James Corazzo
This session mostly centres on teaching spaces and studios. It’s a bit odd for someone coming from teaching Sound and Music, to hear about the materials and studio space in such a visual way. Some of this applies to Sound and Music, but we are dealing with the invisible, and so visible elements are symptoms, or processes, for producing the invisible result we want of sound and music. This is the crux of many problems in representing the department, and in a way this session highlights our invisibility. However, there is still a lot of theory that can be extrapolated to the matierial and sonic agency, but exercises around how we move through the studio are directed by the interest in the technology in different areas in the studio.
Ethnographic mapping is an interesting concept if you relate it to the invisibility of sound and music, mapping the invisible, the mapping of listening as well as viewing the world.
I found it really interesting that facing the same way is less confrontational, and the informality of the sofa. I was resistant to us losing the sofa in the office for this reason, when a student is in crisis it’s important to have an informal space they can be comfortable in. I move around the room a lot when I’m teaching and play with different amounts of distance. The importance of unassessed spaces and spaces where there isn’t fear of evaluation. “officially designated informal space…would somehow make it formal.” It doesn’t meet prescribed images of teaching. Authentic dialogue as an aim to reach with a person for them to reach further staged in their progress.
Catherine Smith
Judith Adler & P. Winstanly books.
“Studio Education is not delivered… forged “- Orr & Shreve. Smith discusses the curating of arts education, as it is in process and created within the studio space. What are the objects doing, as well as the people? Again this is very visual studio focussed, but it does tap into the issues I;m interested in that a lack of curation in sound studios has developed a male dominated space, with a prioritising of deisgn and objects that are more often situated within a ‘masculine’ aesthetic. There has recently been some interesting work in queering the sound space and providing different forms of sonic objects. The minimalist aesthetic of sound technology is not necessarily the most accessible.
How is knowledge production constituted through sociomaterial…
Unesco think sustainable teaching should be part of teaching.. what happens to the discipline? What happens to the resource heavy arts school?