the key terms I am using for this project. Starting with the title, I will visit the meaning of the words and explain how they connect in this method.
What is the intention and purpose of the thesis, what are the principles of this project as part of my practice. The thesis will be a documentation of the process to create a method and its handbook.
Deep Listening Sound Jams: Method of Producing Collective Sound-Based Publication - exploring tools:
_exploring - trying out different tools to facilitate a collective sound making process based on deep listening - creating different combinations of ways to make collectively
_method - a collection of tools (modular, codified); but is it a method? What makes a method, a method?
_producing/making - collective production and/or making practice exploration
_collective - the importance of collective making; exploring collective publishing practices
_sound-based - focus on sound as a core medium for the publication
_publication - the act of making the sound-based outcome public, to share it - what is the act of publishing, a public moment is not only in the end, the moment when you share something; how does making connect to publishing?
_sound jam - what do I mean by sound jams?
Glossary
Some of the terms being used in this research might be unknown to the readers. Others - might have various meanings in different contexts. Thus, in order to put the terminology into context, I will create a glossary with the main terms used in both the thesis and the handbook.
Method
This chapter aims at unpacking why I chose this particular set of tools to create a method. It will explore the theoretical setting of “deep listening” and its previous implementation in sound making and publishing (if there is any). The chapter will create a space for questions like: What is deep listening? How do we listen and respond? How do we respond with sound? How does this affect the collective method of sound-making; how do we publish? I will also explore the reasons why is method relevant and interesting to me. Will try to unpack what kind of method it is - linear, non-linear, systematic, non-systematic? How can it be applied and by whom? Finally, will have a look at the (learning) outcomes that could be expected after applying this method.
Making
Researching, implementing, and reflecting on tools for collective sound-making. Documentation of experiments with tools.
This chapter will document the research and test of the tools for facilitating collective sound-making and sound-publishing. I will be looking for tools and different ways to host such experiences and to publish them by the participants. Some of the exercises will be tested in a small group, others - in a bigger one. The documentation will follow the preparation, implementation, and reflection phases of the research. Each tool will be described. Then, while being introduced by a group of people, the process of how that happens will be documented. After the experiment is done, learning outcomes will be also extracted and the intention of the activity - revisited.
Publishing
This chapter aims at drawing a connection between the sound-making process to the collective publishing practices. It will explore various tools and ways to publish the sound-based publication. The act of publishing will be addressed as a moment of sharing: when is the moment when the sound creation becomes public? How do we want to share with others, people outside the circle of creation?
The chapter will also reflect on what part of the method is the publishing. What is the bridge between the making and the publishing?
Bibliography
The references that will be shortlisted in the thesis are the reads and projects that inform the research. They will be divided into categories, such as reads, sound publications and more.
adrienne maree brown, 2019. Pleasure Activism. The Politics of Feeling Good. Chico, Edinburgh. AK Press.
Brown, A. R., 2022. Beneath Maiwar.[online] Available at: <https://www.explodingart.com/arb/2022/06/28/beneath-maiwar/> [Accessed 30 September 2022].
Cardew C. (ed.), 1969. Nature Study Notes. Scratch Orchestra, Experimental Music Catalogue.
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].
Evens, A., 2005. Sound Ideas: Music, Machines & Experience. U of Minnesota Press
Nagy, A., 2018. Hackpact / Sonification Studies. [online] Available at: <https://stc.github.io/HackPact/> [Accessed 30 September 2022].
Oliveros, P., 2005. Deep Listening. New York. Deep Listening Publications.
Weiss, A., 2001. Experimental Sound & Radio. The MIT Press.