Sound to wear
Sound to Wear is an educational set of experiential body-based tools for listening and sounding practices
The educational set of sound-tools is one of the outcomes of the doctoral research Wearing Sound: Foundations of Sonic Design (2020). The tools are body-based objects, and could be considered to be ‘object- stimulators’—objects that generate ideas. The tools are complex material-discursive apparatuses assembled from everyday objects and centred on two main practices: (i) listening and (ii) sounding. The set of tools is arranged into a sequence for working with sonic materials that begins with ‘ear cleaning’—introducing, activating and shifting the focus from visual to sonic experience—and continues with idea-generation in relation to designing with sound.
The sound-tools for listening invites to focus and explore various listening modes. They work as stimulators that modify the hearing in different ways by directing, blocking, amplifying, damping, reflecting or isolating. With some objects one can direct the listening at different heights such as a half meter listening shoes. Various directionalities could be investigated with the headphone-tubes, such as listening behind, above, bellow, right, left or listening to different directions at the same time. The acousmatic listening mode could be examined with the ”dress-box” that also dampens the surrounding sounds. Some tools are designed to experience the individual isolative listening, meanwhile, other tools are dedicated to explore co-listening mode.
The sound-tools for sounding are encouraging to delve into different aspects of sound such as the location on the body and specific movement/interaction for activating the sound. Some objects invite to experience mono, stereo or surrounding sound and others—different sonic expressions of material reacting to a body movement: floating, bouncing, dragging, sliding, rattling, squeaking, etc. With some tools one can explore the semantics of sound, such as the object with metal sponges reminding the sound of walking on snow; meanwhile other tools disrupt the signifier, such as the plunger-shoes. The wearer is encouraged to experience the body extensions with sonic clusters and sonic points, everyday and non-ordinary movements; different volumes and emotions, which sound elicits: from annoying rubbing sound of sand paper tights to a pleasant floating sound of ’water-apron’ or ambient meditative sonic expression of the sound-tool made from 1000 gummy fingers. By wearing the ‘ball-anklet(s)’ or ’double-cap’ one can explore the asymmetrical sound. The sound-tool with pumps functions as a sounding piece that invites to try the amplified sonic expression of sitting. Sound-tools could be mixed and worn together.
Each sound-object was designed to enhance a particular movement or behaviour. The notion of sound-tools is open and the tools facilitate exploration; they are playthings similar to the exhibits in one of the cabinets of curiosity (Bann, 1995; White, 1997; Amsel-Arieli, 2012; Mak and Pollack, 2013), allowing a designer to explore these tools in her/his own way or follow the provided instructions. This opens up an experiential and pedagogical space in which creativity and aesthetic engagement can be collectively and individually explored.
The sound-tools were assembled from objects from everyday life (e.g. sink plungers, sandpaper, brushes, etc.). The “aesthetic of the strange” (Grabes, 2008, p. xii) of objects are not concerned with visual appearance, but rather function, interaction, and emitted sound. Their importance relates to everyday performativity and simple/ready-made objects. As is discussed above, the “third aesthetics” (Ibid.) and anti-fashion (Stern and Troy, 2005) refer to ‘strange’ aesthetics and argue for ‘forgetting’ what is visually ‘beautiful’, and so the main focus was on sonic thinking and the sonic dimension of the object-subject relationship.
methods
The listening-objects modify hearing by amplifying, filtering, directing, damping, and isolating sound. The main methods for sounding-objects are based on the ‘meeting point’ between the acting body and sounding material, wherein body movement suggests the expression of sound. The properties of sound, such as complexity, repetition, volume are thus the design elements for a sound to be expressed in different ways. Extending the body with ‘sonic points’ or ‘clusters’, composing the fabric, or multiplying sonic elements could suggest design ideas as well. Within the designed sound-tools, methods of listening and sounding are proposed; these build on the foundation for introducing and designing sonic expressions.
sound-tools
Sound-Tool 1
Listening tool: PVC, fur, knitted cotton, metal
Listening modes: damping, blocking, amplifying, stereo/mono
The object is intended to be worn on the neck, and functions as a sound-modification piece; it modifies the wearer’s sense of hearing and perception of a soundscape by blocking, damping or amplifying it.
It is double-sided; one side absorbs sound and another—reflects. Sound-Tool 1 can be used as the wearer wishes: to block one or both ears, or to cocoon the head by lifting the edges above the head.
Image credits: Faseeh Saleem
Sound-Tool 2
Listening tool: polyester, PVC, Velcro, cardboard, zip
Listening modes: acousmatic, damping
The body should go inside the object so it functions as a sound ‘box’ that modifies the wearer’s sense of hearing and perception of a soundscape by damping sound. Sound-Tool 2 could be used in the acousmatic listening mode by wearing an eye covering to reduce vision.
Image credits: Faseeh Saleem
Sound-Tool 3
Listening tool: plastic, foam, metal
Listening modes: amplifying, isolating, stereo/mono, directing
The object is intended to be worn on the ears as headphones, and functions as a sound-modification piece that changes the wearer’s sense of hearing by amplifying, directing, and isolating sound. Sound-Tool 3 could be used in different ways to direct and filter sound from above, below, and to the right or left. It could also be used for listening to the self by connecting the ‘tubes’ together.
Image credits: Jan Tepe
Sound-Tool 4
Listening tool: foam and knitted cotton
Listening modes: damping, blocking
The object is intended to be worn on the head or neck, and functions as a sound-modification piece that changes the wearer’s sense of hearing by damping/blocking sound. Sound-Tool 4 could be used in different ways to block sounds coming from above, below, the front, and the back.
Image credits: Faseeh Saleem
Sound-Tool 5
Listening tool: shoes and foam
Listening modes: changing height
The object is designed for feet; one should stand on the object and explore the sounds heard while listening from 0.5 metres higher than usual. One of the suggested ways to explore Sound-Tool 5 is to use it in different spaces and environments.
Image credits: Jan Tepe
Sound-Tool 6
Listening tool: plastic, metal
Listening modes: amplifying, directing, stereo/mono
The object is intended to be worn on the ears as headphones, and functions as a sound-modification piece that changes the wearer’s sense of hearing by amplifying and directing sound. Sound-Tool 6 could be used to direct and filter sound on the right or left by removing one of the cones.
Image credits: Jan Tepe
Sound-Tool 7
Listening tool: plastic, metal, cardboard
Listening modes: amplifying, directing, stereo/mono
The object is intended to be worn on the ears as headphones, and functions as a sound-modification piece that changes the wearer’s sense of hearing by amplifying and directing sound. Sound-Tool 7 could be used to direct and filter sound on the right or left by removing one of the cones.
Image credits: Jan Tepe
Sound-Tool 8
Listening tool: plastic, metal, cardboard
Listening modes: co-listening, filtering, amplifying
The object is intended to be worn on the head. It functions as a sound modification piece that changes
the wearer’s sense of hearing by amplifying and filtering sounds. Sound-Tool 8 is designed for co-listening
(pair listening).
Sound-Tool 9
Sounding tool: wood, rubber band, metal, and baseball, tennis and ping pong balls
Sounding modes: amplifying, form-sounding, changing tempo
The object is intended to be worn on the head. It functions as a surround-sound piece. The sounding can be undertaken in different ways by rotating the head at a slow, medium, or fast tempo with balls of different weights, resulting in sonic expressions with various volumes.
Image credits: Faseeh Saleem
Sound-Tool 10
Sounding tool: plastic headband, metal bells, knitting needles
Sounding modes: symmetrical/asymmetrical, amplifying, extending, mono/stereo/surrounding, sonic point(s)
The object is intended to be worn on the head. It functions as an extended symmetrical or asymmetrical sounding piece. ‘Pointal’ sounding can be undertaken in seven ways by using the bells in the centre, right, left, left and right, left and centre, right and centre, or all three bells at once. Sound-Tool 10 can be modified by attaching different types of bell.
Image credits: Jan Tepe
Sound-Tool 11
Sounding tool: boots, metal hair brushes
Sounding modes: symmetrical, amplifying
This object is intended to be worn on the feet. It functions as a symmetrical sounding piece. Sound-Tool 11 is designed to explore an amplified expression of walking.
Image credits: Jan Tepe
Sound-Tool 12
Sounding tool: tires, cotton and rubber bands
Sounding modes: symmetrical amplifying
The object is intended to be worn on the thighs. It functions as a symmetrical sounding piece. Sound-Tool 12 demonstrates the amplified expression of walking.
Image credits: Jan Tepe
Sound-Tool 13
Sounding tool: PVC, cotton and rubber bands, metal fastening, ping-pong and metal balls, metal can
Sounding modes: extending, amplifying, sonic point
The object is intended to be worn on the waist as an extended sonic ‘tail’. The sounding can be undertaken in different ways by wearing three attachments that invites to explore different material reactions while walking—the sound of dragging, bouncing, and rattling. It is recommended to explore Sound-Tool 13 while walking and going upstairs on various surfaces.
Image credits: Jan Tepe
Sound-Tool 14
Sounding tool: metal plates, springs, ping-pong and wooden balls, rubber bands
Sounding modes: symmetrical/asymmetrical, amplifying, mono/stereo, sonic point(s)
The object is intended to be worn on the ankle/ankles. It functions as a symmetrical or asymmetrical sounding piece. Sounding can be undertaken in three different ways by wearing the ‘ball-anklet(s)’ on the left foot, the right foot, or both feet. One of the suggested ways to explore Sound-Tool 14 is to wear it in different spaces
on various surfaces.
Image credits: Jan Tepe
Sound-Tool 15
Sounding tool: rubber band
Sounding modes: changing tempo
The object is intended to be worn on the shins. It functions as a tempo changer, resulting in different sonic expression of walking.
Image credits: Faseeh Saleem
Sound-Tool 16
Sounding tool: shoes, sink plungers
Sounding modes: symmetrical/asymmetrical, amplifying, mono/stereo
The object is intended to be worn on the foot/feet. It functions as a symmetrical or asymmetrical sounding piece. The sounding can be undertaken in three different ways by wearing the ‘plungershoes’ on the left foot, the right foot, or both feet. One of the suggested ways to explore Sound-Tool 16 is to wear it in different spaces on various surfaces.
Image credits: Jan Tepe
Sound-Tool 17
Sounding tool: shoes, bottle brushes
Sounding modes: amplifying, sonic cluster, changing tempo
The object is intended to be worn on the feet. It functions as a symmetrical sounding piece. Sounding can be explored in different ways by walking in the ‘brush-shoes’ at a slow, medium, or fast tempo.
Image credits: Jan Tepe
Sound-Tool 18
Sounding tool: PVC, metal sponges, rubber bands, magnets
Sounding modes: symmetrical/asymmetrical amplifying, mono/stereo, sonic cluster(s)
The object should be worn on the foot/feet. It functions as a symmetric or asymmetric sounding piece.
The sounding could be made in three different ways by wearing the ’sole(s)’ on the left, right or both feet.
Image credits: Jan Tepe
Sound-Tool 19
Sounding tool: metal, knitted cotton, cotton laces
Sounding modes: amplifying, sonic cluster, changing tempo
The object should be worn on the ankles. It functions as a sounding piece that amplifies the walking. The sounding could be made in different ways by wearing the Sound-Tool 19 in various tempos: slow/medium/fast.
Image credits: Faseeh Saleem
Sound-Tool 20
Sounding tool: plastic headband, salt, metal, rubber, cotton band
Sounding modes: asymmetrical amplifying, changing tempo
The object should be worn on the head. It functions as a sounding piece that lets to explore the movement of sound while bending the neck to the sides. As a result, the salt is sliding inside the metal tube. One of suggested ways to explore the Sound-Tool 20 is to bend the neck in different tempos.
Image credits: Jan Tepe
Sound-Tool 21
Sounding tool: wool, cotton, rubber pomps, rubber bands
Sounding modes: symmetrical/asymmetrical amplifying, sonic cluster(s), changing tempo
The object should be worn on the buttocks. It functions as a sounding piece that invites to explore the amplified sonic expression of sitting. One of suggested ways to explore the Sound-Tool 21 is to sit in different tempos: fast/medium/slow.
Image credits: Faseeh Saleem
Sound-Tool 22
Sounding tool: cardboard, cotton, rubber bands, metal, salt, metal balls
Sounding modes: symmetrical/asymmetrical amplifying, sonic cluster(s), changing tempo
The object is intended to be worn on the arm(s). It functions as a symmetrical or asymmetrical sounding piece. One of objects is filled by salt and another one with three metal balls. The sounding can be undertaken in different ways by lifting, shaking, or rotating the body part that it is being worn on at various tempos.
Image credits: Jan Tepe
Sound-Tool 23
Sounding tool: PVC, rubber bands, three ping-pong balls, two metal cans
Sounding modes: asymmetrical amplifying, sonic points, changing tempo
The object is intended to be worn on the arm or foot. It functions as an asymmetrical sounding piece.
The sounding can be undertaken in different ways by lifting, shaking, or rotating the body part that it is being worn on at various tempos.
Image credits: Jan Tepe
Sound-Tool 24
Sounding tool: cap, cotton laces, paper straws, metal, glass
Sounding modes: asymmetrical amplifying, surrounding, changing tempo
The object is intended to be worn on the head. It functions as an asymmetrical surround-sound piece.
The sounding can be undertaken in different ways by rotating the head or bending the neck at a slow, medium, or fast tempo.
Image credits: Faseeh Saleem
Sound-Tool 25
Sounding tool: PVC, water, cotton bands
Sounding modes: amplifying, sonic cluster, changing tempo
The object should be worn on the waist. It functions as a sounding piece that invites to explore a ’floating’ expression of walking. The sounding could be made in different ways by wearing the ’sonic-apron’ in various tempos: slow/medium/fast that will result in different sonic expressions.
Image credits: Jan Tepe
Sound-Tool 26
Sounding tool: PVC, rubber bands, wool, water
Sounding modes: symmetrical/asymmetrical amplifying, sonic cluster(s), changing tempo
The object is intended to be worn on the arm(s). It functions as an asymmetrical or symmetrical sounding piece. The sounding can be undertaken in different ways by lifting, shaking, or rotating the arm(s) at various tempos.
Image credits: Jan Tepe
Sound-Tool 27
Sounding tool: rubber, metal, sand paper, cotton laces
Sounding modes: amplifying, sonic cluster, changing tempo
The object is intended to be worn on the shins. It functions as a sounding piece that amplifies the act of walking. The sounding can be undertaken in different ways by walking at a slow, medium, or fast tempo. It can be also worn on the thighs, and the sonic expression can then be explored while sitting and crossing one’s legs.
Image credits: Faseeh Saleem
Sound-Tool 28
Sounding tool: wool, 1000 rubber ’fingers’, rubber bands
Sounding modes: symmetrical/asymmetrical amplifying, cluster(s), changing tempo
The object should be worn on the side(s)/ leg(s). It functions as an asymmetric or symmetrical sounding piece. The Sound-Tool 28 consists of 1000 rubber ’fingers’ and invites to explore the subtle, ambient sonic expression while wearing it. The sounding could be made in different ways by wearing the objects in various tempos: slow/medium/fast that will result in different sonic expressions.
Image credits: Jan Tepe
publications/ presentations
Performative video (4 min)
Doctoral exhibition teaser (1 min)
Performative video (15 min)
Radio (2 min)
Radio (3 min)
Interview (for Hemslöjd, Art&Craft journal, Sweden)
Interview (for Literature&Art, Art journal, Lithuania)
Solo exhibition
Sound to Wear (sound installation, interactive sound-objects) at the Textile Museum of Sweden, Borås,
24 September 2020 - 10 January 2021
Group exhibitions
Body-Space: Embodied Listening Practices (video) at Domestic Provocations: Creativity as a Provocateur of Care and Vice Versa, keynote exhibition, (video), 30 A-1, Pakistan, 11 March 2023
Sound to Wear (interactive sound-objects) at Somatic Provocations: Fashioning a dialogue, Pakistan,
3 December 2023 - 6 December 2023
Sound to Wear (video) at Costume&Contemplations 1, Textile Museum, Poland,
24 November 2022 - 26 November 2022
Sound to Wear (interactive sound-objects) at Drafts 3: Communicating knowledge through design research artifacts, designtranfer, Germany, 12 May 2022 - 20 May 2022
Sound to Wear (video and interactive sound-objects) at Mados Dizaino Pasakojimai, Titanikas, Lithuania,
16 December 2021 - 15 January 2021
Sound to Wear (interactive sound-objects) at UFNA: 1st International Art Triennial Unpredictable Futures, Lithuanian Museum of Ethnocosmology, Lithuania, 2 July 2021 - 4 October 2021
Sound to Wear (interactive sound-objects) at Drafts 1: Design research artifacts as an intermediary knowledge, Pakistan Institute of Fashion and Design, Pakistan, 1 April 2021 - 13 April 2021