Narrowcast (Weeks 3-7)
Create a site-specific ‘narrowcast’ radio transmission that responds to a particular context – social, spatial, sonic, or otherwise. You may use the transmitters we built in class (as-is or modified), work with multiple transmitters, or experiment with other transmission tools. Consider transmission as a form of…
- Sonic practice
- Sculpture
- Performance
- Physical practice
- Social practice
- Publishing or dissemination
The format, duration, and content of your narrowcast are open-ended, but you should be prepared to share a brief excerpt – either as a live transmission, recording, or documentation – in our final class.
Questions
- What is your relationship to your site of transmission, how does your work activate or reveal it?
- What frequencies are available?
- Is your transmission fixed, mobile, ephemeral?
- Who might be listening? For how long?
- How is it encountered? By accident, by sign, by rumor?
- Can you take advantage of the qualities unique to radio? Body capacitance, proximity, signal noise, etc.
Part 1: Concept (Week 3–4)
Prepare a brief summary of your narrowcast concept (~1 paragraph) outlining your intentions, the location (or context), and what you plan to transmit. Bring supporting materials (audio snippet, sketches, image reference, notes) for discussion in class.
Part 2: Draft (Week 4–5)
Create a preliminary draft of your project (this may be a physical prototype, an audible draft, an organizational plan, etc.) for discussion/support in class.
Part 3: Production (Week 5–7)
Continue to build out your project!
Part 4: Final (Week 7)
During our last class, we’ll do a round of sharing work and general reflections, about ~5–10min per person. Add your audio and image files, and text blocks or files to the class Arena.
If you’ve finished your narrowcast:
- Share a brief recording, visual documentation, and describe the experience of transmission/reception.
If you’ve built partway or have a concept:
- Share what you’re working towards. You can share sketches, reference, progress or a project description/outline.
Otherwise, Reflect:
- What surprised or excited you during this course?
- What would you like to learn more about?
- How might you carry forward ideas from this class into other media?
Reference
Hidden Sound, Hidden Meaning
- Black Poplar: 89.6MHz, Dan Disciglio
- Pull Up, Simone White
- Hellschreiber
- Pond Station, Zach Poff
Transmission, Reception as Sculpture
- Mimicking Waves, Paloma Izquierdo
- Drive In Music, Max Neuhaus
- Relic, Oli XL
- You are far from us, Anna Friz
Communal Sound
- Apparatus for the circulation of Indigenous voices and ideas into the air, Duane Linklater
- KISS Sound
Transmission Performance
- Looking for the Silent Interference, Tetsuo Kogawa
- Breathing Rotations, Stephen Adams, The Music Box Project
Mic Devices
- Electromagnetic Antenna, Priezor, LOM
- Contact Microphone
- Hydrophones