36 Matching Annotations
  1. Nov 2025
    1. How can children’s literaturefunction as a tool for adult self-reflection? Using mixed-media

      how can conventions of children's literature AND critical making practices serve as a site for adult self-reflection

    2. us, the project is inspired by Antoine de Saint-Exupéry’s The Little Prince, a workclassified as a children’s book yet popularized for its philosophical messages.

      take out, mention studies instead.

    Annotators

  2. Sep 2025
    1. because to hear is a privilege.

      I imply that hearing is a privilege without explicitly acknowledging why or mentioning hearing and accessibility differences/disabilities.

    2. I asked my brother to participate in a sound sketch exercise for this project. I gave him the recordings to listen to without any context, simply telling him to "draw what you hear or feel, or both." In the order of this mapping, here is what he came up with:

      This visual interpretation is an additional method, but does not provide enough detail for its purpose and is underdeveloped data. What did this exercise reveal about sound mapping and how does it change the perspective or approach of this assignment?

    3. I would close my eyes to question and make sense of sounds, correlating visual and auditory perceptions as I tried to imagine what I was hearing and what was happening around me.

      Evidence of my approach and process.

    4. I started to recognize how much I live passively, simply allowing life to happen around me and using school as an unconscious excuse for being too caught up to take control.

      Indicates how my approach shaped my perspective, reflecting on how this methodology influences environmental interpretation.

    5. Soundwalks show how a single location can be home to an extensive amount of sounds and noises that change daily

      Reflects on my methodology.

    6. I was often too self-conscious of the surrounding people and how they might notice me, which affected the overall experience and my active listening.

      Here I recognize a personal limitation that shaped my data collection.

    7. I noticed the laughter, differing tones of voice, music, the staff's activity at the bar, the sound of cans being opened, and kitchenware against the tables.

      Descriptive evidence of my approach using active listening, but could have included timestamps for the viewer's own reference.

    8. The liveliness of The Bullring is still identifiable

      Interpretive assumption that the soundscape was both lively and relaxed, being a subjective experience.

    9. I was drawn to how the environment sounded behind the entrance door.

      Could have referenced back to Kit Dobson's work or how this strengthened my approach and ecperience.

    10. with the former providing sounds that were more difficult to recognize (2:11).

      Mentions a limitation of my method, with technology filtering the raw soundscape.

    11. I divided this assignment into two dedicated listening sessions.

      A part of my method; explains my practice and works as solid evidence of my project. design process However, the "why" aspect could be further explained to strengthen the method.

    12. demonstrating how sound is spatial, temporal, and influenced by sensory factors.

      Here I make a claim without any supporting material or references.

    13. focusing on the experience of my soundwalks to guide my perceptions of campus life.

      Describes my methodology and connects Dobson's theory to my own practice.

    14. Dobson defines listening as a social, political, and cultural motivator, facilitating learning and creating knowledge.

      This is an overgeneralized statement that follows a limited critique. It is a strong paraphrase, but gives little information to whether or not this is a direct definition or an interpretation of Dobson's work.

    15. Dobson personifies and personalizes the act (and art) of listening

      Here I made a claim without any citation to where Dobson confirms or states this in his work. This would be stronger with specific quotations and references to back up my analysis.

    16. to create a story by making interpretations between objects and noise that evoke memories and history.

      Is this subjective? Here I assume that sound universally "evokes memories and history." This is an implied understanding and does not speak for everyone.

    17. Kit Dobson's Field Notes on Listening (2022)

      Here I identify my methodology and approach, clearly stating my guiding framework for this project.

    18. Sound is diverse, mirroring the dynamic and fluctuating environment, and soundwalks give us an opportunity to heighten our awareness of how sound shapes our understanding of where we are.

      This is my own interpretation of soundwalks, and could have been reinforced with supporting material or references to why soundwalks are significant and what they do for us (for example, back to Kit Dobson's work).

    19. My main challenge was letting go of the fear of being perceived

      Here I discuss my assumptions and the benefits of this experience. This could have been connected back to how these hesitations shaped my approach and how they could have limited the depth of data collected.

    20. This recording documents how different people from different backgrounds, groups, and ages are united by the same circumstance,

      More of an assumption and interpretation than a truth; are they truly united by the environment or just happen to be in the same place at the same time? If this is true, I could have provided evidence of specific moments of communication through timestamps (however, this would question privacy of individuals).

    21. the door acting as a barrier.

      Demonstrates my method and approach of attentive and active listening, but could be strengthened with evidence such as timestamps, like used in the previous recording.

    22. you

      Using possessive pronouns (you, your) assumes that the listener experiences the exact same sounds I connect to. While this provides relatability and reflection, it does not speak for the whole audience.

    23. surroundings.

      Detailed and strong descriptions contribute to the metadata of this project; the information that contextualizes the primary data, which is the raw recordings collected first-hand.

    24. You can picture the calm, natural environment reflected in the relatively soft recording, lacking a constant noise other than the hum from being outside.

      Assumption that other listeners would be able to detect this description the way it is described.

    25. I questioned their meanings and the visuals I unconsciously paired with them, attempting to describe what I was hearing and the feelings they evoked (and why).

      What did this do for the overall project? Would this analysis work with a different approach?

    26. Here, my phone picked up less of the natural environment and the latter relied more on memory and familiarity to explain sound and draw connections, much like Dobson does.

      This demonstrates an assumption and limitation to my method, hoping that my phone could accurately record the sounds of my environment.

    27. However, the very heart of a soundwalk is its focus on the environment as a soundscape; participating in these walks to completely listen, hear, and observe the noises of our surroundings with concentration

      Definition that should have been cited to better support this definition with evidence, rather than coming off like a personal interpretation, especially as an introduction.

    28. significantly influenced the introspective and attentive approach used while going into this project.

      Would benefit from specifying which method's of Dobson's work were used, instead of being broad. To reinforce this critique, I could have reflected on the impact of his methodology for my outcomes, and the difference it would have made had I not referenced his work.

    29. Soundwalks can culturally, socially, and even politically shape our perceptions of our environments depending on the context and our understanding.

      How do they do so? These are key takeaways that are not referenced, and doing so would strengthen the academic groundings of each point.

    30. Whether a guided or an independent walk, active listening is a key component of a soundwalk, as it allows us to make sense of what we are hearing and invites listeners to illustrate their own interpretations of the auditory world around us.

      Would have benefited from defining what active listening is, as well as citing where this information of its importance is stemming from.