:: overview | projects | schedule| resources ::
: : i m p l e m e n t a t i o n . of . o b j e c t i v e s : :
s u p p o r t m a t e r i a l s
As support to the collaborative environment of this seminar the following will be maintained and sustained for reference throughout the session and established for future exchange with colleagues and for major and minor written assignments and responses.:
1) An online personal media blog (see < http://www.wordpress.com >) will be maintained for the posting of assignment research, as a multimedia publishing platform, and a resource site. Media blogs will be used for reporting and documentation of course projects and activities. A minimum of 1- 300 word entry per week as a response to the weekly assigned readings and ongoing course activities. (3000 words for the quarter) is required.
2) Content from online media accounts on Soundcloud (see <http://www.soundcloud.com >) for audio files and Vimeo as needed for video (see <http://www.vimeo.com >). These sites will expand/underwrite the media blog for audio and video assets of your entries and project documentation.
3) A hardbound ecoacoustic journal sketchbook (pocket dimensions) will be needed to make notes on soundwalks and for project brainstorming exchanges
4) Your laptop will be needed in each class.
5) Over-Ear headphones will be available for each class listening session. Bring your own critical adapters for your laptop/network devices.
i n v e s t i g a t i o n s & c r e a t i v e o u t p u t
Ongoing minor projects/exercises #1, 2 & 3 will focus on soundwalk observations to interpretive outputs. These in-class foundational projects will be assigned on a per topic basis as documentation of assigned sound walks sync’d to the following content objectives:
1) Soundwalk & psychoacoustic spatial mapping (mimicry)
2) Soundwalk & psychoacoustic spatial mapping exchange (recording)
3) Perceiving silence/deep listening
Scheduling of these exercises will be dispersed throughout the quarter as listening exercises. Written responses to each soundwalk will be entered within 1 week of the in class exercise and follow up. (333 words minimum each/1000 words min. total)
These support projects will build foundation for the 3 major projects for the quarter and be recursive in review for writing iteration and improvement.
We will be producing major work throughout the quarter as ongoing projects and as manifestations of exploratory ecoacoustics as 3 major projects.
Each major project will entail 3 segments.
1) Major project #1: Sound and Listening Lexicon + online media demonstration.
This is an ongoing 10 week quarter-long record/definition/dictionary of your personal lexicon of sound and psychoacoustic impressions, responses and descriptions from your individual psychology of perception. This will follow as 1 entry per week on your mediablog throughout the quarter. The lexicon you will develop will be seeded with core terms/keywords to be defined with commonly used for describing the character or quality of sound, acoustics and organized sound (music) from the introductory lectures of the course. From this foundational vocabulary of sound description, a lexicon of 5 sound descriptors/5 onomatopoetic words (your invention) will be defined with accompanying sound files (to be entered on your mediablog) from individual in-class soundwalk recordings and from accessible sound libraries we will be working with. The resulting documentation of will demonstrate your build you lexicon in use with associated sound samples that expands upon the context of the sound descriptor to the earthly significance of the lexicon example you have chosen.
2) Major project #2: Environmental Sound Artist: Practice and Profile + presentation
This mid-term project will investigate contemporary environmental sound art as examples of creative ecoacoustic methods, processes for content and application creation at the art-science interface. We will be reviewing sound artists whose work will be viewed as exemplary art-science practice. You will choose an environmental sound artist as a research topic to expand on the following elements of the person’s art-science practice.
Field work & environment of concentration
Methods & techniques
Examples of work
How do they address political, social, economic, scientific, and aesthetic issues?
Summaries of at least 3 major works
Your critique of the artist process and work.
Your research will culminate in a 20 minute presentation of the artist + work and be accompanied by a 2000 word minimum research paper w/ references.
3) FINAL PROJECT/Major project #3: Collaborative research proposal: A global ecoacoustic investigation + presentation.
This is a 2 person project that will undertake a collaborative field research proposal into a global area of interest with respect to ecoacoustic significance (where would you go to listen?) i.e an eco-diverse or unique region in need of acoustic documentation, characterization, preservation or recovery. As a work up to this proposal you will establish a preliminary experiment to underwrite the thesis of your proposal. I.e. an art-science method you wish to apply or data you need to validate to drive your proposal. Your proposal will follow a template we will review with respect to research undertakings and include the following:
A Thesis Statement for the field research
Material and methods/ including preliminary work
Region/site of field work, maps
Health & safety concerns for fieldwork
Timeline of the project
Forecasted budget/costs (materials, travel & expenses)
Each group will be assigned ecoacoustic research papers by the instructor to assist in the project’s art-science topic & background
The resulting project will yield an art-science research proposal (3000 words minimum) that will be the written support of your final critique and presentation for the quarter.
Individual project background review and project objectives & requirements will be reviewed in a progression through the quarter and reflected in source links on the course website’s Schedule and Resources pages.
TEXTS AND READINGS
The following texts are required for the course:
1) The Sound Book: The Science of the Sonic Wonders of the World, Trevor Cox, Norton, 2015, ISBN-10: 9780393350586
2) Earth Sound-Earth Signal, Energies and Earth Magnitude in the Arts, Douglas Kahn, U of California Press, 2013, ISBN-10: 0520257553
3) The Soundscape - Our Sonic Environment & The Tuning of the World, R. Murray Shafer, Destiny, 1993, ISBN-10: 0892814551
Reading assignments will be made from the schedule page of the course website and via online /downloadable sources. Linked articles on the schedule page correspond with the expected group discussion date and associated assignment due dates