Sound jams glossary

Glossary

[about] There are many terms in this research that have different meanings in other contexts. It is also possible that you might have not come across some of them. By creating this space, I aim to bring the words I am using into a particular context and explain how I understand (and therefore, use) them.

I believe in clear communication. Even though it is something “easier said than done”, it definitely worth the effort. Trying to be clear when communicating whatever you want to express, can save us from many misunderstandings and misinterpretations. It is quite often when we see something differently from someone else, even when we are convinced that our point of view is somewhat universal.

This effort of bringing our context into the conversation also saves us from being presumptuous. We are much more generous to our reader if we don’t assume what they already know and what they don’t. Thus, explaining the key terms I am using in this research helps keep clear and honest communication.

In this chapter, you will find terms and their definitions that might look copy-pasted from a proper dictionary. However, that is not the case here and this glossary is not universal. It is a collection of terms bought into context by me in relation to my artistic and research practice. Of course, most of their description comes from real definitions and usage in more universal contexts. Nonetheless, bear in mind that my personal touch is also part of them.

general terms for the project

[sound jam] In the context of this project, by sound jams, I understand any facilitated process of sound-making and publishing that includes more than one person. They are not restricted by form, time, place or environment. Thus, some of the sound jams are literally facilitated jam sessions with musical and sound instruments, whereas others are open calls on the internet for submitting contributions, or several months-long sound residencies.

[listen and respond] The basis of the approach to sound jams is to listen and respond with sound. By this, I mean giving the contributors the time to listen to others' sounds before jumping into the sound jam. Inspired by the work of Pauline Oliveros, this approach gives space for awareness and mindfulness in the collective making. To listen and respond in this research means that the contributors are invited to take the time to perceive the soundscape around them before adding their own sound to it.