Category: Year 3

. x1 Astera Ax1 Kit (8x Astera AX1 Neon Tubes, 1x Astera Art7 Box, 16x Spiggots, 16x Clamps, 16x Eye Bolts, 8x Tube stands, Charging Case)

. x1 GoPro Hero7 Black Kit (1 x Kit Case, 1 x GoPro Hero7 Black, 1 x Camera USB C- Cable, 1 x Micro SD Card, 1 x Battery, 1 x Thumb Screw)

.x1 Zoom H5 field recorder kit (possible)

. x1 Smoke Machine (day rental)

. x1 Goldfish & Tank (still to be purchased)

. x1 Table & Chair(s) (Gallery & my own)

. x1 Tripod (home)

. x1 box of wires (box of props including buddha [from home])

. x1 LED Speaker (Bluetooth, Line etc[from home])

. x1 Guitar & Jack Lead (possible, from home)

. x1 Microphone (home)

. x? Participants

Linking ideas to texts/references

each idea/train of thought should be referenced/cited

Theories stemming from theories/Conversation

writing as finding a path through an unfamiliar landscape

less personal/individualistic

asking questions of assumptions

more than individual experience – embeds itself in a structure – less about boiling it down to individual, but more about groups, sections or categories (disability, country, gender etc), more social as it is a group

Politics & Ethics (worldview)

Care

What methods are normalised within certain cultures, and what can be learnt from comparison with other methods & their cultures?

AREAS OF INTEREST:

The cultural meanings and values attached to different types of sounds: This could include exploring how different sounds are perceived and interpreted within different cultural contexts.

The social setting in which a sound is heard: This could include examining how the same sound might be perceived differently depending on where it is heard (e.g., a busy city versus a quiet countryside).

The personal experiences and background of the individual: This could include considering how an individual’s personal history and experiences can shape their interpretation of sound.

The ways in which the social construction of the sonic experience affects the way in which people understand and interact with sound: This could include looking at how societal expectations and norms can influence how we perceive and respond to different types of sounds.

The variation of the social construction of the sonic experience across different cultures and social groups: This could include exploring how the meaning and significance of sound can vary across different cultural and social contexts.

The impact of technological advances on the social construction of the sonic experience: This could include examining how the widespread use of headphones or the increasing prevalence of virtual reality might affect the way in which we experience and interpret sound.

everything is practice / creative coping

on flow / becoming

Bernard Stiegler – The Age of Disruption

<<<retention/protention>>>

agency + affordance

Location, Situated Practice & Context

‘Criticality’

Spend some time with: ‘Sequential Prophet 6’/‘Moog Matriarch’

• a formal/opportunistic/professional moment, no time/place for meandering
• do the thing, clear mess, documentation, moving to the next ‘thing’
• communication – getting ideas across
• research: 3 books – Nam June Paik, La Monte Young, James Turrell, Cliff Martinez
• realisation: propose, schedule, initiate, conduct, thoroughly ( :/ ) tested systems and techniques
• barriers/obstacles faced/overcame – reflection
• enquiry: tests ideas and concepts at an advanced level of practice – showing/demonstrating progress from years gone by/creating personal narratives
• contextualising my work (academic works/texts, artist research/works/case studies{3})
• outcomes of the research
• communication – how my early creative processes relate to themes and contexts arising within the guest lecture series – not just by name, showing depth of research
• placing my work within the community of (one’s) practice – creates realisation/makes it real
• knowing when to introduce comparison – crucial moments
• intertextuality – how does meaning arise ? nothing has distinct/isolated meaning – the meaning is only present due to its relation to other works – embedded within a broader plane of society – ‘the meaning of the work originates within the context of which it is found’
• reflecting critically – changing/understanding different perspectives
• knowledge – situate research, development and conceptualisation of project work in relation to appropriate theoretical frameworks

On Saturday the 12th of November 2022, me and my videographer Tobias Futers conducted a small-scale testing of my portfolio works (Project 1). The attached media is evidence of exploration within the tailored, manufactured environment. A small-scale, partial realisation of my automatic text.

‘The Social Construction of the Sonic Experience’/’The supernatural force of sound’

sonic diversity

sonic imperialism

sonic neuro-diversity

sonic anthropology

living – in – sound

responding to sound (environmental) – social activity

• ‘Listening and not listening to voices’ (Cathy Lane, 2017)
• Seismograpf.org/english

possible chapters/sections

-social constructivism (and how it relates, sonically)

-listening

-materialist conception

-introduction (include question)

-separation but not separate, blurring of lines, can exist parallel but not separate

-the reason this… is important is that… (beginning of chapter/point, context)

Ch 1: Imperialism of sonic experience/normative conceptions of listening
Ch 2: Listening across cultures/sonic anthropology
Ch 3: Listening across neuro-normativity/diversity and dis/ability

–what is the central area of praxis relating to your prototype? the central area(s) of praxis for my prototype are: space & soundscape design, evocation and synthesis. specifically, evocation through the designing and manipulation of space and sound. how & why visual and auditory stimulation can evoke, and what that evocation could look like/bring forth.

–why are you interested in this? my interest in space/sound manipulation & design stems from the visual landscape of director Nicolas Winding Refn’s work, (his chosen cinematographers include Larry Smith, Darius Khondji, Diego Garcíaalongside and Magnus Nordenhof Jønck [his chosen composer is often Cliff Martinez]) as well as artistic projects such as Turrell’s illumination of the Dorotheenstädtischer Cemetery in Berlin. These synthetic, indulgent, neon-drenched landscapes are often able to evoke pure and unbridled emotion as well as memory (induced by feeling), and I want to be able to replicate this. being able to evoke through my own work, any kind of pure, unbridled experience, would be a source of vast satisfaction. evocation is, in my opinion, the most powerful and valuable response upon experiencing any kind of art form.

–what are your sources of information/inspiration/conceptual ideology? ‘Brian Eno: His music and the vertical colour of sound’ (Eric Tamm, 1995), ‘Nam June Paik’ (Sook Kyung-Lee & Rudolf Frieling, 2019), ‘Nam June Paik: There is no rewind button for life’ (Kunsthalle Bremen, 2006)

–

we are constantly making choices in our everyday lives (eating, direction, fashion, who we surround ourselves with). the choices that face the sonic practitioner(s) (us) are similarly diverse, fascinating and complex and are closely related to our unique subjectivity

-place, language, identity, community, sound, praxis

-place: you, uniquely render space meaningful by the entangled encounters you enact. this lived experience is the crucial move transforming space into place.

-language: language & technology are viruses. you do not control them. they control you

-identity: your identity, though composed via a unique set of experiences, is actually more general than you might think.

-community: does not exist. where it does, it is a negative characteristic governed by fear

sound: inherently radical, or smoothly representing ideology.

praxis: by doing, we become. through our work, we come to know ourselves. via our art, the world is changed.

how are we organising/thinking our work? (mind mapping, diagrams, reflection etc.). said methods can evolve as the project unfolds. expanding perspective/perception as project takes form to analyse/evaluate from different mindset(s).

It’s important to start from an acknowledgement that sound is always situated – you can’t separate a sound that you hear from the environment that you hear it in: reflective and absorptive surfaces, air temperature and humidity, other sounds present all influence what one hears. – could prove tricky when trying to pinpoint when obstructions become surroundings or vice versa.

-sound/sea waves – replication/recreation is unattainable

If you want to mobilise terms such as ‘natural’, you also need to be able to define what is not natural according to the argument that you’re putting forward. The same goes for ‘spontaneous’ or ‘authentic’ – you would need to define what you mean for each of these terms. – spontaneous meaning, in the simplest of terms, ‘by way of the world’. authentic might take a some time to define.

When speaking of ecologies, it is important to take into account that humans also are ecological beings. Perhaps thinking of the separation between human technology and nature would be more useful.