Sound jams - Revision history

Alnik: Replaced content with "
== _the beginning == Sound Jams started as my master's research project at XPUB. However, the intention of publishing the first five in one publication as a "deluxe edition" was for them to be just the begi..."

2023-09-07T20:45:48Z

Replaced content with "<div style=" font-family: courier new, monospace; font-size: 14px; "> == <span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> _the beginning</span> == Sound Jams started as my master's research project at XPUB. However, the intention of publishing the first five in one publication as a "deluxe edition" was for them to be just the begi..."

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Alnik: /* Thesis */

2023-07-16T19:41:12Z

Thesis

← Older revision		Revision as of 19:41, 16 July 2023
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	''Sound Jams // Methods of Collective Sound-Based Publication-Making for Practitioners from Various Backgrounds'' follows my master’s research on exploring ways to facilitate group sound-making experiences. By sound jam, I understand any facilitated process of sound-making and publishing that includes more than one person. Its core principle is inclusivity: it is open to people with or without musical training and offers a structure in which everyone is invited to find a suitable role and space for experimentation. The process grants the makers the opportunity to create a sound publication as a group. This paper explores five sound jams as applied methods that provide such processes and a safe space for makers to open up to a moment of collective sound-making and sharing.		''Sound Jams // Methods of Collective Sound-Based Publication-Making for Practitioners from Various Backgrounds'' follows my master’s research on exploring ways to facilitate group sound-making experiences. By sound jam, I understand any facilitated process of sound-making and publishing that includes more than one person. Its core principle is inclusivity: it is open to people with or without musical training and offers a structure in which everyone is invited to find a suitable role and space for experimentation. The process grants the makers the opportunity to create a sound publication as a group. This paper explores five sound jams as applied methods that provide such processes and a safe space for makers to open up to a moment of collective sound-making and sharing.

			'''Thesis Adviser''' // Marloes de Valk <br>
			'''Second Reader''' // Steve Rushton

	==<span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> References/bibliography </span>==		==<span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> References/bibliography </span>==

Alnik: /* Acknowledgements */

2023-07-16T19:39:53Z

Acknowledgements

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	I would like to express my gratitude to all the tutors who supported me in the process of my research and writing this paper, as well as to the artists and makers who joined the sound jams. Without their input, work, help and feedback, this thesis would not be possible.		I would like to express my gratitude to all the tutors who supported me in the process of my research and writing this paper, as well as to the artists and makers who joined the sound jams. Without their input, work, help and feedback, this thesis would not be possible.

	'''~~My tutors and supporters~~'''~~<br>~~		'''my sound jams co-facilitators''' // Mitsa Chaida (mitsitron) and Naomi Jansen
	~~Marloes de Valk, Steve Rushton, Manetta Berends, Joseph Knierzinger, Michael Murtaugh,~~ and ~~Leslie Robbins~~

	'''My sound jams ~~co-facilitators~~'''~~<br>~~		'''contributors to the sound jams''' // Surud Arif, Manetta Berends, Kendal Beynon, Simon Browne, Supisara Burapachaisri, Mitsa Chaida [mitsitron], Kimberley Cosmilla, Lan Dao, Angeliki Diakrousi, Irmak Ertaş, Manan Gadhia, Jian Haake, Stephen Kerr, Chaeyoung Kim, Jette Klaver, Joseph Knierzinger, Nati Lebedeva, Francesco Luzzana, Mathijs, Franciszek Michon, Bruno Morera, Shilen Mujicic, Michael Murtaugh, Ero Petraki, Aglaia Petta, Emma Prato, Yasen Rogachev, Gersande Schellinx, Miriam Schöb, Gustavs Skenders, Arnoldas Sliuzevicius, Boyana Stoilova, Katayun Taraporevala, Can Toksoy, Marie Veldhuizen, Joris Voeten, Luna Vreeburg, Jarmo Willering, Marius de Witte, Iga Wojak, and Alma Zijderveldt
	Mitsa Chaida (mitsitron) and ~~Naomi Jansen~~

	'''~~Contributors to the sound jams~~'''~~<br>~~		'''my tutors and supporters''' // Manetta Berends, Mariëtte Groot & re#sister, Joseph Knierzinger, Bruno Morera, Michael Murtaugh, Leslie Robbins, Steve Rushton, Herald Schellinx, Femke Snelting, and Marloes de Valk
	~~Chaeyoung Kim, Emma Prato, Francesco Luzzana, Gersande Schellinx, Jian Haake, Miriam Schöb,~~ Manetta Berends, Joseph Knierzinger, ~~Mitsa Chaida (mitsitron), Kendal Beynon, Mathijs, Stephen Kerr, Aglaia Petta, Irmak Ertaş, Boyana Stoilova, Kimberley Cosmilla~~, Michael Murtaugh, ~~Angeliki Diakrousi, Simon Browne, Surud Arif, Lan Dao~~, Manan Gadhia, Jette Klaver, Nati Lebedeva, Franciszek Michon, Shilen Mujicic, Ero Petraki, Gustavs Skenders, Arnoldas Sliuzevicius, Can Toksoy, Marie Veldhuizen, Joris Voeten, Luna Vreeburg, Jarmo Willering, Marius de Witte, Iga Wojak, Alma Zijderveldt, Supisara Burapachaisri, Bruno Morera, Yasen Rogachev, and Katayun Taraporevala

	~~'''People who influenced this research significantly'''<br>~~
	~~Bruno Morera~~, Herald Schellinx, ~~Mariëtte Groot~~, and ~~Femke Snelting~~

Alnik: /* References/bibliography */

2023-07-16T19:37:34Z

References/bibliography

← Older revision		Revision as of 19:37, 16 July 2023
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	==<span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> References/bibliography </span>==		==<span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> References/bibliography </span>==

	''what ~~informs~~ the research:''<br>		''what informed the research:''<br>

	====on facilitation, sound, music & more====		====on facilitation, sound, music & more====

Alnik: /* Thesis */

2023-07-16T19:36:23Z

Thesis

← Older revision		Revision as of 19:36, 16 July 2023
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	==<span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> Thesis </span>==		==<span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> Thesis </span>==

	[[Sound jams ~~thesis~~]]		[[File:Sound-jams-reader.jpg\|thumb]]

			''Sound Jams // Methods of Collective Sound-Based Publication-Making for Practitioners from Various Backgrounds'' follows my master’s research on exploring ways to facilitate group sound-making experiences. By sound jam, I understand any facilitated process of sound-making and publishing that includes more than one person. Its core principle is inclusivity: it is open to people with or without musical training and offers a structure in which everyone is invited to find a suitable role and space for experimentation. The process grants the makers the opportunity to create a sound publication as a group. This paper explores five sound jams as applied methods that provide such processes and a safe space for makers to open up to a moment of collective sound-making and sharing.

	==<span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> References/bibliography </span>==		==<span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> References/bibliography </span>==

Alnik: /* How is it going to happen? */

2023-07-16T19:35:05Z

How is it going to happen?

← Older revision		Revision as of 19:35, 16 July 2023
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	This project is also born out of the frustration of feeling oftentimes excluded from jamming sessions because of not being a ''musician'' (not having musical training). The element of collective making is also an important entry point for me. I am interested in exploring opportunities for collaborative creative work. I aim at bringing and establishing some principles in my art and facilitation practice: openness, inclusivity, improvisation and collectiveness. I want to create a safe space for experiments, where everyone is welcome, no matter their previous experiences and training.		This project is also born out of the frustration of feeling oftentimes excluded from jamming sessions because of not being a ''musician'' (not having musical training). The element of collective making is also an important entry point for me. I am interested in exploring opportunities for collaborative creative work. I aim at bringing and establishing some principles in my art and facilitation practice: openness, inclusivity, improvisation and collectiveness. I want to create a safe space for experiments, where everyone is welcome, no matter their previous experiences and training.

	==<span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> How ~~is it going to happen~~? </span>==		==<span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> How did I do my research? </span>==

	'''[research of methods for collective sound-making]''' I ~~would like to start~~ with a research of collective-sound making methods that ~~are already published~~ by ~~other artists~~. ~~Also~~, I ~~will look~~ for ~~examples~~ and inspirations of sound publications~~. Which of the sound publications I find interesting are~~ done by ~~a collective, a group of people~~. ~~What is their process?~~		'''[research of methods for collective sound-making]''' I started with research of collective-sound-making methods that were inspired by my experiences during the previous year [such as the work on [https://issue.xpub.nl/18 Special Issue #18: Radio Implicancies] and the [http://www.harsmedia.com/SoundBlog/Archief/00880.php X-unPublic Concert] I participated in while in Paris]. Then, I also took the chance to work with Naomi Jansen and co-facilitate an elective class at Willem de Kooning Academy. And of course, I was looking for references and inspirations of sound publications and processes already done by other makers.

	'''[sound jam experiments]''' Simultaneously, I ~~would like to test~~ experiments of collective sound-making and publishing.		'''[sound jam experiments]''' Simultaneously, I made several experiments of collective sound-making and publishing between October 2022 and May 2023.

	'''[instruments]''' Whatever instruments you give to the participants in jam, shapes the whole experience. However, they ~~are~~ not a focus on this research and the methods I am trying out ~~are~~ meant to work with any kind of sound-making ~~objects~~.		'''[instruments]''' Whatever instruments you give to the participants in a jam, shapes the whole experience. However, they were not a focus of this research and the methods I was trying out were meant to work with any kind of sound-making object.

	'''[put things together]''' Describing the tools for collective sound-based publications making - how can we make sounds together; what are the ways to listen better, to respond with sound, to publish our sound works, to do it collectively?		'''[put things together]''' Describing the tools for collective sound-based publications making - how can we make sounds together; what are the ways to listen better to each other, to respond with sound, to publish our sound works, to do it collectively? How to create a safe space for people to experiment with a new medium together? I asked myself and others these and many other questions.

	==<span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> Relation to previous practice </span>==		==<span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> Relation to previous practice </span>==

Alnik: /* What was this project about? */

2023-07-16T19:28:18Z

What was this project about?

← Older revision		Revision as of 19:28, 16 July 2023
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	We are surrounded by sound on a daily basis and it is a medium that has a major role in the perception of the world around us - with the exception of people with damaged hearing, it helps us navigate through the spaces we are moving around throughout our days. Our bodies are used to perceiving all sorts of sonic signals while orientating in private and public spaces. We hear other people while having a conversation or attending a meeting. We listen to music to relax, dance or distract ourselves. But as a working medium, it still feels quite unattainable for many practitioners: oftentimes, mainly associated with music, it is a reserved territory for people with musical training and for sound artists. In reality, it is far more accessible and there are many ways how sound-making can be open for creators coming from any kind of background. Thus, I am looking at which methods of collective sound-based publication-making can be applied to a group of practitioners from various backgrounds, without the restriction of having experience with sound as a medium in their practice.		We are surrounded by sound on a daily basis and it is a medium that has a major role in the perception of the world around us - with the exception of people with damaged hearing, it helps us navigate through the spaces we are moving around throughout our days. Our bodies are used to perceiving all sorts of sonic signals while orientating in private and public spaces. We hear other people while having a conversation or attending a meeting. We listen to music to relax, dance or distract ourselves. But as a working medium, it still feels quite unattainable for many practitioners: oftentimes, mainly associated with music, it is a reserved territory for people with musical training and for sound artists. In reality, it is far more accessible and there are many ways how sound-making can be open for creators coming from any kind of background. Thus, I am looking at which methods of collective sound-based publication-making can be applied to a group of practitioners from various backgrounds, without the restriction of having experience with sound as a medium in their practice.

	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.		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.

	Here are the first five sound jams I've facilitated for this research: <br>		Here are the first five sound jams I've facilitated for this research: <br>

Alnik: /* What was this project about? */

2023-07-16T19:28:06Z

What was this project about?

← Older revision		Revision as of 19:28, 16 July 2023
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	== <span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> What was this project about? </span> ==		== <span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> What was this project about? </span> ==

	My master's programme research is focused on exploring how to facilitate collective moments of sound-based publication-making. The aim of my graduation project is to accommodate some processes that I ~~discovered, edited, came up with and~~ tested with groups of people~~. I envision making cross-media '''publications''' that will present the sound jams I managed to implement during my research~~.		My master's programme research was focused on exploring how to facilitate collective moments of sound-based publication-making. The aim of my graduation project was to accommodate some processes that I tested with groups of people.

	We are surrounded by sound on a daily basis and it is a medium that has a major role in the perception of the world around us - with the exception of people with damaged hearing, it helps us navigate through the spaces we are moving around throughout our days. Our bodies are used to perceiving all sorts of sonic signals while orientating in private and public spaces. We hear other people while having a conversation or attending a meeting. We listen to music to relax, dance or distract ourselves. But as a working medium, it still feels quite unattainable for many practitioners: oftentimes, mainly associated with music, it is a reserved territory for people with musical training and for sound artists. In reality, it is far more accessible and there are many ways how sound-making can be open for creators coming from any kind of background. Thus, I am looking at which methods of collective sound-based publication-making can be applied to a group of practitioners from various backgrounds, without the restriction of having experience with sound as a medium in their practice.		We are surrounded by sound on a daily basis and it is a medium that has a major role in the perception of the world around us - with the exception of people with damaged hearing, it helps us navigate through the spaces we are moving around throughout our days. Our bodies are used to perceiving all sorts of sonic signals while orientating in private and public spaces. We hear other people while having a conversation or attending a meeting. We listen to music to relax, dance or distract ourselves. But as a working medium, it still feels quite unattainable for many practitioners: oftentimes, mainly associated with music, it is a reserved territory for people with musical training and for sound artists. In reality, it is far more accessible and there are many ways how sound-making can be open for creators coming from any kind of background. Thus, I am looking at which methods of collective sound-based publication-making can be applied to a group of practitioners from various backgrounds, without the restriction of having experience with sound as a medium in their practice.
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	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.		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.

	Here are the sound jams I've facilitated for this research: <br>		Here are the first five sound jams I've facilitated for this research: <br>
	▶ [[sound jams: reversed words]] // 3~4-2023 // open online call <br>		▶ [[sound jams: reversed words]] // 3~4-2023 // open online call <br>
	▶ [[sound jams: resister at worm]] // 12-2-2023 // worm, rotterdam <br>		▶ [[sound jams: resister at worm]] // 12-2-2023 // worm, rotterdam <br>

Alnik at 19:26, 16 July 2023

2023-07-16T19:26:01Z

← Older revision		Revision as of 19:26, 16 July 2023
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	font-size: 14px;		font-size: 14px;
	">		">
			== <span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> Sound Jams // Deluxe Edition </span> ==
			[[File:Sound Jams.jpg\|thumb]]
			''Sound Jams // Deluxe Edition'' celebrates the launch of the audiozine - Sound Jams – a series of facilitated collective sound-based publication makings that I started doing as part of my master’s course research. In the CD case, you will find the first five editions of the sound jams: the stories behind the making, highlights from the process, visual scores, illustrations and, of course, the sonic pieces (on the micro SD card as well as accessible through a QR code & web link).

	== <span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> What is this project about? </span> ==		▶▶ The publication is now available on the [https://underbelly.nu/product/al-nik-sound-jams/ Underbelly online shop].

			== <span style="color: white; font-family: Menlo; text-decoration:none; background-color: #0033ff; padding-top: 0.1vw; padding-bottom: 0.1vw; padding-left: 0.1vw; padding-right: 0.2vw;"> What was this project about? </span> ==

	My master's programme research is focused on exploring how to facilitate collective moments of sound-based publication-making. The aim of my graduation project is to accommodate some processes that I discovered, edited, came up with and tested with groups of people. I envision making cross-media '''publications''' that will present the sound jams I managed to implement during my research.		My master's programme research is focused on exploring how to facilitate collective moments of sound-based publication-making. The aim of my graduation project is to accommodate some processes that I discovered, edited, came up with and tested with groups of people. I envision making cross-media '''publications''' that will present the sound jams I managed to implement during my research.

Alnik: /* Who is it for? */

2023-06-13T18:59:47Z

Who is it for?

← Older revision		Revision as of 18:59, 13 June 2023
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	'''_artists:''' who are looking for new techniques for their practice and ways to experiment, boost their creative process; to find more ways to reflect over topics and contents; <br>		'''_artists:''' who are looking for new techniques for their practice and ways to experiment, boost their creative process; to find more ways to reflect over topics and contents; <br>


	'''_collectives:''' who are interested in exploring new methods of collective making and publishing		'''_collectives:''' who are interested in exploring new methods of collective making and publishing

Sound jams - Revision history

Alnik: Replaced content with " == _the beginning == Sound Jams started as my master's research project at XPUB. However, the intention of publishing the first five in one publication as a "deluxe edition" was for them to be just the begi..."

Alnik: /* Thesis */

Alnik: /* Acknowledgements */

Alnik: /* References/bibliography */

Alnik: /* Thesis */

Alnik: /* How is it going to happen? */

Alnik: /* What was this project about? */

Alnik: /* What was this project about? */

Alnik at 19:26, 16 July 2023

Alnik: /* Who is it for? */

Alnik: Replaced content with "
== _the beginning == Sound Jams started as my master's research project at XPUB. However, the intention of publishing the first five in one publication as a "deluxe edition" was for them to be just the begi..."