wektor
Well-known member
As reference to: https://www.dissensus.com/threads/1577/
I need some workthoughtflow tips on how to consolidate all the inspirations, papers, and vaguely technical/creative work I had been doing for the past couple years.
Supposedly a 70% complete draft is due in three weeks, and even with downing a few coffees and wine at a cafe terrace every day, I am not certain this would be possible (at the moment not an owner of noise cancelling, or, any for that matter, headphones)
Big question until recently had been: how to write about what is already done, rather than assemble a new project on the way?
How to extract what thinking is already there, rather than trying to bend it into an intriguing, though recently discovered theoretical framework?
This I am slowly getting over with, in some way, giving up perhaps.
A friend invited me to do a little talk on working with sound at a reading group of fine arts people from Rietveld Academy, I was thinking how can I frame what I do in a way that's interesting to them.
This seems like the most valuable short-term project for now: how to position myself in reference to something else than the experimental music academia, which, unfortunately, is way more about music than I expected. Slight regrets of not going to study with David Toop instead for my Master's.
I need some workthoughtflow tips on how to consolidate all the inspirations, papers, and vaguely technical/creative work I had been doing for the past couple years.
Supposedly a 70% complete draft is due in three weeks, and even with downing a few coffees and wine at a cafe terrace every day, I am not certain this would be possible (at the moment not an owner of noise cancelling, or, any for that matter, headphones)
Big question until recently had been: how to write about what is already done, rather than assemble a new project on the way?
How to extract what thinking is already there, rather than trying to bend it into an intriguing, though recently discovered theoretical framework?
This I am slowly getting over with, in some way, giving up perhaps.
A friend invited me to do a little talk on working with sound at a reading group of fine arts people from Rietveld Academy, I was thinking how can I frame what I do in a way that's interesting to them.
This seems like the most valuable short-term project for now: how to position myself in reference to something else than the experimental music academia, which, unfortunately, is way more about music than I expected. Slight regrets of not going to study with David Toop instead for my Master's.