Open Art and Music Cultures | Postdigital Lutherie MA – Tangible Music Lab | Summer Semester 2026 | Kunstuniversität Linz
— Syllabus Excerpt —
Course Description
This course explores the cultures, histories, movements and mindsets embedded throughout the material infrastructures of music (and sound). With a vast media archaeological perspective we investigate the intersections between technological practices and sound (and music) while grounding our inquiry in the ethos of reverse engineering and the spirit of empowerment found in DIY / open source cultures. Through student led research, (group) reading and conversations, we will explore the material politics embedded in music (and sound) as a way to imagine new perspectives to incorporate into practice.
Learning Approach
Open Art and Music Cultures is a student-driven, discussion-intensive seminar grounded in collective inquiry and critical reflection. I’ll be doing most of the talking in the first session — from there, the course unfolds through a mix of discussion, mini-lectures and collaborative exploratory exercises.
Goals
At the end of the term, students should be able to:
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- – Ask critical questions about the intersections of technology, sound, culture, society and ecology.
- – Identify and analyze the embedded material politics in musical and sonic technologies.
- – Imagine and propose alternative, more open and equitable approaches to art-making, sonic practices and cultural production.
- – Reflect on how their own artistic/sonic practices engage with material infrastructures, critically examine their methods, and articulate the intentions behind their creative and technical choices.
- – Leave the course with greater confidence, precision, and skill in critically engaging with sound technologies and infrastructures in both research and practice.
Course Requirements
Reading, active engagement and consistent presence are mandatory. This course is built around reading together, asking questions, and making sense of complex ideas as a group. Some texts you come across may feel dense or unfamiliar (that’s part of the nature of academic writing). Don’t worry if things don’t click right away! Confusion is a valid starting point (and often where the most interesting conversations begin). Our shared annotations and class discussions are designed to support this process, so your questions and reflections are essential!
Note
The collective annotation assignment and general student led orientation of this course is borrowed from the work of one of my mentors, Jonathan Sterne (✝), he passed away in March 2025 🙁 Jonathan was deeply committed to building generous, collaborative academic environments within the Sound Studies milieu — in that spirit, my hope is that this course creates space for curiosity, collaboration, and alternative ways of thinking about sound/art/music in its many forms and contexts.