|
|
|
|
|
<!DOCTYPE html>
|
|
|
|
|
|
<html lang="en">
|
|
|
|
|
|
<head>
|
|
|
|
|
|
<meta charset="UTF-8" />
|
|
|
|
|
|
<meta http-equiv="X-UA-Compatible" content="IE=edge" />
|
|
|
|
|
|
<meta name="viewport" content="width=device-width, initial-scale=1.0" />
|
|
|
|
|
|
<title>SI18</title>
|
|
|
|
|
|
<link rel="stylesheet" href="style.css" />
|
|
|
|
|
|
<script src="background.js" defer></script>
|
|
|
|
|
|
</head>
|
|
|
|
|
|
<body>
|
|
|
|
|
|
<header>
|
|
|
|
|
|
<img src="img/heads_hq.png" alt="" id="background" srcset="" />
|
|
|
|
|
|
|
|
|
|
|
|
<div class="meta">
|
|
|
|
|
|
<h1 class="title">
|
|
|
|
|
|
SI18 - Radio Implicancies: Methods To Practice Interdependencies
|
|
|
|
|
|
</h1>
|
|
|
|
|
|
<button id="intro">🎵 Intro / Outro</button>
|
|
|
|
|
|
</div>
|
|
|
|
|
|
|
|
|
|
|
|
<ul class="index">
|
|
|
|
|
|
<li>
|
|
|
|
|
|
<a href="01" data-bg="01"><img src="img/numbers/01.svg" /></a>
|
|
|
|
|
|
</li>
|
|
|
|
|
|
<li>
|
|
|
|
|
|
<a href="02" data-bg="02"><img src="img/numbers/02.svg" /></a>
|
|
|
|
|
|
</li>
|
|
|
|
|
|
<li>
|
|
|
|
|
|
<a href="03" data-bg="03"><img src="img/numbers/03.svg" /></a>
|
|
|
|
|
|
</li>
|
|
|
|
|
|
<li>
|
|
|
|
|
|
<a href="04" data-bg="04"><img src="img/numbers/04.svg" /></a>
|
|
|
|
|
|
</li>
|
|
|
|
|
|
<li>
|
|
|
|
|
|
<a href="05" data-bg="05"><img src="img/numbers/05.svg" /></a>
|
|
|
|
|
|
</li>
|
|
|
|
|
|
<li>
|
|
|
|
|
|
<a href="06" data-bg="06"><img src="img/numbers/06.svg" /></a>
|
|
|
|
|
|
</li>
|
|
|
|
|
|
<li>
|
|
|
|
|
|
<a href="07" data-bg="07"><img src="img/numbers/07.svg" /></a>
|
|
|
|
|
|
</li>
|
|
|
|
|
|
<li>
|
|
|
|
|
|
<a href="08" data-bg="08"><img src="img/numbers/08.svg" /></a>
|
|
|
|
|
|
</li>
|
|
|
|
|
|
</ul>
|
|
|
|
|
|
|
|
|
|
|
|
<div class="meta release">
|
|
|
|
|
|
<h2 class="title hidden"></h2>
|
|
|
|
|
|
<div class="date hidden"></div>
|
|
|
|
|
|
</div>
|
|
|
|
|
|
|
|
|
|
|
|
<img src="" alt="" id="foreground" />
|
|
|
|
|
|
</header>
|
|
|
|
|
|
<main>
|
|
|
|
|
|
<p>
|
|
|
|
|
|
The third and last issue of the first year of Experimental Publishing (XPUB),
|
|
|
|
|
|
<em> Radio Implicancies: Methods To Practice Interdependencies </em>
|
|
|
|
|
|
, is a series of eight, increasingly ambitious, weekly released sound publications.
|
|
|
|
|
|
While the name of this publication might give you the impression that those
|
|
|
|
|
|
periodical <a href="#release" class="note">releases</a> were broadcasted, they very
|
|
|
|
|
|
much took place behind closed doors, amongst the group members themselves…
|
|
|
|
|
|
</p>
|
|
|
|
|
|
<p>
|
|
|
|
|
|
Released for the very first time on the 12th of April, the twelve members of the
|
|
|
|
|
|
group, who where shapeshifting each Tuesday of the week into their own audience,
|
|
|
|
|
|
constantly shuffled positions in the overall work infrastructure until the last
|
|
|
|
|
|
release on the 21st of June. This modular approach to work positions enabled an
|
|
|
|
|
|
<a href="#interdependent" class="note">interdependent</a>
|
|
|
|
|
|
publishing structure in which different figures of agency took turn in order to
|
|
|
|
|
|
share responsibilities in a sustainable manner.
|
|
|
|
|
|
</p>
|
|
|
|
|
|
<p>
|
|
|
|
|
|
Certainly captivated by the diversity in shapes, contents and experiences offered by
|
|
|
|
|
|
the Special Issue 18’s eight sound publications, one might wonder: but what is it
|
|
|
|
|
|
all about? The time pressure and weekly format framework left the overall project
|
|
|
|
|
|
stuck under the surface of the water, as under an ice floe. Yet, the time spared on
|
|
|
|
|
|
reflecting over past releases was invested in a bold pace of exploration, in which
|
|
|
|
|
|
each week the group has re-conceptualised new work methodologies. The urgency of
|
|
|
|
|
|
experimenting with new infrastructures and breaking down mainstream hierarchical
|
|
|
|
|
|
ones, took over the reflection of the resulted emergencies within each project. The
|
|
|
|
|
|
ice floe broke at some place, enabling water flows, but those remained disparate, a
|
|
|
|
|
|
stream still waiting to be connected.
|
|
|
|
|
|
</p>
|
|
|
|
|
|
<p>
|
|
|
|
|
|
Every other Tuesday of each week, somehow estranged from everyones’ work progress,
|
|
|
|
|
|
all the members of the group, except the<a href="#caretakers" class="note">
|
|
|
|
|
|
care-takers</a
|
|
|
|
|
|
>
|
|
|
|
|
|
(a few members responsible of the overall outcome of that week’s publication), would
|
|
|
|
|
|
walk into a dedicated room unaware of what kind of experience they would step into.
|
|
|
|
|
|
Some publications even shifted from edited projects to live performances, presenting
|
|
|
|
|
|
tools, interface or instruments for the public to thread all the pieces together
|
|
|
|
|
|
themselves.
|
|
|
|
|
|
</p>
|
|
|
|
|
|
|
|
|
|
|
|
<img src="img/releases/2022-06-22 17.03.22.jpg" alt="The uneven pattern website" />
|
|
|
|
|
|
|
|
|
|
|
|
<p>
|
|
|
|
|
|
The third week release, Uneven Patterns, was the first milestone in which the
|
|
|
|
|
|
release’s care-takers took the role of editors. The listener’s experience evolved
|
|
|
|
|
|
from that of a brutal unintentional edit of disparate sound-works, to an intentional
|
|
|
|
|
|
curated piece, interlaced by a common rhythm: that of different binding sounds. The
|
|
|
|
|
|
theme presented by the editors was inviting in a non-restrictive manner.
|
|
|
|
|
|
</p>
|
|
|
|
|
|
<p>
|
|
|
|
|
|
From then on the publications’ care-takers became the heart of each weekly release.
|
|
|
|
|
|
</p>
|
|
|
|
|
|
|
|
|
|
|
|
<p>
|
|
|
|
|
|
On the fourth week, the Emergent Opera’s care-takers introduced a new kind of
|
|
|
|
|
|
release format: live edit. The release’s interface, unlike the up-to-then linear
|
|
|
|
|
|
structures, took the form of a circular constellation of sound tracks, an instrument
|
|
|
|
|
|
that can be activated by any willing participant, generating a new kind of
|
|
|
|
|
|
audio-collage.
|
|
|
|
|
|
</p>
|
|
|
|
|
|
|
|
|
|
|
|
<p>
|
|
|
|
|
|
This potential for more performative and interactive interfaces inspired the
|
|
|
|
|
|
care-takers of The Jingle Board Parliament to challenge said format on the fifth
|
|
|
|
|
|
week. For the first time, the potential of found footage in media and pop culture,
|
|
|
|
|
|
within a short-format restriction, got encouraged. The occasion to experience and
|
|
|
|
|
|
command a once in a lifetime political landscape hosting an eclectic assemble of
|
|
|
|
|
|
voices.
|
|
|
|
|
|
</p>
|
|
|
|
|
|
|
|
|
|
|
|
<p>
|
|
|
|
|
|
The instrument became voice. While dialogues were emerging out of cheer spontaneity,
|
|
|
|
|
|
the Nested Narratives release was the occasion to reflect together on a textual net
|
|
|
|
|
|
around a given refrain. One that would weave the diverse reflection, on a common
|
|
|
|
|
|
problematic, of makers and listeners together…
|
|
|
|
|
|
</p>
|
|
|
|
|
|
|
|
|
|
|
|
<p>
|
|
|
|
|
|
And the voices carried methods. For the first time in months, the care-takers
|
|
|
|
|
|
decided to take the bull by the horns and propose to confront methodologies upfront
|
|
|
|
|
|
with the Sharing Methods for Diffractive Reading cookbook. The occasion highlighted
|
|
|
|
|
|
that however considerate a method might be, different texts need different care and
|
|
|
|
|
|
attention.
|
|
|
|
|
|
</p>
|
|
|
|
|
|
|
|
|
|
|
|
<p>
|
|
|
|
|
|
This intricate publication blew a wind of spontaneity to the last week’s release.
|
|
|
|
|
|
Each day, the different <a href="#contributors" class="note">contributors</a> would
|
|
|
|
|
|
react to one another with daily (short-) uploads on the Unfolding [ ] Implicancies
|
|
|
|
|
|
platform. A final interface with data strata of all kind resulted in a generous
|
|
|
|
|
|
open-end: a rhizome narrative with no top nor bottom, no left or right, where what
|
|
|
|
|
|
ends is where that begins.
|
|
|
|
|
|
</p>
|
|
|
|
|
|
</main>
|
|
|
|
|
|
<footer>
|
|
|
|
|
|
<dl>
|
|
|
|
|
|
<dt id="release">Release</dt>
|
|
|
|
|
|
<dd>
|
|
|
|
|
|
Audio files/interfaces/instruments that have been made available for listeners
|
|
|
|
|
|
(the group members) in a customised and ad hoc environment designed by the
|
|
|
|
|
|
care-takers of the week to access the content in the most apt and fitting way.
|
|
|
|
|
|
The release happened once a week, every Tuesday, and included a listening
|
|
|
|
|
|
session and a consequent discussion, when critiques, improvements inputs and
|
|
|
|
|
|
appreciations would be collected and stashed for later use.
|
|
|
|
|
|
</dd>
|
|
|
|
|
|
<dt id="caretakers">Care-takers</dt>
|
|
|
|
|
|
|
|
|
|
|
|
<dd>
|
|
|
|
|
|
A few assigned members of the group responsible of the overall outcome of that
|
|
|
|
|
|
week’s publication whose role included, in very different ways for every
|
|
|
|
|
|
release, providing the contributors a theme, a method or a guideline,
|
|
|
|
|
|
coordinating the recording, giving technical support, preparing materials for
|
|
|
|
|
|
publication, setting up of the listening environmen and web page or interface,
|
|
|
|
|
|
etc.. Care-takers, in addition, can decide to be or not to be also contributors
|
|
|
|
|
|
to their weekly release.
|
|
|
|
|
|
</dd>
|
|
|
|
|
|
<dt id="contributors">Contributors</dt>
|
|
|
|
|
|
|
|
|
|
|
|
<dd>
|
|
|
|
|
|
Members of the group that took part in the creation of the audio piece.
|
|
|
|
|
|
Contributors read the proposal from the care-takers and, following the given
|
|
|
|
|
|
constraints, produced the materials before the imposed deadline, to give time to
|
|
|
|
|
|
care-takers to organise the materials for the listening session (the release).
|
|
|
|
|
|
</dd>
|
|
|
|
|
|
|
|
|
|
|
|
<dt id="interdependent">Interdependent</dt>
|
|
|
|
|
|
<dd>
|
|
|
|
|
|
Interdependent publishing happens when the parts of a structure are
|
|
|
|
|
|
interconnected and entangled between each other. Every segment has an influence
|
|
|
|
|
|
on the others and viceversa; they are mutually dependent on each other.
|
|
|
|
|
|
</dd>
|
|
|
|
|
|
<dt id="implicancy">Implicancy</dt>
|
|
|
|
|
|
<dd>
|
|
|
|
|
|
In the case of the fifth release, implicancies are the connections that can be
|
|
|
|
|
|
made when reacting to already existing content. By looking at the files proposed
|
|
|
|
|
|
as the foundation of the entire structure, the contributors are asked to
|
|
|
|
|
|
interact with the content to produce a continous flow of creation.
|
|
|
|
|
|
</dd>
|
|
|
|
|
|
<dt id="emergent">Emergent</dt>
|
|
|
|
|
|
<dd>
|
|
|
|
|
|
A traditional structure of an opera piece has been shifted to an emergent one:
|
|
|
|
|
|
each property is part of a bigger whole, that comes together in the becoming.
|
|
|
|
|
|
</dd>
|
|
|
|
|
|
|
|
|
|
|
|
<dt id="eclectic">Eclectic</dt>
|
|
|
|
|
|
<dd>
|
|
|
|
|
|
For the Jingle Board Parliament release, a selection of audio snippets from
|
|
|
|
|
|
various sources have been selected to be part of the seats of a parliament. This
|
|
|
|
|
|
means that no linear or predefined outcome would result, but a collection of
|
|
|
|
|
|
voices would be played individually, collectively or respectively.
|
|
|
|
|
|
</dd>
|
|
|
|
|
|
<dt id="nesting">Nesting</dt>
|
|
|
|
|
|
<dd>
|
|
|
|
|
|
The term nesting comes from HTML language and means placing one HTML element
|
|
|
|
|
|
inside another. This concept is at the for the fifth release Nested Narratives:
|
|
|
|
|
|
the idea is that the anchor text ("if we censor art what is left to discuss")
|
|
|
|
|
|
functions as starting and end points and the contributions are then "nested" in
|
|
|
|
|
|
between the anchor text. This concept has been further developed in the seventh
|
|
|
|
|
|
release, Unfolding Implicancies.
|
|
|
|
|
|
</dd>
|
|
|
|
|
|
</dl>
|
|
|
|
|
|
</footer>
|
|
|
|
|
|
</body>
|
|
|
|
|
|
</html>
|
