ITP Thesis Archive 2024

Abstract

In a landscape where power is largely institutionalized and beyond individual control, how can we harness technology to protect human rights, improve governance, uplift marginalized communities, and pursue broader societal benefits?

Can music technology serve as a catalyst for advancing political, social, and economic freedoms? Is an instrument with a conceptual framework akin to a historical artifact? Does design influence the utilization of a musical device? Can we establish conditions for ethical technology use through thoughtful design? In what ways can we harness the synergy of music and technology to enact resistance?

The Palestine Drum Liberator stands as an "SLD" (Sonic Liberation Device), epitomizing the synthesis of sound and technology, showcasing the intersection of artistry and innovation. Through intentional programming, it explores the realm of liberation technology, nurturing collective awareness and guiding us towards a future marked by freedom and empowerment.

Technical Details

Utilizing C ++ programming language on a Teensy 4.1 microcontroller, the Palestine Drum Liberator emerges as a versatile amalgamation of a Drum Machine and Synthesizer. Boasting 12 distinct waveforms, polyphonic keys, and a range spanning 6 octaves, it offers an expansive sonic palette. Additionally, it features 8 preset percussion sounds, an 8x8 NeoPixel grid for visualizing step sequences, and essential modulation tools like ADSR Envelope and LFO.

Equipped with MIDI IN/OUT/THRU ports, the Palestine Drum Liberator facilitates seamless synchronization with external hardware and MIDI clock integration. Functionality extends to pattern manipulation with options for start/stop, pattern clearing, channel selection, and editing for both drum and melody sequencing. Further enhancing its usability are an OLED screen, BPM control, and effects such as Delay, Reverb, Pitch, and Filter Decay/Attack.

Designed using KiCad, the electronic hardware layout for PCB manufacturing ensures precision and reliability. Moreover, its battery-powered operation makes it ideal for on-the-go musical exploration.

Research/Context

As an electronic music DJ, I acknowledge the historical significance of electronic music scenes, particularly their underground manifestations, as spaces of resistance and liberation. Understanding that Electronic Dance Music inherently possess political dimensions, I sought to delve deeper into their complexities. These genres function as arenas of resistance, platforms for social commentary, vehicles for identity and inclusivity, drivers of technological innovation, and facilitators of global cultural exchange. Motivated by this awareness, I dedicated myself to expanding my expertise into physical computing, coding, digital and analog electronics, and hardware through rigorous research and hands-on experimentation. This fusion of musical expression and technological innovation has become the cornerstone of my creative pursuits, enabling me to push the boundaries of both sonic exploration and technical ingenuity.

After encountering censorship and repression from the NYU administration due to my activism, I refused to be coerced into silence. My goal was not only to keep Palestine in people's thoughts but also to encourage open discussion about it. Thus, I resisted in the way I knew best: through music.

I coined the term "SLDs" (Sonic Liberation Devices), envisioning a future where musical instruments, as extensions of our thoughts, emotions, and beliefs, reflect our political and social climate. These instruments serve intentional purposes, guiding us towards a future of liberation.

The most defining moment happened with I collaborated with Palestinian Composer, Producer and DJ, Omar Ahmad. His collaboration infused this machine with a profound purpose. Through the instruments he recorded (Daf, Mid, High and Low Tabla, Riq, and Oud) the drum machine took on a vibrant essence, forging a deeply human and intimate connection. This bond was particularly poignant as the instruments he recorded echo the sounds inherent in Palestinian music.

This instrument is more than just a musical tool; it embodies a spirit of resistance—a symbol of Palestine's ongoing struggle for self-determination and liberation.

Through the fusion of music and technology, deliberate design choices, and a deep personal connection with this instrument, I found a way to foster collective awareness from its very conception. What began as a means of resistance and truth-telling has evolved into an instrument with a profound conceptual significance, now possibly regarded as a historical artifact.

Further Reading

I would like to thank Omar Ahmad for breathing life into this machine through his recordings of the instruments. Endless gratitude and the utmost honor to have been able to create this with you.

Karl Scholz and Mason Mann! This entire project owes its existence to your unwavering assistance, support, and weekly guidance. Words cannot adequately express the depth of gratitude I hold for you both. Thank you for accompanying me on this journey, for your belief in me, and for your invaluable mentorship.

My deepest gratitude to Saul Williams, Deforest Brown Jr, Steve Goodman (Kode9), and GENG PTP. Our conversations not only profoundly impacted me but completely re-wired my brain in the best way possible. The knowledge and insights gained from these discussions are beyond words. It is through our zoom conversations that I found the most valuable research and inspiration for my thesis. I am forever transformed and deeply moved by their wisdom.

David Rios, Sharon De La Cruz, Simone Salvo, Tanika Williams, Ali Santana, Shindy Johnson, Phili Caridi, and Steven Litt from the bottom of my heart thank-you for embodying the essence of true educators. It is with great humility and honor that I acknowledge the privilege of learning from each of you.

And lastly,

I want to thank my comrades in my department Dre, Olive, Mashi, Sackona, Oliver, Armon, Isaiah, Sim, Benji, Anna, Jo, Sahal, Liyan, and Cindy who kept me safe and continuously inspired me to resist through truth and art. It was because of their mobilization, care and support why I was even able to see this program through.

The creation of this body of work was made possible by the power of community. It is of utmost importance for me to celebrate them and acknowledge them as part of this work. For further acknowledgments, readings, research, and documentation please visit the project website.

I am forever changed by the radical love and care I experienced throughout this entire journey from my friends, family, community, and comrades. Thank you.