Category: Year Two

an introduction to Sean Mcluskey, Gallery 46 and their space.

“GOALLESS EXPLORATION” + reflective practice & experimentation

when does the (sonic) experience begin?

LAYOUTS:

Nichol’s documentary modes:

Poetic (soviet montage theory)

Expository (film, news, TV)

Participatory (interaction, as oppose to observation, unobtrusively)

Observational (D.A Pennhaker)

Reflexive (meta) (considering quality) (embracing process)

Performative (engages the story-teller to the story, but constructs subjective truths)

Jane + Louise & the toxic camera (what is it to be surveying?)

Hildur Guðnadóttir (Chenobryl, Joker)

-Ethnographic Film (non fiction, historically dealing with non-western ideology/civilisations) & Ethnographic interviews/writing (never fully objective, never fully neutral)

-Ethics and Honour (consider everything)

-“instead of binary thought, multiply levels of possibility

-“doesn’t argue a position, in as much as it presents an observation for consideration”, explores the way people answer questions

-frame of reference (inherent bias), a paradox

-performative aesthetics+technologies (mediation)

-idiosyncratic

-situated/partial

-renders affects+sensations

-diverse voices

-protagonists, narrative tendencies (material)

-consistent part of larger ecologies

the first, undeveloped (as of yet) concept for a gallery installation.

Introduction

an introduction to ‘the space’, and how we as sound artists can use, and exist within it.

how would one arrange their sound objects within a space- positioning.

PAN LAW (weaker and stronger points)

a familiarisation/introduction to quadrophonics/ambisonics, 4.0 (surround sound), Sennheiser and the Zoom H3 and its capture of reflective sound.