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.
Wednesday, October 26, 2011
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?
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