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         <p>Please consider our absent studio in these following sonic (add term when we have the sound files).</p>
 
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         <sup id="fn6">1. Richard Sennett, “A Plea for Communalist Teaching,” in <i>Teaching Art in the Neoliberal Realm, Realism Versus Cynicism</i>, eds. Pascal Geilan and Paul De Bruyne (Amsterdam: Valiz, 2012), 41.<a href="#ref6" title="Jump back to footnote 1 in the text.">↩</a></sup><br>
         <sup id="fn7">2. Jennifer Egan, <i>Look At Me</i> (New York: Anchor Books, 2001), epub.<a href="#ref7" title="Jump back to footnote 2 in the text.">↩</a></sup><br>
         <sup id="fn8">3. Naomi Klein, The Shock Doctrine: The Rise of Disaster Capitalism (New York: Metropolitan Books, 2007), epub.<a href="#ref8" title="Jump back to footnote 3 in the text.">↩</a></sup><br>
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           <p>The following insert details our studio plans, and what our failure signifies for the broader context of higher education. In understanding this failure, and through taking into account recent shifts in the delivery of education, we have instead attempted to work towards an interpretation of what an immaterial studio, with the digital taking the place of the physical, could be. Upon our invitation, the artists (names) have made audio (instructions / exercises / reflections add in when we know what it is) in response to our library. With these contributions we wanted to present ways to imagine a studio through the immaterial medium of sound. You will find their propositions (we are again using proposition as mode of address) in the section titled how to use.</a>
 
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           <sup id="fn1">1. Keeping and displaying workshop debris is an attempt to include what curator and writer Jo Melvin terms ‘dirty matter’. (This term was shared with us by the artist and writer Naomi Pearce, with whom we crossed over at the Scottish Sculpture Workshop.) Jo Melvin defines dirty matter as ‘elements of research and practice that do not make it into the “clean” publication. Often overlooked, the dirty or the banal can invigorate. It is transformative in its effect.’ This publication intends to bring back the mess usually edited away, leaving our dirty matter on show to lead you towards another way of knowing. In order to be led, it is necessary to perform another type of reading. You are not performing a linear reading. You read in and around subject matter, between the thoughts of many bodies and across their focus, concentration and selection. We are not inferring a short and neatly encapsulated answer, but rather our dirty matter ‘adds inflection and nuance to the historicized account, and by establishing a vivid reconnection, it reanimates the original product and purpose of both.’ All quotes: Jo Melvin, <i>Holes in the Archive – To fill or leave, that is the question...Bright Light (2)</i> (London: University of the Arts London , 2015), 65–74. ISSN 2055-1606<a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a></sup><br>
           <sup id="fn2">2. Kate Briggs, (2019) text sent by email to the authors.<a href="#ref2" title="Jump back to footnote 2 in the text.">↩</a></sup><br>