prompt 4.3 - inquiry

I decided to call my series of workshops “listening spaces”. When embarking on the creation of my workshop series, I envisioned a transformative experience that would unravel over four unique sessions. My intention was to curate a diverse array of workshops, each differing in its structure, size, and participatory format, aiming to evoke distinct emotional and communal connections. To prepare for “listening spaces” I developed a design brief as a way to crystallize the objectives, methodologies, and pivotal research inquiries that underpinned these sessions.

Central to my planning were three probing research questions, each designed to delve deeper into the contemporary landscape of communal music engagement:

1. In our contemporary landscape, what are the collective spaces for music listeners and lovers to gather?

2. What are the materials that affect (collective) listening experiences?

3. How do people enjoy listening to music with others?

First, I pondered the scarcity of collective spaces for music enthusiasts to congregate in the contemporary social landscape. This inquiry spurred from a perceived gap in our social fabric, one that I envisioned bridging through the conception of a "listening bar," an idea I aimed to explore tangibly within the workshops.

The second question revolved around the materials influencing collective listening experiences. One of my favourite things I have gained from this program is a richer understanding of what material can be. Through exercises in class and reading current literature, design is moving to a place where material is not only what we traditionally considered it to be. Some of the materials I am considering for these workshops are:

• Music; what music is being played

• Sound; the fidelity

• Ambience; mood of space, lighting

• Food; if food and drink are provided, what type, etc.

• Duration; how long is the experience

• Discussion; conversations about the music

• Relationality; if people in the room know each other

• Format; vinyl, cds, streaming

• Playback Device; can you see the device that the music is being played on/being amplified from

This exploration excites me not only from a musical viewpoint but also as an opportunity to embrace interdisciplinary perspectives.

The third question, although more general, holds profound significance. I sometimes take for granted the current state of the world and how much technology has shaped our lives differently than previous generations. One of these monumental technologies was the Walkman and how it gave people the ability to listen to music on the go and individually. Therefore, I wanted to make sure that through these initial workshops, there is still a desire for people to want to listen to music collectively in settings like these.

How I wanted to structure the workshops and the methods I used went hand in hand. The methodologies and methods I intended to use were autoethnography, ethnography, design futures, speculative design, photography, field notes and audio recordings. I also structured the workshops within a communication framework. The first three workshops would be album listenings and the fourth workshop would be more aligned with a listening bar where I would be DJ a mix of songs. Because I don’t have REB permission to use human subjects, the workshops would only be attended by people 1st or 2nd year MDes.

The first workshop would be just me (intrapersonal) listening to an album. The second workshop was with Logan ( 1st-year MDes Interaction) and me (interpersonal). The third workshop included Julie (2nd-year MDes Interdisciplinary), Melody (1st-year Mdes Interaction), Pritam (1st-year Mdes Interdisciplinary) and me. The fourth workshop was with Sahil (2nd-year MDes Interdisciplinary), Logan ( 1st-year MDes Interaction), Asad ( 1st-year MDes Interaction), Jo ( 1st-year MDes Interaction) and me. From a solitary listening session to intimate duos and finally culminating in a group setting akin to a listening bar, each session aimed to explore the intricacies of shared music appreciation.

In essence, "listening spaces" became a platform for me to fuse my passion for music, design, and interdisciplinary exploration. It allowed me to reimagine communal musical encounters, weaving together materials, methodologies, and a communication framework to craft immersive and enriching experiences. Through these workshops, I aimed not just to conceptualize but to bring to life the essence of collective music appreciation, paving the way for a more vibrant, inclusive, and experiential music landscape.

Listening Spaces (1,2,3) poster

Embarking on my much-anticipated workshop series, I found myself brimming with excitement. I had meticulously selected Sampha's soulful masterpiece, "Lahai," as the album that would be listened to for the first three sessions. Curiously, I intentionally abstained from listening to the album beforehand, intentionally cultivating an air of anticipation akin to eagerly awaiting the release of a cherished artist's album during my younger years. My preparation for these workshops involved a careful balance. Apart from hearing the single "Spirit 2.0" prior to the sessions, my knowledge of the album was largely drawn from an insightful interview with Sampha featured in 'exclaim,' a newspaper. This interview provided enriching context without bias or excessive information. I found it so valuable that I brought the newspaper to subsequent sessions and shared an online link with the guests, fostering a deeper understanding of the album's themes.

Seeking to create an immersive ambiance, I took several steps to elevate the album-listening experience. Crafting posters served a dual purpose: guiding attendees and infusing the sessions with a sense of occasion reminiscent of a blend between a book club gathering and going to the movies. Emulating the 'Now Playing' signboards in theatres, these posters aimed to set the tone for a communal and anticipatory atmosphere.

In the third session, I provided printed tracklists, enabling participants to follow along with the songs played. While streaming the album via my phone lacked visible track information, these physical sheets added an interactive layer, fostering a deeper connection and appreciation for the music.

An aspect I prioritized across all sessions was the display of the album art and visualizer. From the last prompt, one of the things I was honing in on was a lack of physical and visual experience that you can associate with an album nowadays because it has moved from something physical to a few megapixels on your phone screen. By showcasing the album art throughout the listening sessions, I endeavoured to provide a richer context to the auditory journey and showcase other art which is inherently connected to an album but that is often not displayed.

listening spaces (4) poster

listening spaces (4) setup

For the listening spaces (4), the idea most akin to a listening bar, most of how I set up the room stayed the same besides, the color of the lighting, the lack of on screen visualizers and the addition of beers!

listening spaces (4) debrief

As the semester nears its end, my next blog post will serve as a comprehensive debrief, offering insights gleaned from these workshops. It will serve as a springboard for future explorations, experiments, and research into crafting more immersive and engaging music experiences.

These workshops were not just about listening; they were a canvas for exploring the convergence of music, design, and communal interaction, paving the way for a more holistic approach to appreciating and engaging with music.