How to sound jam: Difference between revisions
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How to Sound Jam exists to facilitate Sound Jams, collective sound-making experiences that encourage playfulness, exploration, and a welcoming environment for everyone. They were originally developed for the collective exhibition S.Å.T.E. - Sounds at the Exposure, 2.11-2.12.2023, but can be used anywhere that there are people excited to listen, play and explore sound. | How to Sound Jam exists to facilitate Sound Jams, collective sound-making experiences that encourage playfulness, exploration, and a welcoming environment for everyone. They were originally developed for the collective exhibition S.Å.T.E. - Sounds at the Exposure, 2.11-2.12.2023, but can be used anywhere that there are people excited to listen, play and explore sound. | ||
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Revision as of 20:19, 18 July 2024
_context
Introduction to the publication by Stephen Kerr (musician and designer), editor of the publication
Music sometimes flows so freely like water that we can barely catch it. Or it erupts like fire in our hearts without warning. It shakes the earth gently as soft, thick vibrations, and moves subtly through the air. In How to Sound Jam, you are invited to explore the elements of music: rhythm, melody, harmony and voice. These four building blocks, examined here through the cards in new and unusual ways, can be combined collaboratively to create musical experiences, while maintaining a cosy and warm environment with friends and strangers.
How to Sound Jam exists to facilitate Sound Jams, collective sound-making experiences that encourage playfulness, exploration, and a welcoming environment for everyone. They were originally developed for the collective exhibition S.Å.T.E. - Sounds at the Exposure, 2.11-2.12.2023, but can be used anywhere that there are people excited to listen, play and explore sound.
_process
_prototype // 2023
_publication production // 2024
_result
_colophon
Eternal gratitude to the people who helped me:
Gersande Schellinx for designing the cards’ case and producing the publication.
Chaeyoung Kim for printing and co-producing this publication.
Stephen Kerr for supporting me with some musical theory knowledge and editing the texts.
This work was possible thanks to the invitation by Ron Ritzerfeld and Marie-Jeanne Ameln who run SIGN project space in Groningen and working with them was such a pleasure!
Sound Jams is a series of collective sound-making experiences facilitated by Ål Nik [Alexandra Nikolova].
// 30 editions
// riso print
// Rotterdam, 2024