User:Queenfeline/PR

All Problems of Notation will be solved by the masses by Simon Yuill

annotated bibliography

how is notation a language we can read, write and unterstand? how does storytelling works in and through music and sound? what sounds does a square makes as opposed to a triangle or circle?

The Tyranny of Structurelessness by jo freeman

Jo Freeman aka Joreen (born August 26, 1945), is an American feminist, political scientist, writer and attorney.
Freeman wrote many feminist papers, which analyzed her experiences in the women's liberation movement. The most widely known is The Tyranny of Structurelessness, which argued there is no such thing as a structureless group; power is simply disguised and hidden when structure is unacknowledged and that all groups and organizations need clear lines of responsibility for democratic accountability, a notion that underlies the theory of democratic structuring.
– Important, cause feminism! and a reminder to question the systems/bubble you are in

how can we as a class work together smoothly? how can we make everyone feel more included and seen? how can we make it more safe and easy to disagree and say no?

The truth of fact, the truth of feeling by ted chiang

Ted Chiang is an American science fiction writer.
first published in Subterranean Magazine: A journalist begins writing an article critiquing the use of a new software set to replace cognitive memory in humans, and is forced to reimagine his perception of self and his relationship with his daughter in the process. []
– Important to me, cause

whoooaaaa this text is crazy. it was veeeery interesting. it questions whether a fact or a feeling is more true. it does it through telling 2 stories, 1 where the fact is more "right" or "true" and the other where the feeling is more valued. so there is not one of them that is more right than the other. it always depends on the story and situation.

"Pinpointing blame wasn't the answer"

do we have to forget to forgive?

"Writing let you look at your thoughts in a way you couldn't if you were just talking"

how does perfect memorie change the concept of self?

"People are made of stories"

Being full of fact but devoid of feeling – Human/Robot – Are feelings what makes us human?

"If everybody remembered everything, would our differences get shaved away? What would happen to our sense of selves"

Nature Study Notes: Scratch Orchestra

annotated bibliography

i had the idea of making a little zine with an alternative form of notation. and then i made:

Reading Music: Common Notation by Catherine Schmidt-jones

annotated bibliography

– Common notation is an efficient way of organizing a large amount of information so that it can be read quickly.

– Because it is so widely used around the world, in so many different musical genres, it serves as a "common language" even among musicians who play different instruments in different genres.

– It does not depend on the instrument. Once you learn how to read common notation, much of what you know will still be useful if you switch instruments or learn new instruments.

– Common notation includes enough information so that you can learn a piece without hearing it. Many other notations leave out crucial information, such as exact rhythms.

Die Zeichen – Neue Aspekte der musikalischen Ästhetik von Hans Werner Henze

annotated bibliography

– Musik ist ein klingendes Zeichen
– Erstens gibt es eine Person, die die Botschaft sendet, den Komponisten. Zweitens ist da sie Botschaft selbst, das heißt das, was wir Musik nennen. Drittens wird die Botschaft durch das Medium der Töne vom Empfänger, den Zuhörenden, aufgenommen.
– Dieser Kommunikationsvorgang ist klar. Doch was ist mitgeteilt worden?
– Was von eine Art von Information kommt aus dem Bewusstsein des Komponisten in das Bewusstsein des Hörers herüber? Und wie ist sie in der Botschaft erhalten?

How do we feel the music? How is there emotion released through sounds? Is it something learned from movies and theater? Or is it something inherently human?

– Die Musik hat eine Sprachlichkeit, von der wir noch zu wenig wissen.
– (Musik) sei doch eine art spräche, weil auch sie rede und auch ohne text verständlich sei.
– Musik ist genaugenommen doch keine Sprache im Sinne der Wortsprache, weil sie keine Begriffe vermittelt. Um sie doch als Sprache ausweisen zu können, wies man ihr eine besondere Aufgabe zu, Affekte und Gefühle zu vermitteln. So wurde Musik zur Tonsprache - in der Romantik dann zur sprache der Gefühle.
– Instrumentalmusik galt insofern als Sprache, als die etwas vermittelte, nur war das, was sie vermittelte, etwas grundsätzlich anderes als in der Wortsprache, es waren Gemütsbewegungen, Regungen der Seele, Stimmungen, Affekte oder Empfindungen.
– Schwierigkeiten Sprache und Musik:
– Durch die Abkehrt von der Gefühlsästhetik hin zu einer Autonomie Ästhetik, sah man den Sinn der Musik in ihr selbst
– „An die Stelle der Musik als einer Sprache der Gefühle tritt die Auffassung von Musik als einen tönenden logischen Vorgang. Musik wird hier als ein Produkt des Arbeitens des Geistes in geitesfähigen Material, als eine in sich bewegte tönende Konstruktion aufgefasst, die selbst ästhetisch wirksam ist; sie ist nicht ein bloßes Vehikel für Gefühle oder ein Auslöser psychischer Wirkungen. Ihr eigentlicher, d.h. musikalischer Sinn gründet im Vollzug der inneren Logik eines tönenden Vorgangs, also letztlich im ästhetischen Objekt und nicht um seelischen Zustand des psychologischen Subjekts.“ ???
– nimmt man jedoch die Grüble weg, so wird der Ausdruck Musik als sprache zu einem Torso, weil man nicht mehr angeben kann, wovon die Musik als Sprache nunmehr eigentlich spricht. Fehlt das Objekt, über das in einer Sprache gesprochen wird – sei es ein Begriff, ein Gefühl oder selbst das Unsagbare–, so besteht kaum noch eine logisch begründbare Möglichkeit, den Begriff Sprache, gleich in welchem Sinne, noch aufrechterhalten.

– but stilleveryone is speaking of Musik and language. And because it can be heard it therefore has to convey a certain content, some kind of meaning gets transported through it.
– and because Musik happens in public spaces and has a kind of communicative function. Grounded in that lies the assumption that it has to be some kind of language.

The Webs Grain by Frank chimero

Frank Chimero is a designer and writer.
Motivated by his frustrations he examines the web for its grain/materiality. He brings up questions like: What's technologies role in your life? And what do you want from it?
– It is important for my work, cause he questions the way of working with the web and he tries to get to the root.

“We begin in admiration and end by organizing our disappointment.” Gaston Bachelard
The wonder i felt was deminished by experience.
There is a certain frustration with (working with) the web. the power you have is your attention and the web is fightig for it. Problematic power structures proceed in order to make profit. the further you look into it all, the bigger and more complex and more overwhelming it gets. one ends up feeling small and powerless.

SO CHANGE THE PERSPECTIVE! Find new ways to look at the web.

So what is the grain / materiality of the web? What is there to see when you look at a website as itself?

What would happen if we stopped treating the web like a blank canvas to paint on, and instead like a material to build with?

Disagreement: "Edgelessness" – I get his point of edgelessness as webs hypothetical structure (individual pages, linked), being able to branch out forever. however there are limits to server capacity (in some way physical edges), enforced limits by politics (banning specific pages or keywords), edges of language maybe (what is articulated but also in which language are websites written), the web has edges and these have real world consequences.

Key Insights: rather than starting with a fixed format where you can place your elements (like in print) we should (for the web) make the single elements and then put them on the page and let the responsive web figure out the placements. (but that is super hard for a graficdesigner! I dont wanna let go of controoool haha)

Summary: Starting off with nostalgia on the early days of the web, the designer Frank Chimero quicky switches to the frustrations he feels now, working with the web. Instead of letting that frustration win, he tries to look at the web from a different point of view. Starting of with the core from the web, the code, he slowly explains the difficulties emerging when doing responsive design. Next, he shows examples of websites and complains about their attempt to fix the responsive problems of technology with even more technology. In his opinion we need less technology and we should see the web as a material to build with and not a canvas to fill. He states there is no such thing as the one canvas, the web is, as he calls it, edgeless. Lastly he encourages the reader to be more cautious about convenience, because when you don't decide some else decides for you, and to really question the role of technology in ones life, what do you want from it. He ends the text, answering that quenstion with his desire for a more graceful technolgy.

We also made a Wiki page for that The Web's Grain – Frank Chimero

Reflective Conversation with Materials – an Interview with Donald Schön

annotated bibliography

"There is no direct path between the designer's intention and the outcome. As you work a problem, you are continually in the process of developing a path into it, forming new appreciations and understandings as you make new moves." I feel like i have to forget the path and NOT think about it, to get shit done! If i think too much it gets paralizing and i wont do anything. So in order to acually do something i have to tick myself. i have to start by doing something else and then eventually get to the task, or i just have to get in the studio and then just sit myself down, starting the thing without thinking. That works well, from time to time not so well, i think it depends on my cycle...
reflection in action means, when the reflection of the work happens during the work (designing)

• How do you currently document your design/artistic practice? Could you bring or describe a specific example in class? How do you feel about the way you do it right now logistically?
  

Im really bad at documenting my stuff. for now i only did small projects which i documented only after the thing was done. Gladly i remembered most of what happened, but to be honest, a lot got lost in the process. So i feel like this is definitely not the smartest way of doing that and i should change it!
i see that documentation is very important but it also sometimes feels like a made up, artificial thing that gives more worth / meaning to the thing itself, which feels weird to do. Is the project only valid when i documented the process? No, but es ist besser nachzuvollziehen. for others. and for myself?

• What is your approach to reflecting on your design/artistic practice?
  

reflecting on my design stuff ist good, but also is hard for me to do, cause i quickly switch into comparing my work to others, which leaves me feeling bad about my work... sooo i have to not think too much about it. especially when its done, its simply just done and if im not happy i will go on and do the next thing.

"Time consciousness and discipline in the industrial revolution" by Alvin Chong

annotated bibliography

Time consciousness only became a thing during the industrial revolution. Time as a concept became synonymous with profit. Time = Money. The industrial revolution transformed the perception of time from task- to time-orientated. Time was "not passed but spend".

"Counter Clockwise: Unmapping Black Temporalities from Greenwich Mean Timelines" – Rasheedah Phillips

annotated bibliography