We’re living through a global crisis which is changing the way we think, feel and act, and is actively modulating the way that we develop affinities for and relate to each other. There is no way to duplicate the privileged setting of a classroom filled with engaged bodies that respond to gestures, tics, idiosyncratic embodiments and minutiae that can never be captured in a screen-based setting. We have come to realize over these past few months how vital a multi-sensorial context is to a deep learning experience. My intention therefore with this class is not to attempt to replicate what cannot be replicated, but to imagine alternatives, to experiment with modes of interacting with each other and the material by taking the technological limitations and opportunities available to us to engender a different but equally intense engagement with each other and the broader scope of what it means to be a sound artist today.
Three Parts
1 - listening / physics / performance (weeks 1-4)
2 - recording / schizophonia / control (weeks 5-8)
3 - space / noise / sociality (weeks 9-12)
Three Major Projects
These correspond to each of the course’s three parts. Performance of a mode of listening (week 4); field recording construction (week 8); and an experiment on the powers of the false (week 12).
Weekly exercises
Each week you will also complete a modest sound exercise, tuned to the theme we’re currently working on. (Uploaded to Soundcloud.)
Soundcloud
All of your sound work produced in this class will be uploaded to a Soundcloud account. Once you have created an account, we’ll post the URL on the Soundcloud page.
Written responses
Once in a while, you will be asked to respond in a short (200-400) word text to a sound/music work that you have been assigned, or a question appropriate to the topic at hand. These responses will also form the basis of breakout group and full group discussions.
Intra-student engagement
You will also periodically look at and comment on the work of one of your classmates (preassigned), without the instructor present. This is a way of working through the difficulties of developing solidarities and group feelings in a setting which can be quite alienating.
One-on-one
Near the middle of the term, I will Zoom with each one of you individually to talk about your in-progress projects, address questions and concerns, and check up on your well-being! At any point during the term, if you feel overwhelmed and want to talk about problematic areas in a project, or general confusion, or… a Zoom session can be set up at the discretion of both parties. I am also extremely responsive via email.
Technological Requirements
For this course, you need a method to capture sound. A smartphone can do everything we need to do for this class, but if you have a digital audio recorder (e.g. Edirol, Roland, Zoom) you can of course use it.
The second requirement is a tablet or laptop on which you can manipulate sound. You don’t need a super sophisticated system. I’ll be providing a tutorial on Audition, which is free software that works on both Macs and PCs. Of course if you have access to more intensive systems, e.g. Digital Performer, ProTools, Adobe Audition etc. you’re welcome to use them!
Grades
First project (LISTENING WITH): 20%
Second project (CONSTRUCTED/CAPTURED): 25%
Third project (THE POWERS OF THE FALSE): 25%
Exercises: 10%
Written exercises: 10%
Engagement: 10%