1. Red herring - means something that draws attention away from main subject, seemingly random but perhaps somehow significant.
2. The Rule of Thirds: never really fully realized that this was a theorem, I haven't heard it actually called the "Rule of Thirds" since middle-school. Helping some of the other students, I came across this in one of my textbooks. I've always prided myself on having "the eye" for a good composition, and I've been asked to describe what a "good" composition is, but have never really been able to put it to words. This rule explains it perfectly and makes it sound pretty simple. Basically the frame is divided into a 3x3 grid, and when notable subject matter falls under the line or upon an intersection of two lines, it creates a suitable composition.
3. The most important thing I learned was during my short critique of my rough culminating video. It's hard to verbalize, but basically there are invaluable moments during critiques where I realize that something I do, a type of shot I like or an element of the context that I dwell on, is actually really archetypical and/or cliche. In my case, it was the reversed drip or the pan into a clenching fist. Those are the types of images I love and I'm comfortable with. I remembered thinking when I was edited, "these are almost flawless", knowing they were great shots and not giving them a second thought. This is because I've grown up seeing them in hundreds of movies, and I'm comfortable with seeing them and. now, using them in my own work. My program has worked to combat this comfortability, and my growth is very much a testament to how well that has worked for me. But, in this case and in many more in the future, I will continue to realize things about my work that degrade its originality. This realization is what helps me grow and develop my own vision, and moments like it are invaluable to me as an artist.
Tuesday, December 6, 2011
Thursday, December 1, 2011
Video Training Exercise
1. Keep elbows close to your body and bend your knees for stability.
Always use the grip strap tightened over your right hand and place your left hand under the lens for stability.
Utilize natural support in the environment by laying on the ground, leaning on walls, or finding flat, steady surfaces
2. Keep legs bent at the knees and your body at a lower height. Concentrate on "gliding", keeping limbs closest to ground as possible. Take soft, slow steps. Focus solely on steadying the camera and capturing the subject, but have someone look out for you as you walk blindly so as not to fall or ruin the shot.
3. Panning (moving camcorder right to left/left to right) and tilting (up and down)
4. Remaining on a particular shot for a longer period emphasizes it more and suggests that there is significance to be found. If one moves the camera too fast or unsteadily, it will disorient the audience and obscure what one is trying to emphasize or portray. Avoid "hosepiping", or the constant panning/tilting in an attempt to cover all of the subject. Be patient!
EXTRA CREDIT:
Unless the work was produced over 70 years ago, it is likely under copyright. Using copyrighted material is considered infringement unless it follows the "fair use rules". One can use copyrighted material in order to create a critique, new report, social comment, or when teaching a class or researching.
Creative Commons is a nonprofit corporation that gives artists free licensing and legal tools to both protect their work and make it easy to appropriate or share with others. It follows the same rules as copyright but is safer and easier to use, more user-friendly. Biggest advantage is that CC allows artists to state clearly in what ways they allow their work to be used. "Attribution" is the most common component, requiring anyone using a CC'd artform to credit the original artist. ShareAlike requires the appropriating artist to share the find product with the regional artist. Non-Commericial forbids people from selling or making any money with an already established work. NoDerivatives means that the original work can in no way be altered.
A video release form, also known as an Appearance Release form, is a simple contract that gives you legal permission to use the image of the person for commercial and non-commercial purposes. Generally when interviewing someone or using an emphasized image of someone, it is a good idea to sign a relase form in the event that someone presses charges against you for using their image in your work. The forms protect the rights of the filmmaker. It's hard to dictate when one is required, as rules vary greatly between jurisdictions and are constantly changing.
Always use the grip strap tightened over your right hand and place your left hand under the lens for stability.
Utilize natural support in the environment by laying on the ground, leaning on walls, or finding flat, steady surfaces
2. Keep legs bent at the knees and your body at a lower height. Concentrate on "gliding", keeping limbs closest to ground as possible. Take soft, slow steps. Focus solely on steadying the camera and capturing the subject, but have someone look out for you as you walk blindly so as not to fall or ruin the shot.
3. Panning (moving camcorder right to left/left to right) and tilting (up and down)
4. Remaining on a particular shot for a longer period emphasizes it more and suggests that there is significance to be found. If one moves the camera too fast or unsteadily, it will disorient the audience and obscure what one is trying to emphasize or portray. Avoid "hosepiping", or the constant panning/tilting in an attempt to cover all of the subject. Be patient!
EXTRA CREDIT:
Unless the work was produced over 70 years ago, it is likely under copyright. Using copyrighted material is considered infringement unless it follows the "fair use rules". One can use copyrighted material in order to create a critique, new report, social comment, or when teaching a class or researching.
Creative Commons is a nonprofit corporation that gives artists free licensing and legal tools to both protect their work and make it easy to appropriate or share with others. It follows the same rules as copyright but is safer and easier to use, more user-friendly. Biggest advantage is that CC allows artists to state clearly in what ways they allow their work to be used. "Attribution" is the most common component, requiring anyone using a CC'd artform to credit the original artist. ShareAlike requires the appropriating artist to share the find product with the regional artist. Non-Commericial forbids people from selling or making any money with an already established work. NoDerivatives means that the original work can in no way be altered.
A video release form, also known as an Appearance Release form, is a simple contract that gives you legal permission to use the image of the person for commercial and non-commercial purposes. Generally when interviewing someone or using an emphasized image of someone, it is a good idea to sign a relase form in the event that someone presses charges against you for using their image in your work. The forms protect the rights of the filmmaker. It's hard to dictate when one is required, as rules vary greatly between jurisdictions and are constantly changing.
Thursday, November 17, 2011
Learning Assessment & Reflection: 11/17
1. A jagged editing strategy or an inconsistency in pace or tempo gives videos an abstract, interesting aesthetic which make the process of juxtaposition --> emphasis --> reveal work.
2. Achieving the "flow", or the weightless feeling created by the perfect editing of shots-in-motion, depends more on the geometry and subject orientation than matching together two shots to mimic motion. The composition and the precise angles of the visual context decide if two shots can achieve the link of "flow".
3. Sound that is synchronous and seamless in relation to the edited visuals is the general goal in achieving the "flow", equally as important as simply the flawless editing on motion.
2. Achieving the "flow", or the weightless feeling created by the perfect editing of shots-in-motion, depends more on the geometry and subject orientation than matching together two shots to mimic motion. The composition and the precise angles of the visual context decide if two shots can achieve the link of "flow".
3. Sound that is synchronous and seamless in relation to the edited visuals is the general goal in achieving the "flow", equally as important as simply the flawless editing on motion.
Concept Brief
OVERVIEW
In the primary stages of developing my idea for my Culminating Video, I elected to delve deeper into the issues that my Sound Research project "Hangul" was tackling. I am very interested in aspects of the South Korean culture, in particular the core values of respect and dignity as well as the identity crisis that plagues many Korean Americans. The main visual themes that I'll explore in this final video will be identical to those in "Hangul": isolation, confusion, nostalgia, and darkness. It's important to me to expose viewers to a different perspective and a foreign mindset. The American culture is a very informal one, much of the courtesy and respect now absent from our customs. My final video project will aim to highlight the struggles of another young adult and the inner-conflict of an equally important culture.
While I am still continuing to develop all of the specifics, the general details of the project context are clear. I will showcase a Korean student who resorts to boxing in order to relieve his stress and cope with his internal struggles. The concept was actually born from fact, as my good friend Zach Han did start boxing and sparring by himself in order to lower his stress level. An important contrast in the Culminating Video will be the alienation and familiarity that the audience will feel towards the character and the situation. What prompted Zach to start boxing are mutual issues that all young men face and cultural issues specific to the Korean people. Zach explained that the principal of respect is integral in the Korean culture, and created a lot of stress in his life. Youth must always respect their older hyungs, or brothers, even if they are merely a year older. To Koreans, respecting your elders means constant bowing, taking orders, and expected courtesies, and defying these often-strict social customs is highly frowned upon. In Zach's case, he was actually physically assaulted by a self-righteous elder after he refused to bow or show him respect. Zach was 14 months younger than the hyung. In talking with Zach, he said that he took up boxing shortly after the assault, and it helped him build confidence and expend his aggression. Zach made it clear that, as a Korean American who doesn't speak his own language, he felt isolated among those Koreans who are more akin to their culture. "Am I a Korean or an American?" he asked, a very poignant question highlighting his identity crisis. After our conversation, I saw several strong connections between his situation and the general conflicts that plague Koreans. Foremost, there is great irony behind his actions as well, particularly in the constant presence of violence. Zach begins to practice violence in order to avoid and oppose it. Violence has become a mainstay theme in Korean existence, the lives of people constantly threatened by bombs and bullets from their enemy to the North. Much like North and South Korea, Zach and the hyung that assaulted him are brothers of the same origin, affiliated by an act of pointless violence. Even in America, Koreans are fighting each other over petty indifferences. Struggle and oppression are seemingly unescapable.
Needless to say, there is a ton of significance behind the idea that I have really only begun to scratch the surface of. Once paired with the equally significant sound piece, my Culminating Video will be a dynamic and gutsy piece. It will be a pleasure honing aforementioned principals into a concise motive through the juxtaposition of sound and image. As a senior, I'd like to go above and beyond with this final project. I want to create a polished piece that really reflects my interests. In Time Arts, I have spent the semester developing my skills in abstract and ambient art forms, and appropriately in this culminating project, I will combine my new affection of abstraction with my prime abilities of narrative storytelling to create an aptly psychological piece. Specifically, I will utilize abstract visuals, audio, and editing to construct a dream-like sequence with narrative tendencies. I will reenact Zach's situation and approach it with a duly conflicted perspective, reflective of his conflict and confusion.
LOCATIONS
I will focus my shooting in three chief locations around the Syracuse campus. The primary location will be a lower gym in Archbold Gymnasium with a lone boxing bag. The room is appropriately dark and isolated, the only windows up at the top of the high ceilings. Very little light gets into the room and the place is deathly quiet. It will be fantastic for evoking central themes of isolation and contemplation.
The two secondary locations will be a stone gazebo near the Law building and an alleyway between Archbold Gymnasium and the backside of the Carrier Dome. These locations maintain the dark, industrial visuals utilized throughout the piece; an abundance of drab grays and exaggerated, prison-like geometry. The alleyway is where Zach will be assaulted, and evokes a strong sense of entrapment as he walks between the high cement walls. The gazebo will act first as something of a throne for hyung, where he and his posse sit and hang out. Later in the piece, I want to this gazebo to resemble a stone cage, too, where Zach eventually confronts his demons.
I've obtained permission and an official memorandum from Archbold Gym to film for two hours in the lower gym. The other locations are in public but isolated areas, and my shooting in those locales will be dictated mostly by the Carrier Dome event schedule (in an attempt to avoid crowds).
AESTHETIC
The piece will be very tonal and reliant on its visual aesthetics in order to communicate its motives. The locations will all have varying attributes but will also share the same tonal characteristics of isolation and darkness. Shots in the lower gym will have the heaviest shadows and will play with darkness the most, while the secondary locations will rely more on their color and geometry. Likewise, my compositions will adhere to the themes of the motive. I will utilize strayed compositions, dutch angles, and an omniscient perspective to create the abstract, psychological aesthetic. I will use an abundance of shots-in-motion with dolly shots, tilts, pans, and slow motion to emphasize the flowing, dream-like aura. My visual strategy is simple but specific, and it can be difficult to put into words. I will utilize tone, color, and geometry to create my desired aesthetic.
PROCESS
I have already reserved video and audio equipment with the film cage for the first week after we return from Thanksgiving. I have a small crew slated to assist me with sound recording, dolly grip, camera, etc. Zach will play himself in the "leading role" of the piece. Our mutual friend Jae Wook Ryu and two of his underlings will play hyung and his posse. Zach and Jae both have previous acting experience. Jae actually is a hyung in real life (although not an abusive one) and his friends are his "younger brothers". This works out well in my favor since all of my actors are playing either themselves or characters in very similar circumstances to their own.
I will shoot during the week of December 1st over a period of two days. I have already conducted camera tests at on location with Zach and considered the obstacles of the locations. The alleyway, for example, is something of a wind-tunnel, so that could great affect any audio recording I do there. I'll be sure to bring appropriate tools like a wind filter to the shoot. The biggest potential problems will be, as usual, actors and being able to coordinate people's availability and make sure they actually show up. I will be diligent in communicating constantly with Zach, Jae, and the other guys. In terms of timeline, I would like to be done shooting by December 3rd. I will adhere to any Time Arts deadlines as they are made clear. I spent the last week finishing up pre-production, hope to end production by December 3rd, and hope to finish post-production by December 10th.
In the primary stages of developing my idea for my Culminating Video, I elected to delve deeper into the issues that my Sound Research project "Hangul" was tackling. I am very interested in aspects of the South Korean culture, in particular the core values of respect and dignity as well as the identity crisis that plagues many Korean Americans. The main visual themes that I'll explore in this final video will be identical to those in "Hangul": isolation, confusion, nostalgia, and darkness. It's important to me to expose viewers to a different perspective and a foreign mindset. The American culture is a very informal one, much of the courtesy and respect now absent from our customs. My final video project will aim to highlight the struggles of another young adult and the inner-conflict of an equally important culture.
While I am still continuing to develop all of the specifics, the general details of the project context are clear. I will showcase a Korean student who resorts to boxing in order to relieve his stress and cope with his internal struggles. The concept was actually born from fact, as my good friend Zach Han did start boxing and sparring by himself in order to lower his stress level. An important contrast in the Culminating Video will be the alienation and familiarity that the audience will feel towards the character and the situation. What prompted Zach to start boxing are mutual issues that all young men face and cultural issues specific to the Korean people. Zach explained that the principal of respect is integral in the Korean culture, and created a lot of stress in his life. Youth must always respect their older hyungs, or brothers, even if they are merely a year older. To Koreans, respecting your elders means constant bowing, taking orders, and expected courtesies, and defying these often-strict social customs is highly frowned upon. In Zach's case, he was actually physically assaulted by a self-righteous elder after he refused to bow or show him respect. Zach was 14 months younger than the hyung. In talking with Zach, he said that he took up boxing shortly after the assault, and it helped him build confidence and expend his aggression. Zach made it clear that, as a Korean American who doesn't speak his own language, he felt isolated among those Koreans who are more akin to their culture. "Am I a Korean or an American?" he asked, a very poignant question highlighting his identity crisis. After our conversation, I saw several strong connections between his situation and the general conflicts that plague Koreans. Foremost, there is great irony behind his actions as well, particularly in the constant presence of violence. Zach begins to practice violence in order to avoid and oppose it. Violence has become a mainstay theme in Korean existence, the lives of people constantly threatened by bombs and bullets from their enemy to the North. Much like North and South Korea, Zach and the hyung that assaulted him are brothers of the same origin, affiliated by an act of pointless violence. Even in America, Koreans are fighting each other over petty indifferences. Struggle and oppression are seemingly unescapable.
LOCATIONS
I will focus my shooting in three chief locations around the Syracuse campus. The primary location will be a lower gym in Archbold Gymnasium with a lone boxing bag. The room is appropriately dark and isolated, the only windows up at the top of the high ceilings. Very little light gets into the room and the place is deathly quiet. It will be fantastic for evoking central themes of isolation and contemplation.
AESTHETIC
PROCESS
I have already reserved video and audio equipment with the film cage for the first week after we return from Thanksgiving. I have a small crew slated to assist me with sound recording, dolly grip, camera, etc. Zach will play himself in the "leading role" of the piece. Our mutual friend Jae Wook Ryu and two of his underlings will play hyung and his posse. Zach and Jae both have previous acting experience. Jae actually is a hyung in real life (although not an abusive one) and his friends are his "younger brothers". This works out well in my favor since all of my actors are playing either themselves or characters in very similar circumstances to their own.
I will shoot during the week of December 1st over a period of two days. I have already conducted camera tests at on location with Zach and considered the obstacles of the locations. The alleyway, for example, is something of a wind-tunnel, so that could great affect any audio recording I do there. I'll be sure to bring appropriate tools like a wind filter to the shoot. The biggest potential problems will be, as usual, actors and being able to coordinate people's availability and make sure they actually show up. I will be diligent in communicating constantly with Zach, Jae, and the other guys. In terms of timeline, I would like to be done shooting by December 3rd. I will adhere to any Time Arts deadlines as they are made clear. I spent the last week finishing up pre-production, hope to end production by December 3rd, and hope to finish post-production by December 10th.
Friday, November 11, 2011
Learning Assessment & Reflection: 11/10
1. White noise is a mix of all the sound frequencies. Examples include rain, ocean, and TV noise. Often used to lull people to sleep at night. The comparisons of the aforementioned sounds inspired further research and some ideas that may contribute toward my final video.
2. liminal = fixed in between two places/conditions, use of repetition to transport into "liminal space". Can be space b/w glass, both outside and inside. This is a shining example of looking at things through another perspective, and will be a useful rethinking tool to me in the future.
3. After 70 years, the work of all published artists is automatically entered into the public domain.
2. liminal = fixed in between two places/conditions, use of repetition to transport into "liminal space". Can be space b/w glass, both outside and inside. This is a shining example of looking at things through another perspective, and will be a useful rethinking tool to me in the future.
3. After 70 years, the work of all published artists is automatically entered into the public domain.
Saturday, November 5, 2011
Final Portfolio Showcase: Sound
I've decided to post all of the sound work I have done this term using the three tools SoundStudio, Logic Pro, and Audacity. They acted as the perfect combination, giving me nearly limitless boundaries in terms of what I could pull off. To me, this term has been a huge factor towards my knowledge and growth in sound. By going back to the basics, and understanding sound for what it is, I've been able to move forward and create some detailed, advanced tracks that have really blown me away. Sound design is a highly neglected area in the art of filmmaking, and it's a damn shame. What people hear can carry just as much emotion, significance, and color as what people see, and together sound and image form the most popular, influential form of media in the world. Transitioning my focus from layers to environmental to abstract really allowed me to look at things from different perspectives, which is the key to producing successful work. Like my focus, my work went through phases, where I produced abstract, harmonic, environmental, and appropriation tracks. It was a privilege crossing the border into sound design and honing my creative energy in a different field.
Hangul by Dan Blackson
"Abstract sound piece highlighting the emotions and themes of a divided country and a damaged people." A sound research product, I used synth sounds, dark tones, a monologue, and children recordings to create a very contrasting tone. It was a huge process, and there is a ton of significance behind the piece.
Read about the entire process here: http://dblackson.blogspot.com/sound-research-process.html
San Diego by Dan Blackson
"Euphoria, illusion, & empathy. The psychological cycle of life." This abstraction came together as a complete piece with guitar riffs, dark tones, and recordings from the zoo. It reflects on the contrasting emotions between ages, and the relationship of isolation between caged animals and adults.
Major by Dan Blackson
"Acoustics, guitar riffs, & sunlight." The first part of an experimentation with tempo, delay, pitch, and an electric guitar. Inspired by the album "Mylo Xyloto".
Minor by Dan Blackson
"Acoustics, guitar riffs, & heat strain." Part two of the experimentation, create more of a fractured, surreal sound by adjusting pitch and making the guitar riff creep along.
Archbold by Dan Blackson
"Gymnasiums, young adults, and a bittersweet illusion." This environmental sound piece was completed by adding a repeating piano composition. The ghostly, supernatural notes skip and change pace at times, and together team up with the natural gym soundscape for an interesting and significant piece.
Sea of Corruption by Dan Blackson
Surrealist appropriation of Joe Hisaishi's "In the Sea of Corruption" from his film Nausicaa of the Valley of the Wind".
track used in "Reservation", by Dan Blackson
Homecoming by Dan Blackson
Appropriation of original film score, John Powell's "Homecoming" delayed by 35%. Close your eyes and enjoy. From the film Face/Off by John Woo
Hangul by Dan Blackson
"Abstract sound piece highlighting the emotions and themes of a divided country and a damaged people." A sound research product, I used synth sounds, dark tones, a monologue, and children recordings to create a very contrasting tone. It was a huge process, and there is a ton of significance behind the piece.
Read about the entire process here: http://dblackson.blogspot.com/sound-research-process.html
San Diego by Dan Blackson
"Euphoria, illusion, & empathy. The psychological cycle of life." This abstraction came together as a complete piece with guitar riffs, dark tones, and recordings from the zoo. It reflects on the contrasting emotions between ages, and the relationship of isolation between caged animals and adults.
Major by Dan Blackson
"Acoustics, guitar riffs, & sunlight." The first part of an experimentation with tempo, delay, pitch, and an electric guitar. Inspired by the album "Mylo Xyloto".
Minor by Dan Blackson
"Acoustics, guitar riffs, & heat strain." Part two of the experimentation, create more of a fractured, surreal sound by adjusting pitch and making the guitar riff creep along.
Archbold by Dan Blackson
"Gymnasiums, young adults, and a bittersweet illusion." This environmental sound piece was completed by adding a repeating piano composition. The ghostly, supernatural notes skip and change pace at times, and together team up with the natural gym soundscape for an interesting and significant piece.
Sea of Corruption by Dan Blackson
Surrealist appropriation of Joe Hisaishi's "In the Sea of Corruption" from his film Nausicaa of the Valley of the Wind".
track used in "Reservation", by Dan Blackson
Appropriation of original film score, John Powell's "Homecoming" delayed by 35%. Close your eyes and enjoy. From the film Face/Off by John Woo
Thursday, November 3, 2011
Learning Assessment & Reflection: 11/3
Today in class, we separated into small groups, stated the problems, and held a group discussion analyzing and breaking down the issues and then determining a plausible solution. By thinking inversely about the issue(s) and looking at them through different points of view by listening to our peers, we came up with some very valuable suggestions and learned how to think outside the box. This idea of collaborative brainstorming and problem-solving will be integral in any professional situation and will be invaluable in the work place. The process worked because everyone's voice was heard.
I. With utilizations of subtle, often unrecognizable techniques like depth of field, rhythmic cuts, and repetition, the video creates a sense of focused familiarity within the viewer which gives the flowing, seamless feel to the piece. The relationship between sound and image is everything and solely maintains this flow (despite explicitly fractured video editing).
II. In many videos, and definitely within the video in class "Gardyn", the video relies on non-diegetic sound and perfect editing and rhythm to maintain its sense of cohesion. With perfect timing, non-diegetic sound takes on the illusion of being diegetic sound. But in instances like in "Gardyn", when there is even the slightest offbeat moment b/w sound&image, this illusion is broken. It becomes clear that the audio is in fact non-diegetic and thus brings the viewer out of the world of the piece.
III. I'm curious about the significance of "graphical editing". in my experience with video editing, I haven't heard this term used before, and I was interested to hear exactly what it is. However, after listening, it seems that the idea of graphical editing is something that is so ingrained in my head that I don't even think about it anymore. Basic things like symmetry, color temperature, and repetition have become routine in my work process. I'm curious about the use of the word "graphical". How does graphical relate to the aforementioned elements of sound and image? Is it an appropriate word?
I. With utilizations of subtle, often unrecognizable techniques like depth of field, rhythmic cuts, and repetition, the video creates a sense of focused familiarity within the viewer which gives the flowing, seamless feel to the piece. The relationship between sound and image is everything and solely maintains this flow (despite explicitly fractured video editing).
II. In many videos, and definitely within the video in class "Gardyn", the video relies on non-diegetic sound and perfect editing and rhythm to maintain its sense of cohesion. With perfect timing, non-diegetic sound takes on the illusion of being diegetic sound. But in instances like in "Gardyn", when there is even the slightest offbeat moment b/w sound&image, this illusion is broken. It becomes clear that the audio is in fact non-diegetic and thus brings the viewer out of the world of the piece.
III. I'm curious about the significance of "graphical editing". in my experience with video editing, I haven't heard this term used before, and I was interested to hear exactly what it is. However, after listening, it seems that the idea of graphical editing is something that is so ingrained in my head that I don't even think about it anymore. Basic things like symmetry, color temperature, and repetition have become routine in my work process. I'm curious about the use of the word "graphical". How does graphical relate to the aforementioned elements of sound and image? Is it an appropriate word?
DJ Spooky Assignment
I. DJ Spooky cuts, pastes, and weaves celluloid and shots from the original film "Birth of a Nation". In sampling images, Spooky used main turning points in the film, like the climax and the hook. He used images of controversial context like the KKK to hook people's attention.
II. Spooky says that he uses repetition as a "digital exorcism", getting rid of usual issues. In using motifs or recurring images, he can give familiar or relatable context new meaning through juxtaposition of sound and image.
III. He claims that repetition holds his works together, in the sense that motifs hook an audience and give them familiarity and curiosity throughout the piece.
IV. He says that they are very similar in the fact that they can manipulate the focus of viewers. Both have a rhythm and a flow, as well as his sense of repetition.
II. Spooky says that he uses repetition as a "digital exorcism", getting rid of usual issues. In using motifs or recurring images, he can give familiar or relatable context new meaning through juxtaposition of sound and image.
III. He claims that repetition holds his works together, in the sense that motifs hook an audience and give them familiarity and curiosity throughout the piece.
IV. He says that they are very similar in the fact that they can manipulate the focus of viewers. Both have a rhythm and a flow, as well as his sense of repetition.
Learning Assessment: 10/27
I. What are the prime differences between iMovie 11 and iMovie 10? Final Cut 9 and Final Cut X?
II. How can I receive drop box files for Time Arts class if I already am connected to another class's drop box?
III. Why does some captured/imported footage have problems with interlacing? Is there a reliable way to deinterlace video when exporting in iMovie?
II. How can I receive drop box files for Time Arts class if I already am connected to another class's drop box?
III. Why does some captured/imported footage have problems with interlacing? Is there a reliable way to deinterlace video when exporting in iMovie?
Wednesday, October 26, 2011
Learning Assessment 10/20
1. The "walking-blind" project was very beneficial to me, in that forced me to rely more on senses that I don't use very often. When my sight was taken away, I was forced to comprehend my environment through my senses of sound and touch.
2. When transferring DV footage from the camera to the computer, I've had some previous problems using the newer MacBook computers. I've been told that the USB or the device itself is too old for the new MacBook Pro's to recognize. Is this true?
3. How do capture footage from an HDV camera to the computer (FinalCutPro) in the correct definition/video quality? I have had a lot of trouble this week trying to get footage from my Sony HDV-FX1 to my computer. I've tried using various tape decks and the camera itself, but no program will detect the camera or the tape. I have a strong suspicion that this has to do with the new tech specs of the "new" MacBook Pro. I am using the right FireWire cable, but I think the camera is too old of a device. I have resorted to many online forums and tutorials, with no luck. I want to shoot the highest quality video that I can for a prime product, but it seems as one seeks better quality, everything becomes much more complicated... Capturing and exporting are always the biggest pains.
2. When transferring DV footage from the camera to the computer, I've had some previous problems using the newer MacBook computers. I've been told that the USB or the device itself is too old for the new MacBook Pro's to recognize. Is this true?
3. How do capture footage from an HDV camera to the computer (FinalCutPro) in the correct definition/video quality? I have had a lot of trouble this week trying to get footage from my Sony HDV-FX1 to my computer. I've tried using various tape decks and the camera itself, but no program will detect the camera or the tape. I have a strong suspicion that this has to do with the new tech specs of the "new" MacBook Pro. I am using the right FireWire cable, but I think the camera is too old of a device. I have resorted to many online forums and tutorials, with no luck. I want to shoot the highest quality video that I can for a prime product, but it seems as one seeks better quality, everything becomes much more complicated... Capturing and exporting are always the biggest pains.
Thursday, October 20, 2011
"HANGUL" : THE PROCESS & THE RESULT (Sound Research Project)
Constructing my sound research project was a very enjoyable experience. Being able to incorporate a sense of culture into my final sound piece was an appropriate way to conclude my studies in the audio unit. I took advantage of the wide-open parameters of the project and sought to use the emotional and tonal strategies I had learned in class and infuse them with my greatest interest. I am very affectionate for Asian culture and the color that they give the art, food, and society of the world. Taking into account my adoration of Korean cinema and my first-hand knowledge of the struggles that many Koreans face, I chose to reflect the series of varied emotions through the medium of abstract sound.
FINAL PRODUCT --
Hangul by Dan Blackson
For about 60 years now, the Korean people have suffered greatly as North and South Korea have maintained their mutual hatred for each other. The brutal war killed hundreds of thousands and broke families apart. The country of Korea was split in two as the rebels fled to the south and a tyrant took up house in the north. Today, people live in constant fear as the threat of a bombing or an invasion from the north is as real as ever. The Koreans look to the future, one which will hopefully hold times of piece, free of fear. This is very much reflected in Korean cinema, as allegories pointed towards the success of children and an impending fate are commonplace in most films. Korean films are dark, brutal, and honest, very much like the country's sad past. I sought to express the emotions of isolation, confusion, nostalgia, and darkness in my research sound piece, as they are common elements to Korean cinema.
My final product consists of several main layers, which create the following emotions and stand for the following points:
FOREGROUND --
- A male voice speaking in Korean, translated from the following original monologue:
"I was left here, alone. Abandoned by the millions of lives that crowded me everyday. Push too hard, and the walls upholding you will crumble, but why I was spared among all of them I'll probably never know. I was left with only the shells of their lives, the echoes of their past to remind me of the way things used to be. Yet through the silence, I've come to notice the subtle life that was spared by the forces that outdid them. I can hear them whisper."
The words are significant, yet not completely clear. The voice says that he has been left alone, suddenly everyone and everything around him disappearing. But he begins to recognize new life and tries to look ahead, although it's not clear whether he imagines the voices or actually hears them. This acts as an allegory to the trauma of the past, the isolation and the suffering, but also the glimmer of hope that lies in the future. The words act as the base of the piece, and while the language will not be clear to most people, the emotions and their contrasting attributes are reflected further through the other layers.
MIDDLE-GROUND --
- Children laughing, playing. (Tempo, tone altered slightly in SoundStudio)
As stated before, children play a very, very important role in Asian culture, and in Korea this fact may be even more prevalent. Children represent a fresh start and the future of one's family and country, and thus remain one of the most treasured elements of life. In the piece, the laughter of children can be heard fading in and out between the syncopated dialogue and pulsation. I incorporated a slight echo to give the sound more of a sense of surrealism. While the sound adds an eerie, nostalgic tone to the piece, it also makes the simple presence of a child aware to the audience. Remaining akin to many of the elements of the piece, the laughter creates contrasting emotions of intimacy and fear.
2. Adult whispering, cackling (echo effect, tempo slowed)
In contrast to the children laughing, a whispering enters the picture about halfway through the piece. It's clear that it's a man speaking about something, but the specific words are not clear enough to make out. The piece ends with the cackling, and slowly fades out at the end. This voice sounds fractured and malicious, and in juxtaposition to the laughter, suggests that hope may be an illusion. It acts as a subtle embodiment of pessimism and a source of concern to the listener.
AMBIENT LAYERS -- (made in Logic Pro)
2. Adult whispering, cackling (echo effect, tempo slowed)
In contrast to the children laughing, a whispering enters the picture about halfway through the piece. It's clear that it's a man speaking about something, but the specific words are not clear enough to make out. The piece ends with the cackling, and slowly fades out at the end. This voice sounds fractured and malicious, and in juxtaposition to the laughter, suggests that hope may be an illusion. It acts as a subtle embodiment of pessimism and a source of concern to the listener.
AMBIENT LAYERS -- (made in Logic Pro)
- Dark tone, oriental chime
The first of the two supporting layers consists of a dark, pulsating tone and a five-note string-pluck played in chromatic tone, which gives it an Asian-infused sound. The simple yet integral layer drives the piece and gives it a certain sense of repetition that it both soothing and redundant. It moves at a slow tempo, which sets the pace for the rest of the piece. Again, it reflects its significance in the form of the contrasting emotions is evokes: a calm chime and an impending dark tone.
2. Screeching tone, percussive beats
The second ambient layer is also the most direct, in that it expresses one very clear emotion. The layer consists of a high-pitched undertone which builds gradually in volume, snare drum beats, and the occasional xylophone riff which also carries an Asian-infused tinge. This layer primarily acts as the percussive element of the sound piece. It gives off a very particular sense of uneasiness and caution, and is not a comfortable track to listen to. Since its intention is clear, it's also the quietest track, but it still remains integral to the piece, adding a necessary cushion that gives the final product its foreboding finish.
INFLUENCE --
Renowned veteran Asian film composer JOE HISAISHI had a huge influence on my research sound piece. He explores many of the same relationships and effects of contrasting sound elements, especially within some of his earlier works, and they were of huge inspiration to the discourse of my piece. This track from Miyazaki's classic film Nausicaa of the Valley of the Wind was the primary source from which I decided to work with contrasting emotions in tone. The 80's "twang" and synth have aged well in Asian music, and the piece feels oddly nostalgic to me.
Renowned veteran Asian film composer JOE HISAISHI had a huge influence on my research sound piece. He explores many of the same relationships and effects of contrasting sound elements, especially within some of his earlier works, and they were of huge inspiration to the discourse of my piece. This track from Miyazaki's classic film Nausicaa of the Valley of the Wind was the primary source from which I decided to work with contrasting emotions in tone. The 80's "twang" and synth have aged well in Asian music, and the piece feels oddly nostalgic to me.
FINAL PRODUCT --
Hangul by Dan Blackson
WALKING BLIND
The blindfold activity that we did in class was very interesting, and I have mixed feelings about it. As one of the "watchers", I found it easy to guide my partner around the room. I have participated in several other similar "trust activities" such as this, but in those the blindfolded partner relied solely on verbal instructions. As I would come to find out, this activity was not based on teamwork, but more on the realization and utilization of our sonar capabilities, a natural ability that humans use all the time but rarely realize. As a "watcher" and a spectator, I recognized that the blindfolded could sense when a person was close without touching them. They acted more self consciously when they felt the presence of another.
When I became one of the "walkers", it was not a good experience. I became very disoriented and sensitive to feel. I felt an icy breeze coming from what I deduced to be an open window. My first intention was to close it. I bumped into many chairs as I wandered blindly around the room, not sure which direction I was going. It didn't help that my "partner" was deliberately putting things in my path. Haha. But when blindfolded, I felt more self-conscious. I got the feeling that I was being watched, and I couldn't turn around or open my eyes to see who. I felt slightly nervous walking around, as I knew the room was strewn with chairs and obstacles. I could only rely on my sensory abilities to aid me, namely the aforementioned sonar. When I began to concentrate, I realized that my listening and even feeling abilities seemed amplified. The spider-sense that I developed was really something. But I understand the sense of alarm from the persepctive of the "watchers", as I could have very easily stumbled out of the window or tripped and fallen.
This activity caused me to realize that sight is not necessarily our most reliable sense. Our sense of sound is equally powerful, and I can see that if I was blinded for an extended amount of time, I could develop my sensory abilities and rely on all of them more.
When I became one of the "walkers", it was not a good experience. I became very disoriented and sensitive to feel. I felt an icy breeze coming from what I deduced to be an open window. My first intention was to close it. I bumped into many chairs as I wandered blindly around the room, not sure which direction I was going. It didn't help that my "partner" was deliberately putting things in my path. Haha. But when blindfolded, I felt more self-conscious. I got the feeling that I was being watched, and I couldn't turn around or open my eyes to see who. I felt slightly nervous walking around, as I knew the room was strewn with chairs and obstacles. I could only rely on my sensory abilities to aid me, namely the aforementioned sonar. When I began to concentrate, I realized that my listening and even feeling abilities seemed amplified. The spider-sense that I developed was really something. But I understand the sense of alarm from the persepctive of the "watchers", as I could have very easily stumbled out of the window or tripped and fallen.
This activity caused me to realize that sight is not necessarily our most reliable sense. Our sense of sound is equally powerful, and I can see that if I was blinded for an extended amount of time, I could develop my sensory abilities and rely on all of them more.
Thursday, October 13, 2011
Sound Research Written Analysis
1. The structure of the piece was very inspirational to me, and the mutual use of voice and narrative gave me some great ideas. This piece is driven by the foreground level of a male voice, who is speaking a sentence about awes and their effect. However, we do not understand what he is saying as the voice is repeated over and over again, slowly revealing a new syllable every time. In the middle ground, heavy breathing and panting are juxtaposed with the voice to create a sense of duress in contrast to the relaxed sense of the spoken voice.
2. The piece is completely reliant on simultaneity as the two primary sound layers run concurrently through the entire piece. There is very little isolated sound as the significance of the piece really lies solely with this juxtaposition.
3. I feel a sense of nervousness, confusion, and duress as I listen to Alan's piece. The smooth, monotone voice gives me a sense of anticipation as I attempt to determine what he is trying to say, but as the heavy breathing and roomtone come into play, the fractured sense of narrative and slow build makes me feel slightly disorienting. I believe that these emotions fit very comfortably into our societal and cultural context, based on the amount of stress and self-conscientious attitudes that plague this generation. The voice is undefined, spoken by an older, seemingly caucasian male. In the understanding that these are natural emotions that everyone faces (stress, confusion, duress), it can fit into the center of today's "circles", but is diverse, I believe, in that it can apply to anyone.
4. The work is very successful in portraying the aforementioned message of suspense and stress to me. The message is deep and not perfectly clear, which leaves room for analyzation and opinion. This is an important aspect to me, and also to culture. I can imagine a middle-aged group of people appreciating this piece, hearing a familiar voice and this sense of rush, as if time in running out.
2. The piece is completely reliant on simultaneity as the two primary sound layers run concurrently through the entire piece. There is very little isolated sound as the significance of the piece really lies solely with this juxtaposition.
3. I feel a sense of nervousness, confusion, and duress as I listen to Alan's piece. The smooth, monotone voice gives me a sense of anticipation as I attempt to determine what he is trying to say, but as the heavy breathing and roomtone come into play, the fractured sense of narrative and slow build makes me feel slightly disorienting. I believe that these emotions fit very comfortably into our societal and cultural context, based on the amount of stress and self-conscientious attitudes that plague this generation. The voice is undefined, spoken by an older, seemingly caucasian male. In the understanding that these are natural emotions that everyone faces (stress, confusion, duress), it can fit into the center of today's "circles", but is diverse, I believe, in that it can apply to anyone.
4. The work is very successful in portraying the aforementioned message of suspense and stress to me. The message is deep and not perfectly clear, which leaves room for analyzation and opinion. This is an important aspect to me, and also to culture. I can imagine a middle-aged group of people appreciating this piece, hearing a familiar voice and this sense of rush, as if time in running out.
Research Sound Assignment Preparation
topic: CULTURE
- Who really gives a shit about world culture? (Dick Cheney)
- What can I do to promote my superior, homogenous view of culture? (Mel Gibson)
- When will the people of the world stop fighting and realize they are brothers and sisters of the same culture? (Ghandi)
- Where on this dry earth do the colors of culture truly shine, where the rolling pastures of peace and harmony fondly fill my dreams. (Morgan Freeman)
- Why would the topic of culture ever cross my mind? Because I'm the future of it? Puh-lease. (teenager)
- How can we promote the importance of the world's cultures? (Obama)
This was a great new way to start brainstorming about my sound research assignment, and breaking down the strategy, it is really fitting with my topic, as well. The reason this is a successful exercise is because it forces us to look at topics from different perspective. And since everyones' varying, unique point of view is what allows art to exist, it's no wonder the strategy is so progressive. Likewise, culture revolves around perspective, and recreating the voice of some prominent individuals above was really helpful. Choosing to re-voice Morgan Freeeman was what struck me first. He is known for his poetic, sweeping lines of descriptive flow, and I began to look at world culture in that same way. Appropriately, this fondness is very akin to how I feel, as the opportunities I've been given to see the world have really shaped me as a person. The other questions all have something of a negative tone to them, as opposed to Freeman's. There is a great pessimism and ignorance surrounding the topic of world culture, and even the more noble voices speak of the topic favorably, but skeptically (skeptical, perhaps, because they know that their words will have effect). I want to grasp these contrasting perspectives of culture, where it is often ignored, but an integral element of humanity. Without culture, the world would lie in uniformity and colorless neutrality. In my sound project, I want to use elements of different culture: language, tone, riffs, ambience, and juxtapose them with obvious strands of negativity that will often overshadow the cultural elements, much like in reality. I am excited to develop my motive more as I continue to brainstorm!
Thursday, October 6, 2011
Reflections on AbStRaCt Sound
My peer's comments were overwhelmingly positive and also very uniform. Everyone said that the smooth flow and the haunting echoing sounds were strong and interesting. They said the variation and the transitions were seamlessly put into the piece. To be honest, no clear suggestions were made, but by the mutual thoughts and emotions that everyone gave me, I will be able to determine "opposites" very easily.
Smooth => FRACTURED
Flowing => CHOPPY
Seamless Simultaneity => ABRUPTNESS
Tone-based => RHYTHM-BASED (?)
Some of my peers has a very interesting sense of voice in their piece. But since my piece was the only tone-based work, it's difficult for me to adopt ideas from their own... We are on opposite ends of the spectrum, but I'm wondering if breaking my piece can also involve crossing that spectrum.
Learning Assessment: 10/6
Even the nice Belkin headphone splitters has a negative effect on the audio one is listening to. This seems like one of those problems that has always been present but never solved. Do they make splitters that don't lower the volume and or stereo sound mono?
#1 learning moment of the week: If you "mix down" an audio piece on Sound Studio or Audacity, there's no going back. "Save As" is your best friend, "Save", your worst enemy. It's necessary to "mix down" in order to put the track onto iTunes and convert to mp3.
Being the second oldest student in the class, it has been a little weird trying to get to know some of my Time Arts peers. But after hearing their work, giving them comments, I feel like since we can identify now as artists, we can do the same as people. I had never really talked to anyone in my group, but now I feel like we know each other. The smaller critique groups are really productive, and I hope we continue to have critiques in this way!
In addition to my technical comments, it was interesting today to sit in front of a group of freshman and explain to them the rough dynamics of culture and art. "Teaching" them (if you will...) was a great learning experience for me, because it truly made me realize how much I have grown in my four years as a student of art. As I watched them listen, I saw myself four years younger, knowing I cared just as little as them back then. It's amazing how much growing they will do over the next few years, and not even realize it.
#1 learning moment of the week: If you "mix down" an audio piece on Sound Studio or Audacity, there's no going back. "Save As" is your best friend, "Save", your worst enemy. It's necessary to "mix down" in order to put the track onto iTunes and convert to mp3.
Being the second oldest student in the class, it has been a little weird trying to get to know some of my Time Arts peers. But after hearing their work, giving them comments, I feel like since we can identify now as artists, we can do the same as people. I had never really talked to anyone in my group, but now I feel like we know each other. The smaller critique groups are really productive, and I hope we continue to have critiques in this way!
In addition to my technical comments, it was interesting today to sit in front of a group of freshman and explain to them the rough dynamics of culture and art. "Teaching" them (if you will...) was a great learning experience for me, because it truly made me realize how much I have grown in my four years as a student of art. As I watched them listen, I saw myself four years younger, knowing I cared just as little as them back then. It's amazing how much growing they will do over the next few years, and not even realize it.
Monday, October 3, 2011
Weekly Learning Assessment CATCH-UP!
9/29
1. When gauging "abstraction", one can look to a spectrum which is defined by two extremes: a rhythmic based composition, and a composition based on pitch/tone/timbre
2. Critiques that are held with a smaller group of people allow people to feel more comfortable, less nervous, and more focused as they observe other's work. For me, I was able to completely hone my attention to the sound piece, whereas in a less intimate, larger critique setting it would have been easier to trail off.
3. How can I focus on the pitch/tone/timbre side of the spectrum without involving some kind of rhythm? All sound will will inevitably have patterns aka rhythm. Am I thinking about it too hard?
9/22
1. I did a lot of experimenting with Sound Studio Pro today in class and learned the differences between it an Audacity, a program I have years of experience with. Through time and playing around, I understand now that each program has certain areas that it excels in. For example, SSP is very good for analyzing, handling, and changing the actual sound waves and levels. Audacity has many more filters which allow one to alter and personalize a sound file more.
2. When using SSP, is there an easier way to get multiple tracks going in one window than copying and pasting? Can I open all my selected sounds in one window, and not have each sound open in a separate window?
3. What does "AIFF" and "CAF" stand for? What are the differences between the two file types? Is one higher quality? I know that when editing, WAV and CAF are the best files to work with. What makes this true?
9/15
1) Shimon Attie is a prevalent transnational artist, and with his strong interests in symbolic subjects and the themes of loss, nostalgia, and isolation, our tastes and interests as artists are almost identical. I will do what I can to utilize Shimon's time here this semester and learn all I can from him!
2) Looking ahead, is it acceptable if my unobvious sound layer is, in itself, abstract? There will be a significance, but it may not be totally clear. Is this ok?
3) Organization is something that I've definitely been trying to master lately. I know that it is an invaluable skill that can make you or break you after college. I'd like to get my hundreds of files in place by using one basic uniform labeling technique. Are underscores the best way? What are your strategies, and how did you begin?
9/8
1) Would it be a better idea to use a shotgun mic, rather than the included mic, with the MAudio recorders? Would the sound quality be noticeably higher quality and/or more focused?
2) I know that the FND classes used to have their own cage in the Shaffer Art Building, somewhere on the second floor. Did the Film cage absorb the FND cage?
3) In this class, will we eventually be working with video as well, combining our knowledge of sound with image, or will sound be our primary focus?
1. When gauging "abstraction", one can look to a spectrum which is defined by two extremes: a rhythmic based composition, and a composition based on pitch/tone/timbre
2. Critiques that are held with a smaller group of people allow people to feel more comfortable, less nervous, and more focused as they observe other's work. For me, I was able to completely hone my attention to the sound piece, whereas in a less intimate, larger critique setting it would have been easier to trail off.
3. How can I focus on the pitch/tone/timbre side of the spectrum without involving some kind of rhythm? All sound will will inevitably have patterns aka rhythm. Am I thinking about it too hard?
9/22
1. I did a lot of experimenting with Sound Studio Pro today in class and learned the differences between it an Audacity, a program I have years of experience with. Through time and playing around, I understand now that each program has certain areas that it excels in. For example, SSP is very good for analyzing, handling, and changing the actual sound waves and levels. Audacity has many more filters which allow one to alter and personalize a sound file more.
2. When using SSP, is there an easier way to get multiple tracks going in one window than copying and pasting? Can I open all my selected sounds in one window, and not have each sound open in a separate window?
3. What does "AIFF" and "CAF" stand for? What are the differences between the two file types? Is one higher quality? I know that when editing, WAV and CAF are the best files to work with. What makes this true?
9/15
1) Shimon Attie is a prevalent transnational artist, and with his strong interests in symbolic subjects and the themes of loss, nostalgia, and isolation, our tastes and interests as artists are almost identical. I will do what I can to utilize Shimon's time here this semester and learn all I can from him!
2) Looking ahead, is it acceptable if my unobvious sound layer is, in itself, abstract? There will be a significance, but it may not be totally clear. Is this ok?
3) Organization is something that I've definitely been trying to master lately. I know that it is an invaluable skill that can make you or break you after college. I'd like to get my hundreds of files in place by using one basic uniform labeling technique. Are underscores the best way? What are your strategies, and how did you begin?
9/8
1) Would it be a better idea to use a shotgun mic, rather than the included mic, with the MAudio recorders? Would the sound quality be noticeably higher quality and/or more focused?
2) I know that the FND classes used to have their own cage in the Shaffer Art Building, somewhere on the second floor. Did the Film cage absorb the FND cage?
3) In this class, will we eventually be working with video as well, combining our knowledge of sound with image, or will sound be our primary focus?
Thursday, September 29, 2011
SOUND ASSIGNMENT number 3 - AbStRaCt SoUnD
Initial Reaction
ABSTRACTION is the art of distorting media or commonly understood articles of society in order to give them new meaning. Abstract arts comes in various different forms, often adopting different labels, the most prominent being experimental film, expressionist painting, and most of that which is often referred to as the "avant garde". Typically abstraction is characterized as something that goes against the mainstream, also euphemised as "poetic".
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QUESTIONS FOR ANALYSIS OF ABSTRACT SOUND
Focusing on : "Tyler_M_Rhythm2_Fri.wav"
1) This rhythm piece definitely emphasizes sequentiality. It establishes a couple simple study sounds that a student might hear and then adds to the sequences by slowly tacking on more sounds through 45 seconds of playtime. The structure is very simple but effective, as it's clear that one element was added to the sequence of already established sounds in order to build the rhythm.
2) For about two thirds of the piece, there are several small gaps of silent that break up the repeated sequences. The silences are more noticeable at first, as they slowly become unnoticeable after more elements are aded to the sequence. The dynamic range is quite diverse, since the levels of the sound bytes start small and insignificant and then grow louder and more prevalent as new elements are added. Although the beat remains constant through the whole piece, the illusion that it's getting faster is created as the more clips and added and the sounds becomes much busier.
The sound quality of several of the sounds is slightly distorted, probably because the mic was held too close. The duration also feels quite short, as a gradual build in the sequence never comes to a full climax and ends abruptly.
3) I don't feel too strongly about this piece. I appreciate the obvious concentration that went into pacing and the gradual layering of sounds, but ultimately the piece was too short and too cluttered to compel me or to communicate clearly the artist's motive. I came to the conclusion through the sighs and the crumpling of paper that there was a message of frustration in school work. If I had to guess, the piece is an abstraction of the emotions that a college student might go through during a late night of heavy schoolwork. Althoguh I do believe this message would be stronger if there was a more eclectic choice of sounds, in particular a shift of tone. All the sounds are very harsh sounding, which made it redundant.
4) Despite my above sentiments, the project did meet the criteria of objective 1-3. It's emphasis is clear, it experimented with variations of of silences, range, pace, and accent, and it transitioned well, with no glaring gaps that disrupted my listening experiences.
BONUS QUESTION
My thoughts and beliefs on abstraction are still the same, but I have been exposed to a wide variety of examples of abstractions since class began. It have given me some new ideas and has made me very excited to complete this project!
The idea of the spectrum, ranging between rhythmic based abstraction and ones based on pitch/tone/timbre are interesting, but I confess that I am not completely clear, and wish that I was! I have done my fair share of dabbling in the rhythmic side of the spectrum, and I sincerely want to do something on the other side. At this point in my career, if possible, I'd like to make something that I could one day use.
Question for Anne…
The idea of using harmonic tones or pitches and juxtaposing them with other sound abstractions is very appealing to me. I want to make something that is smooth and flowing and easy to listen to, but I feel like there will still be a rhythm, a specific succession, of the piece no matter what end of the spectrum I emphasize. I want to make sure my emphasis is clear. Am I thinking too much about this?
ABSTRACTION is the art of distorting media or commonly understood articles of society in order to give them new meaning. Abstract arts comes in various different forms, often adopting different labels, the most prominent being experimental film, expressionist painting, and most of that which is often referred to as the "avant garde". Typically abstraction is characterized as something that goes against the mainstream, also euphemised as "poetic".
---------------------------------------------------------------------------
QUESTIONS FOR ANALYSIS OF ABSTRACT SOUND
Focusing on : "Tyler_M_Rhythm2_Fri.wav"
1) This rhythm piece definitely emphasizes sequentiality. It establishes a couple simple study sounds that a student might hear and then adds to the sequences by slowly tacking on more sounds through 45 seconds of playtime. The structure is very simple but effective, as it's clear that one element was added to the sequence of already established sounds in order to build the rhythm.
2) For about two thirds of the piece, there are several small gaps of silent that break up the repeated sequences. The silences are more noticeable at first, as they slowly become unnoticeable after more elements are aded to the sequence. The dynamic range is quite diverse, since the levels of the sound bytes start small and insignificant and then grow louder and more prevalent as new elements are added. Although the beat remains constant through the whole piece, the illusion that it's getting faster is created as the more clips and added and the sounds becomes much busier.
The sound quality of several of the sounds is slightly distorted, probably because the mic was held too close. The duration also feels quite short, as a gradual build in the sequence never comes to a full climax and ends abruptly.
3) I don't feel too strongly about this piece. I appreciate the obvious concentration that went into pacing and the gradual layering of sounds, but ultimately the piece was too short and too cluttered to compel me or to communicate clearly the artist's motive. I came to the conclusion through the sighs and the crumpling of paper that there was a message of frustration in school work. If I had to guess, the piece is an abstraction of the emotions that a college student might go through during a late night of heavy schoolwork. Althoguh I do believe this message would be stronger if there was a more eclectic choice of sounds, in particular a shift of tone. All the sounds are very harsh sounding, which made it redundant.
4) Despite my above sentiments, the project did meet the criteria of objective 1-3. It's emphasis is clear, it experimented with variations of of silences, range, pace, and accent, and it transitioned well, with no glaring gaps that disrupted my listening experiences.
BONUS QUESTION
My thoughts and beliefs on abstraction are still the same, but I have been exposed to a wide variety of examples of abstractions since class began. It have given me some new ideas and has made me very excited to complete this project!
The idea of the spectrum, ranging between rhythmic based abstraction and ones based on pitch/tone/timbre are interesting, but I confess that I am not completely clear, and wish that I was! I have done my fair share of dabbling in the rhythmic side of the spectrum, and I sincerely want to do something on the other side. At this point in my career, if possible, I'd like to make something that I could one day use.
Question for Anne…
The idea of using harmonic tones or pitches and juxtaposing them with other sound abstractions is very appealing to me. I want to make something that is smooth and flowing and easy to listen to, but I feel like there will still be a rhythm, a specific succession, of the piece no matter what end of the spectrum I emphasize. I want to make sure my emphasis is clear. Am I thinking too much about this?
UNOBVIOUS SOUND : Explained
Sound Assignment #2 : Written Assessment
My layer of "unobvious sound" consists of three sound tracks and one concise idea, stemming from experiences that I had during our recording sessions at the Archbold gym. While doing some primary recording of gym ambient, we recorded a conversation between two young men. They looked to be sophomores, and we simply sitting and shooting the breeze. But when I added this layer into my environmental soundscape, I listened to what they were saying, remembered my experience, and an idea was born.
The layers consist of the following:
1 ambient track of a boy's conversation
1 secondary track of a boy in pain
1 ambient-shifts-to-primary track of hard breathing, pain
I decided to incorporate these unobvious noises not by deliberately hiding them but by masking them slightly through adjusting sound levels, changing speed, and juxtaposing against harsher sounds. For example, the conversation in the beginning seems like just an ordinary inclusion of ambience. The hard breathing at the end starts distorted in a slow, low pitch, but then transitions to a normal sound. This stylized shift, including the intentional cell phone noises I added at the end, gave the piece a fractured, abrupt ending, which I liked a lot because it expresses that not all is well. The singling out of the harsh breathing at the end tells us that something is not right.
The purpose and the idea behind the sounds reflects the ironies and realities of young men's motives in going to the gym. It is so often used as an ego-boost for college boys to go to the gym and feel good about themselves by playing basketball, racquetball, or lifting weights. The cockiness or immaturity is symbolized by the conversation in the beginning, where they use explicit language and dumb humor when walking to the basketball courts. But the idea is that these are illusions that boys create in order to improve their image. When it comes down to it, the gym can be a very dangerous place. I have seen many guys get seriously hurt when playing basketball or racquetball. For example, last weekend a game had to be stopped because a boy started hyperventilating, which partly inspired the heavy breathing at the end. In a nutshell, the significance of the piece is about the young male hubris, and how even the most confident can be humbled, hurt, and scared by injuries or gym accidents. Perhaps, on a further level, it is a small commentary on the relationship between immaturity and reality.
There is great value and moral behind the significance of my unobvious sound because it is a universal fact. The gym is a prime place for boys to go and show off, but hubris and recklessness often lead to injury and pain. Archbold gymnasium is a prime example of this. Personally, I myself have suffered some harsh, embarrassing injuries at Syracuse's fine gym, and it was during a moment of bad judgment. The motive of the piece is certainly a relevant and valuable one. However, it is presented in a slightly avant garde way, and there may not be too much at stake by simply revealing the information without verbally explaining it. But when I do imagine explaining it, it's not something that any young man could deny. The relationship between ego and recklessness is undeniable.
My layer of "unobvious sound" consists of three sound tracks and one concise idea, stemming from experiences that I had during our recording sessions at the Archbold gym. While doing some primary recording of gym ambient, we recorded a conversation between two young men. They looked to be sophomores, and we simply sitting and shooting the breeze. But when I added this layer into my environmental soundscape, I listened to what they were saying, remembered my experience, and an idea was born.
The layers consist of the following:
1 ambient track of a boy's conversation
1 secondary track of a boy in pain
1 ambient-shifts-to-primary track of hard breathing, pain
I decided to incorporate these unobvious noises not by deliberately hiding them but by masking them slightly through adjusting sound levels, changing speed, and juxtaposing against harsher sounds. For example, the conversation in the beginning seems like just an ordinary inclusion of ambience. The hard breathing at the end starts distorted in a slow, low pitch, but then transitions to a normal sound. This stylized shift, including the intentional cell phone noises I added at the end, gave the piece a fractured, abrupt ending, which I liked a lot because it expresses that not all is well. The singling out of the harsh breathing at the end tells us that something is not right.
The purpose and the idea behind the sounds reflects the ironies and realities of young men's motives in going to the gym. It is so often used as an ego-boost for college boys to go to the gym and feel good about themselves by playing basketball, racquetball, or lifting weights. The cockiness or immaturity is symbolized by the conversation in the beginning, where they use explicit language and dumb humor when walking to the basketball courts. But the idea is that these are illusions that boys create in order to improve their image. When it comes down to it, the gym can be a very dangerous place. I have seen many guys get seriously hurt when playing basketball or racquetball. For example, last weekend a game had to be stopped because a boy started hyperventilating, which partly inspired the heavy breathing at the end. In a nutshell, the significance of the piece is about the young male hubris, and how even the most confident can be humbled, hurt, and scared by injuries or gym accidents. Perhaps, on a further level, it is a small commentary on the relationship between immaturity and reality.
There is great value and moral behind the significance of my unobvious sound because it is a universal fact. The gym is a prime place for boys to go and show off, but hubris and recklessness often lead to injury and pain. Archbold gymnasium is a prime example of this. Personally, I myself have suffered some harsh, embarrassing injuries at Syracuse's fine gym, and it was during a moment of bad judgment. The motive of the piece is certainly a relevant and valuable one. However, it is presented in a slightly avant garde way, and there may not be too much at stake by simply revealing the information without verbally explaining it. But when I do imagine explaining it, it's not something that any young man could deny. The relationship between ego and recklessness is undeniable.
Thursday, September 8, 2011
WEEK 1 : Anticipation & a Suggestion
After my first week in class, I find my self feeling refreshed. In contrast to what has become a very regular, uniform envelopment of detailed film protocol, this class embraces a much more liberal, free-spirited sense of exercise. We take time to pace our breathing and absorb our environment's natural ambient. We embrace the silence; we seek to grasp that that is not there. An object, a motive masked by silence that some can only see by noticing its nonexistence. Starting things off with some words by John Cage seemed appropriate, since so many theories like the aforementioned have been realized and proposed by him. He is the seminary figure of sound composition, and I've learned a lot by watching a handful of his brief videos. As we sit in silence with our eyes closed, it's nostalgic for me to look around the room and see the reflexive turning of heads, rolling of eyes, signs of the widespread skepticism around a room of young artists. As our activities are commenced by bells and urged forward by paper balls, the silent chuckles continue. I was them once, three or four short years ago. Young, undeveloped, and unable to grasp the substance of what I was doing. It was embarrassing, and uncool, and to submit completely to such an unorthodox strategy might take a toll on my reputation (or what little I had). But after I had been exposed to such a breed of teaching, after I had learned to embrace "the weird", I began to understand, or at least in my subconscious. A comfort and an appreciation replaced any feelings of mockery, and such things became a part of my routine. It wasn't until this past summer that I finally grasped the central motive of my department, and the purpose of my four years at Syracuse. Looking at these young faces, I'm excited for them to experience the same thing, at least not before too long.
As I stated earlier in class, I'm excited for this class because it takes things back to the basics, the foundations of my art form. At its simplest state, film is identical to any other art, composed of a subject, an action, and the talented craft of the artist. As a student of sound and image, having the opportunity to examine these often overlooked essential elements is an opportunity to understand and achieve even more. Jeff was just saying to me in class today how he hates Hollywood film, how he's more of an indy or documentary kind of guy. Like so many others in this country today, Jeff has a point and a very valid reason to feel this way. Today, in Hollywood, we are stuck, run aground by the rising influences of technology and its burdens. We as Americans have been free to swim the seas of success that has come from our talent in cinema. It it an art that we have always excelled in, one in which seminary American artists have paved their way through history. But the 80's and 90's are over, and with the new, burgeoning presence of the newest technology, and the pressure to use it to its utmost, we have lost sight of the actual purpose of cinema. People have overlooked its elements and created a muddled summary of a passable form of sappy spectacle, which we know today as the common blockbuster. Cinema is language, and as with any, it is a language which must constantly change, reshaping along with the growth of society. Americans have fallen behind as the language of cinema seeks only to do what it was meant to do: evolve. It's up to the minds of my generation to push us along, back to the filmic streets we once paved. We must shift the discourse of the story, change the way it is told, not add monotonous, cliched twists and arcs which even the simplest of viewers could predict and loathe. By studying the foundations of sound, image, and time, I am excited to grow as an artist and strengthen my knowledge as a professional.
I see now that an objective to achieve, perhaps even by the end of the next class, is to be able to understand the layers of sound, and ultimately the concept of the complete soundscape. I can remembered as a younger artist a lot of this going over my head. There were some things that I just couldn't pull off. Psychoanalyzing sound (if you will) was never a problem for me. I grew up with a strong choral background and can confidently say that I owe my musical experiences over the years everything, them being completely responsible for my passions and talents today. But I know how listening and understanding music can be difficult for some, in particular identifying the layers of foreground, middle-ground, and ambient sound. I think there is any ideal exercise that could really help some. The music of the very famous Asian composer Joe Hisaishi is something that has captivated audiences for the last 25 years, but he became famous first and foremost for his layered compositions. In particular, his track called "Silent Love" was very successful, and is one of the most identifiable and moving "layer songs" I've heard. In significance to our course, the track slowly introduces layer after layer, each element beginning in the foreground and making the shift from middle to background elements of the song. It slowly builds to a climax before it reverts back to the beginning, where it starts back again. It's better heard than read, but I would like to hear any thoughts you have. Identifying the number of layers in the song, and then tracking one and seeing what happens to it is a simple exercise that has really helped me in the past. I'll post the song and Hisaishi's bio below.
As I stated earlier in class, I'm excited for this class because it takes things back to the basics, the foundations of my art form. At its simplest state, film is identical to any other art, composed of a subject, an action, and the talented craft of the artist. As a student of sound and image, having the opportunity to examine these often overlooked essential elements is an opportunity to understand and achieve even more. Jeff was just saying to me in class today how he hates Hollywood film, how he's more of an indy or documentary kind of guy. Like so many others in this country today, Jeff has a point and a very valid reason to feel this way. Today, in Hollywood, we are stuck, run aground by the rising influences of technology and its burdens. We as Americans have been free to swim the seas of success that has come from our talent in cinema. It it an art that we have always excelled in, one in which seminary American artists have paved their way through history. But the 80's and 90's are over, and with the new, burgeoning presence of the newest technology, and the pressure to use it to its utmost, we have lost sight of the actual purpose of cinema. People have overlooked its elements and created a muddled summary of a passable form of sappy spectacle, which we know today as the common blockbuster. Cinema is language, and as with any, it is a language which must constantly change, reshaping along with the growth of society. Americans have fallen behind as the language of cinema seeks only to do what it was meant to do: evolve. It's up to the minds of my generation to push us along, back to the filmic streets we once paved. We must shift the discourse of the story, change the way it is told, not add monotonous, cliched twists and arcs which even the simplest of viewers could predict and loathe. By studying the foundations of sound, image, and time, I am excited to grow as an artist and strengthen my knowledge as a professional.
I see now that an objective to achieve, perhaps even by the end of the next class, is to be able to understand the layers of sound, and ultimately the concept of the complete soundscape. I can remembered as a younger artist a lot of this going over my head. There were some things that I just couldn't pull off. Psychoanalyzing sound (if you will) was never a problem for me. I grew up with a strong choral background and can confidently say that I owe my musical experiences over the years everything, them being completely responsible for my passions and talents today. But I know how listening and understanding music can be difficult for some, in particular identifying the layers of foreground, middle-ground, and ambient sound. I think there is any ideal exercise that could really help some. The music of the very famous Asian composer Joe Hisaishi is something that has captivated audiences for the last 25 years, but he became famous first and foremost for his layered compositions. In particular, his track called "Silent Love" was very successful, and is one of the most identifiable and moving "layer songs" I've heard. In significance to our course, the track slowly introduces layer after layer, each element beginning in the foreground and making the shift from middle to background elements of the song. It slowly builds to a climax before it reverts back to the beginning, where it starts back again. It's better heard than read, but I would like to hear any thoughts you have. Identifying the number of layers in the song, and then tracking one and seeing what happens to it is a simple exercise that has really helped me in the past. I'll post the song and Hisaishi's bio below.
JOE HISAISHI
Works: Spirited Away, Princess Mononoke, Hana-bi, Sonatine, Welcome to Dongmakgol, When the Last Sword is Drawn, A Scene by the Sea, Dolls
Country of origin: Japan
Born: 6 December 1950
Occupation: Composer, musical director, arranger, conductor
Joe Hisaishi (or Mamoru Fujisawa) is one of the most established and respected score composers in the history of cinema. Over four decades, Hisaishi has composed scores for over 100 films. Most famously, Hisaishi has collaborated regularly with Hayao Miyazaki and Takeshi Kitano (until their falling out during the production of Dolls). Hisaishi's style and tone of music is absolutely singular, employing musical elements of minimalist, electronic, and Japanese culture throughout many of his works. He is often accredited to the immense successes of his employer's work. Many firmly state that films such as Hana-bi and Spirited Away are only as powerful as they are because of Hisaishi's score. Typically consisting of strings and a piano base, Hisaishi's music is a powerful force throughout each film in his extensive filmography.
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