The tools are body-based objects that could be considered as objects-stimulators and objects that generate ideas. The tools are various complex material-discursive apparatuses assembled from found objects and centered around two main practices: (i) listening and (ii) sounding. The set of tools (32 units) are arranged into the sequence of working with a sonic material that starts with ’ear cleaning’—introducing, activating, and shifting the focus from visual to sonic experience—and the following tools aiming to be idea generators for designing with sound. Within the listening-objects the hearing is modified—amplified, filtered, directed, dampened, isolated, etc. Each sounding-object is designed to enhance a particular movement or behavior. The notion of sound-object itself is open and tools are considered to be the tools-wonderings, playthings similar to the exhibits in one of the Cabinet of Curiosity (Amsel-Arieli, 2012; Bann, 1995; Mak & Pollack, 2013; White, 1997); the ’exerciser’ could explore these ’tools-wonderings’ in his own way or follow the suggested instructions. This opens up an experiential and pedagogical space in which creativity and aesthetic engagement can be collectively and individually explored. As discussed at the beginning of this second part research practice, the tools are explored within the action—the knowledge is collected within the sounding act.
The sound-objects were assembled from find objects that come from everyday life (e.g. sink plungers, sandpaper, etc.). The ‘Strange’ (Grabes, 2008) aesthetics of object is not concerned with visual appearance, rather to the function and idea. The importance is to everyday performativity and simple/ready-made objects. The functional art, Arte Povera, Dada, ’third aesthetics’ (Grabes, 2008), anti-fashion (Stern & Troy, 2005) reference the ‘strange’ aesthetics and becomes as a motivation for forgetting the ”beautiful”, thus the main focus is on a sonic thinking and sonic dimension of object-subject relationship.