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Let's Do It Again

Let's Do It Again ->>>

The site provides repeated exposure to these important pre-reading skills, which are necessary before formal reading instruction begins. The site activities provide meaningful interactions, connections and experiences to enhance the development of these pre-reading skills and to build a foundation that will support future reading success. The activities are designed to be repeated again and again.

Rather than engaging with the question of reproducibility, VIS Issue #5 reflects on what 'doing it again' may lead to in artistic research. Doing something again is integral to many artistic practices. The performing arts require rehearsal (répétition in French). Once adequately rehearsed, performances are commonly given several times over [5]. Other artists engage with a series of works, or revisit a motif, topic or question over and over again. Works of art may benefit from 'a second chance', not least in artistic research. Repetitions might be the result of deliberate choices or emerge as recurrences within the practice [6]. Artists may 'do it again' within their own practice or engage with the work of others through reading, restaging, referencing, reproducing, appropriating, reusing, sampling, or re-enacting [7]. Brian Eno and Peter Schmidt suggest that 'repetition is a form of change' [8]. What insights may emerge by doing something again and again, repeatedly, over a long period? How may artistic research draw upon and benefit from such iterations?

For more than ten years, Jacek Smolicki has engaged in a daily practice of soundwalking and sonic journaling, with a self-imposed rule of each walk resulting in a one-minute field recording. He gives the term 'minuting' to this persistent practice. Over time, the relatively short and precise recordings of a particular place and time accumulate into an extensive archive. For this exposition, twelve of the recordings are revisited and shared with us. Several iterative layers of reflections emerge from these recordings. Visually the sound file play bars merge with a montage of images and text into a path that traverses the archive, a psychoacoustic derivé through various places recorded at various times. The exposition shares initial thoughts and observations originating at the time of the recording. However, in the exposition development, the author listens again and reflects anew, situating the recordings in broader cultural, social and political contexts. Doing again is core to his practice and reflective development, and repetition is itself a topic for several reflections that relate to, e.g., everyday life and public space and the organisation of modern society in an age of globalism and late capitalism. In Smolicki's durational practise, repetition becomes transformative and teases out meanings and perspectives over time.

The pandemic lockdown has caused major rupture and upheaval of most parts of society. Still, it did not take many weeks before a meme showed up on Facebook, stating that 'I did not know that the apocalypse came with so much administration.' Quickly new mundane realities, rhythms and repetitions established themselves as our living rooms became the new public space. Josh Spears chronicles the composer-improviser group Bastard Assignments' initial experiments over the first few months after lockdown. Already working with music in the expanded field, engaging with internet and pop culture, film, memes and viral videos, they move online and explore how to compose and perform on Zoom at a time when the platform was still new to most of us. Gradually they get to terms with the new reality and its particular constraints, possibilities and means for mediation and collaboration. A series of jams serve as experiments and etudes, materialising as YouTube videos. Doing it again is essential to how they practice their way towards resolutions. Through fast and rough iterations and prototypes, they sense and respond to what emerges, pulling on earlier practice, testing h


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