Sunday, September 30, 2007

Sound Project Process, Inspiration

Items used to construct the book:
-Vinyl shower curtain
-Bead organizer box
-Silver spraypaint
(not pictured:)
-4 Radio Shack sound modules
-Silver paper
-Ribbon, spray-painted silver
-Photos
-Manila folders
-Cardboard
-Silver string
-4 different types of glue

Here's the guts of the book after the sound modules have been installed.

Inspirations and references for this project:
Barbie Liberation Organization
-http://sniggle.net/barbie.php
-http://www.vdb.org/smackn.acgi$artistdetail?BARBIELIBE
-http://www.brillomag.net/No1/blo.htm
NYT Article: "25th Anniversary Mark Elusive for Couples"
http://www.nytimes.com/2007/09/20/us/20marriage.html?_r=1&hp&oref=slogin
Hack the "Easy" Button
-http://www.hackaday.com/2006/07/18/staples-easy-button-hacking/
Eternal Sunshine of the Spotless Mind
Shaun Wilson, Mnem
-http://www.smallblackbox.com.au/artists.php?artist_id=85

I also considered hacking something with a bit more meat to it, since the sound book seemed un-hack-able:
Bob the Builder
-http://www.users.on.net/~blymn/bob/
"Knows Your Name" Elmo
-http://www.seattlewireless.net/~casey/2005/11/11#nov112005
Furby
-http://www.homestead.com/hackfurby/
-http://www.phobe.com/furby/hacking.html

Project Update:

So I started installing my project in the room next to Jack's office on Saturday.

The installation will contain two masks facing each other, suspended from the wall by an aluminum wire. I'm making the masks out of plaster wrap. The masks will be very minimalistic but large enough to stick one's head in. There will be an ipod with earbuds in each mask, playing the "honne/truth" audio track.

The "tatemae/facade" conversation going on between the two masks is randomized sayings, inspired by David Lynch's "Rabbits." This conversation will be playing from my laptop through speakers.

Not all of the "said" has an exact opposite "thought." Katherine brought up a good point that many times, there are grey areas where something said isn't completely true but not completely false.

Project Update: better now than never

As with film, television, and other primarily visual mediums, sound and music are often the forgotten elements in video game design. It may be because the sound effects people with more subtly than do special effects or hyper-speedy game play. In all actuality, the mark of great sound design is that you don't consciously notice it at all. Instead, it does its job subconsciously; heightening tension, manipulating the mood, and drawing you into the game world faintly but inexorably.

My final Piece will consist of an installation that requires my audience to sit in a seat. This seat will be attached to a sound system playing audio from games ranging from pac man to recent games like gears of war and or Halo. I will try to create an experience without the game play element involved. However i will have a controller present to heighten the sense of touch that is regularly necessary for a gaming experience.

During any game play there are a couple of senses involved. Those senses would include sight, touch and sound. Now we all know the usual five senses, sight, smell, touch, sound and taste, and how they play an important role in our daily lives. However, it is proven that when one or more senses are not being used, such as in my case, taste and smell, we tend to be more reliable on the other senses.

You touch, hear, see, taste, and smell in order to adopt to a new environment and these senses work all the time in order to allow your body to function properly. In my environment your sight, taste,and smell senses will not be used. I will force my audience to adopt to the surrounding environment using the senses that are available to them.

project update

Okay...so for the time I've been able to work on my project...I hate it. My idea about the "cicada people" doesn't look good (or at least not how I want it to even though I know that visuals aren't the most important thing). So I'm scrapping the cicada people idea and now I'm thinking about putting together an animation/video of the illustrations that I found. I particularly like the idea of using the one picture of the cicada developing into an adult as a stop motion section/part of the video. As far as audio goes, i think i'll put the call of the cicada together with sounds that distress me (kind of like all the sound environment mashups we've done for class). I think at the core of this idea, I've been wanting to somehow express all these things that have been stressing me out lately. I think it would be interesting to juxtapose the development of an insect, which is, in my opinion, more simple and single-purpose driven, and the development of us as humans. Is on method of growth better than the other? At their base, both creatures develop with the instict to carry on their species, but with humans we have all these other complications. I think the audio could work both ways and possibly suggest that these insects may go through the same thing. All in all, you guys can expect a video tomorrow. I think it's interesting how the one project that I was probably most excited about in this class has now become the hardest to accomplish....it has become the bane of my existence these past couple of weeks.

More Sound Project Stuff

As I've been working on my project, I've been modifying the idea a bit. So I thought I'd add a blog about it!

I'm constructing a sound book from scratch. Katerie: I ended up just using some sound modules from Radio Shack, after reading through the tutorial we found, it didn't seem like I needed to purchase those easy buttons after all.

The book will be a reflection on my current relationship with Brian. It will have photos, memories, and sounds. I want it to serve as a kind of meditation on where we are right now, and by constructing it, use it as a yardstick to see if our feelings or behaviors change over the years the come. I want it to be a more freeform version of a diary of memory book, a kind of poetic expression.

The sounds included will all be generated by Brian, and will be sounds I commonly hear from him. Because I'm constructing the book from scratch, I'm only able to use four sounds; I plan to use:
-sleepy breathing
-pet name for me
-brush going through his hair
-"How can I help you?" - this is something he probably says to me every day, in a totally non-retail-shopping kind of way

I think it will be interesting to see if any of these change in the future too; once they've been recorded, they've been frozen in time.

Saturday, September 29, 2007

Sound Proj Conversation Ideas

appearances:
said: "oh yeah, that shirt looks nice on you." thought: "looks like everything else you tried."
said: "what a slut!" thought: "damn, she's hot."
Said: “I love your blonde highlights! Thought: “You look like a bumble bee”

Said: “He would totally date you over her.:” Thought: “’I have a better chance with him than you.”

situations:
said: "aw don't worry about it, man." thought: "dude, i can't believe you did that."
said: "this sandwich is good." thought: "this is sorta bland."

Said: “let’s hang out soon cuz it’s been so long!” thought: “Wish we’d hang out more so I could see your friend.”

Said: “Yeah, you can totally go after him.” Thought: “I saw him first! He’s mine!”

Friday, September 28, 2007

Sound Brainstorming

Using this blog as a sketchbook, some brainstorming on what sounds to use. These are all (mostly calming) sounds I connect to:

Alive Sounds
-Brian's breathing while he sleeps
-a brush moving through his hair
-Brian's pet name for me
-Payload's insistent meow
-Payload purring
-Payload crunching on hard cat food

Area Sounds
-the tinkle of keys against the lockers for large packages at the mailbox
-the shutting of our front door, which is difficult to close because our apartment is crooked and it doesn't fit quite right in the doorframe
-the rattling of the computer lab door (Room 306)

Object Sounds
-the click of our electric kettle switching off
-the labored starting of Brian's car engine
-the squeaking of my computer chair

I'm going to edit this post as I think of sounds. If any of them seem really stupid, please write me a comment. :)

Thursday, September 27, 2007

Sunshine Motel Response, John Cage Response, Possible Textual Proj Idea

---Sunshine Motel---
I enjoyed "Sunshine Motel." It sounds like a very rundown, seedy place, and the people featured in the sound clip seem as rough as the flophouse itself. After a while, I began to associate the manager's voice as an extension of the motel itself; if the motel had a voice, it would sound as gravelly and textured as his.
I especially liked how this interview layered sound clips from the motel (such as the only phone ringing in the lobby and the manager interacting with guests) over the voice of the interviewee. This creates an interesting sound space, as if the person being interviewed is right there in the middle of all the activity.
I am surprised that places like this still exist. I can't imagine staying in a 4x6 room with chicken wire ceilings to keep guests from climbing over into the next room. It makes me think of capsule hotels in Japan, where the bed slides out from a wall of them, and you get in. I think I'd choose to be in the more claustrophobic space of the capsule, than the filthy, run down space of the slightly bigger rooms of the Sunshine Motel.

---John Cage Response---
I found this interview kind of boring and much too long. However, I found John Cage's method in creating new pieces of literature by extracting from exisiting ones very interesting. I also enjoyed the part where Richard questioned Cage being a composer who writes or a poet who composes. Cage had made an analogy of literature having an affinity to music because both take place in time. He also compares literature to painting whenever literature isn't like music.
For our Hypermedia class, we read articles about nonlinear narratives. One article explained an author's method in breaking away from the traditional linear narrative. He would take a page out of context and insert it into a chapter in the beginning. This method is similar to Cage's extracting of letters, syllables, words to create new works.

---Textual Project---
It would be interesting to create a web application (through Processing) that scanned major blogs for key emotion words, such as 'happy' or 'angry.' The application would compile these texts numerically and display the results of the day in a graphical output.

Wednesday, September 26, 2007

Looks Like I've Already Been Beat To Job...

Well...maybe not quite. This gun makes sound, but it's not sarcastic or ironic social sayings.

midigun:


sunshine motel

That just sounds like a trashy place. It reminds me of this strip of motels (complete with hookers) back home that are owned and ran by indians (the native kind, not the foreign kind). The piece itself though was prettty entertaining, it was like a movie without the visuals, well the visuals were there but they were provided via me, which made for a possibly more interesting piece. This is what i imagine when i think of people that use to listen to the radio as a means of a more narative based form of entertainment instead of just news and music. I also liked the way they talked, the 1930's-ish of it all (day tawk liike dis, seee). And the notion that different people could be linked to one another through residency and living situation is something that im currently playing with in my adv. vid class, so that caught my eye, er...ear.

SunShine Hotel

K i was confused about what to blog yesterday.. so i did this last night rather then John Cage..

I enjoy the multi-layers of this radio piece. Unlike most of radio talk shows that were done in studios, this sound came from an actual physical visit to the place that's being introduced, the Sunshine Motel. Even though it described this very strange place with audio only, I was able to picture the place pretty well in my mind, not just how it looks like, but also how it sounds like! Usually when we hear something being described, we're really just dealing the description in a textual form, where if we were to read the same text, we'd get the same idea. But here he layered the voice of the narrator with the actual sound from people and things of the Sunshine motel as the background sound. Sometimes that sound interacts with the speaker and other times it even comes forward and becomes the main audio. So through the descriptive words we were able to picture the place, and along with the background sound, we have a even more concrete idea of how the Sunshine Motel is like even though it's relatively unfamiliar to us. I enjoy how in the ending, people of the Sunshine Motel were welcoming him for revisits and "good luck," -- these voices kind of blend in with the main narrator's voice, so even though they were talking to the narrator, it also seemed to be toward the audience. I enjoyed hearing the speaking of the people living in Sunshine hotel. Even though they might not be talking in relevance, but their voice made it sound that much more intimate for the listeners because of how natural they were.I don't think i'd consider this as art though. I've seen artist doing documentary stuff, but I have not yet learned to appreciate them as fine arts. but art has such a broad form so i think it could be considered art in a way that it articulates the information in a way that it provides some kind of experience for the listeners.

Documentary vs. Art

I think The Sunshine Hotel is a documentary of this strange, depressing place, caught in time like a drosophilidae caught on flypaper. I don't think it is art, although it has artful qualities. The aim of the work seemed to be focused on digging up this forgotten place and sharing its existence with the world. It looked at the lives of these people in a pretty straight-forward way. I think it comes down to the fact that it was very informative, with a narrator filling in historical and personal details.

I do propose, however, that The Sunshine Hotel itself is a living, breathing organism, the parts functioning in service of the whole. In this way, I think the physical Hotel and its inhabitants could be considered a living artwork. But without intentionality, I think it's difficult to make this distinction for sure. Is is possible to create art without realizing it?

Sunshine Hotel...Again

So, I did already write some about Sunshine Hotel in my last blog, but perhaps not in as much detail or as analytically as here.

I found Sunshine Hotel to be basically an audio documentary of the hotel. The piece used several different techniques in order to create the atmosphere of the hotel, its tenants, and perhaps a bit of its history. The documentary was narrated by the then (and possibly still) current manager of the hotel, who has a thick New York accent and somewhat gravelly voice. He talks some about the history of the hotel, the interior space of it, its current tenants, how they came to be there and how some call the place home. Although the manager is perhaps the most important figure and voice of the documentary, there are also audio excerpts from the actual tenants.

I do consider this to be a documentary because I feel that the hotel is actually being presented in a relatively accurate and straightforward way (at least as far as being described by those who live there, or are on the "inside" of the hotel).

To Document? or not to Document....

So I found the Sunshine Hotel clip to be very engaging. Brian described it as a movie without visuals. The people talking almost didn't seem real, as if they were actors. It kind of reminded me of the radio skits that would play on Grand Theft Auto (especially the Public Broadcast station on Vice City if anyone recalls). The situations, characters, and stories didn't sound like they were true, like they were written or a radio show that I was listening to. It's a tough call, deciding whether or not this was more documentary than art, or art than documentary. It seems that the two accomplish the same thing when applied to the recording. They raise awareness of this location, introduce characters, people, situations, backstories of larger than life figures. For me, Sunshine Hotel felt more like a documentary than an art piece. Recently, in our video art class, we watched a movie/documentary called Sans Soleil. This felt more like an art piece because it was kind of non-linear. Not to say that linearity separates documentary from art, but (I don't know if this makes sense) it just FELT like art. He wasn't documenting anything specific, just life. It felt more artsy I guess, where as Sunshine Hotel felt more theatrical. I'm not sure that a documentary can ever be considered "art." I think it can be artistic, put together with the ideologies of art, but never a piece of art. I think people will just approach it as a well made "documentary."

Sunshine Hotel, Cage, and Text

The Sunshine Hotel

I had a heck of a time getting the Sunshine Hotel audio to play. Consequently, I read the transcript first and kept trying the audio. It was interesting in the way that I pictured the characters described before I heard it. The narrator's voice was incredibly different from what I imagined and added a lot of character to the presentation. The first thing that is shocking to me is that people can voluntarily live in such circumstances. 4x6 foot rooms with just a bed... I guess such a place is so depressing that instead of inspiring people to rise up and out of it, it kind of traps them in an existence that is both easy (monetarily cheap) and difficult (why continue?) at the same time. It seems like these people have been completely and utterly discarded by society and in most cases their families; the Sunshine Hotel is a makeshift asylum and surrogate rehabilitation center. I think that if government services were more widely available, maybe these people could be rescued from these circumstances, but maybe that makes me a commie socialist. In some ways, they may have chosen this path, but it seems inescapably wrong to just allow these people to wither and die. They place importance on anything insignificant, just to have a reason to keep living; but they stay isolated within the Hotel, sharing this depression and addiction with one another, a self-contained cycle difficult to escape from. The second shocking/scary thing to me is that, with so many different types of people in the Hotel, it's impossible not to connect, at least at a basic level, with one of them. In the future, they could be you, they could be me, they could be a loved one that has slipped away from society. It's scary that life could take such a turn. Finally, I wonder if there are any such places for women?

Something very interesting I found when trying to find out if the Sunshine is still around is this Yahoo! page that has traveler's reviews of the Hotel: Reviews!
We can't wait to go back!
By A Yahoo! Contributor from Minsk, Belarus
Overall:
Service
Cleanliness
Location
Value
Last Visit:
February 2007
Great for:
Families, Singles, Students, Business, Beds, Romance, Luxury, Hip/Trendy Scene, Nightlife

We meet all kind of interesting mens! We sleeped in cute little rooms. I liked the chicken wires for the celing! America's greatest value!

Hey guys, it's great for families and students! Let's all go! Wooooooo field trip.

-----------------------------------------------------
John Cage & Laryngitis Guy

First of all, I think it would be easier to grasp Cage's concepts if we could see how this piece finally materialized. The interview was kind of like a strange private conversation between these two men that we got to listen in on. I really liked the quote, "We do very good work when we don't know what we're doing." I think this is a viable way to create art, because the subconscious can offer up some interesting ideas if one doesn't labor over the "why" and just tries to create.

They used the term "mesostic" repeatedly, and as I had no idea what it meant, I looked it up:
"A mesostic is a poem or other typography such that a vertical phrase intersects lines of horizontal text. Similar to an acrostic, but with the vertical phrase intersecting the middle of the line, as opposed to beginning each new line."
Just finding out what this word means really helped me to understand what they were talking about, which I basically gathered to be that Cage was treating this literary text as kind of a... puzzle, or a treasure hunt. He would look for words starting with a letter from James Joyce's name (I think) and use these in his composition, never duplicating syllables.

Finally, I thought it was kinda neat that they mentioned that the I Ching ("Yi King") was used to decide the method by which to take the letters, since when I watched this I had recently read The Garden of Forking Paths by Borges for Hypermedia, in which the I Ching played a prominent role. Cage's work on this piece also seems to relate highly to Burrough's cut-ups.

-----------------------------------------------------
Experimental Textual Project

I think it would be pretty cool to make Presidential (GW Bush only, perhaps) speech generator. I could look either at a large number of transcripts or use recorded speeches that I can find, and cut the words used into groups based on part of speech and maybe content. I like best the idea of using transcripts, then having a speech randomly generated and read back by a robotic computer voice.

Oh Finnigan...you so random!

Okay....so, first and foremost let me just say that Richard's comb-over is not foolin anyone. And the man's laryngitis was the only thing keeping me awake during the interview. It's all in all a pretty boring interview and from what I gather he was generating sounds based on the locations of letters that spelled out "Jane Joyce." I guess it's pretty interesting stuff when you think about it outside of the context of the interview.

As far as a personal project involving text, there was an interesting article that we read int Jack's Hypermedia class where the author of the text would create these "mash-ups" where he would combine two different pages of text in order to create new forms of literature. I would probably do something similiar where I would juxtapose two texts to comment on something or perhaps bend interpretations of what we read.


Oh, by the way, the Sunshine Hotel piece was REALLY cool. I think I enjoyed hearing the stories of these individuals that shared one thing in common. The fact that all they had was this place of residence was interesting. All these men that were living there were different and yet the same. Like one of the guys said, "the guys here become family, and you don't want to leave."

Tuesday, September 25, 2007

(Huckleberry) Finn-again

So what was John Cage up to? Apparently he was recording audio pieces with randomly generated notes based on the random location of the letters that spell out the name "Jane Joyce" in the book Finnegan's Wake. The interview itself was pretty boring an drawn out, although the interviewer was ridiculously hilarious (that come-over, ahaahahah!). But as far a Cage's methods go, they're genius in a way. I myself have done some number crunching and calculating on projects before. If it fits the concept then cracking some arbitrary code that you assign yourself can help reinforce the theme of your piece. In Cages piece im not sure what the point is or why he chose that particular name, perhaps it was just an excercise in purely randomizing the production of sound.

What sort of piece would i create with some sort of methodical randomization involved? Well actually the sound piece that I'm currrently working on will have bits of randomized methods in it. One of the communicative devices i plan to use as an instrument or sound generator is my cellular phone. I want to record the tone of each of the key pad numbers (0-9) and then compose a segment where the notes are played according to my "Recently Dialed" and "Recently Recieved" call logs.

John Cage / Textual Manipulation Project idea

It's hard for me to understand exactly what he's doing, know it's about parsing text, what he was describing made me think about this article titled The Future of The Novel bye Burroughs we had to read for Jack's class. ( Did I mentioned this in some other blog?? ) Anyway it's interesting to parse text and recompose it. We have such a constructed exception of what text should be and how words should be like. By breaking away from the tradition, it's like mixing colors that don't traditionally go together, could give interesting effects. I always appreciate experimental works, even if i don't understand them. As for the interview, i think it's too much talking about the details rather then talk deeply about the methodology. It would also be helpful If they showed a clip of the actual work or something.

~~~~~
Textual Manipulation Project.

Spoken words have two layers of content: the meaning of the word itself and the way the word is spoken. Perhaps the difference in voice or difference in tones which can give the word a even richer meaning beyond it's literal meaning. I would like to strip away the meaning of the word itself so that only the sound and the tone of the word are used to compose an audio sound. The sound would be composed of different words put together, using voices of different people: males, females, kids, elders, etc. Because each of these speaking voice would have different pitch and different texture, they can be laid over each other to create sound. Each of these people would read the same paragraph of text in multiple moods. I would tell them to read it happily, sadly or with another emotion, and the emotion would have nothing to do with the text being read. The text can be some ambiguous/abstract poetry, in which the words were put together in a very non traditional way so the associations with it's literal meaning would be less prominent for the listeners. This would become a song that's composed with sound made with the sound of words, and also I will implement fluctuation on the speed and tone of the readings, and use that to direct the listener's mood, which is detached from the meaning of the words used.

"If you like aggravations, come to the Sunshine Hotel."

Come on guys! It's James Joyce! Actually, to be truthful, I don't really know all that much about him or his writing, but I've heard the name referenced many, many times. I think I've also somehow heard of his alter ego Stephen Dedalus as well, though I can't for the life of me remember where from. Lastly, I could swear I've heard his book A Portrait Of The Artist As A Young Man referenced in some movie, or some other book. Maybe it was The Catcher in the Rye? Or the movie The Dangerous Lives of Alter Boys? Or maybe it was neither and I am just imagining it.

Anyway, his wikipedia page is here: James Joyce
Now that I've read slightly more about the guy, I actually think I'd like to read A Portrait... sometime. Maybe I'll reach some more epiphanies!

So I think what John Cage was doing with his rereading of Finnegans Wake was giving himself a structure for experiencing the text. He said that he had always "liked" the book even though he had never actually read the whole thing. In order to get himself to finally experience something he never had but had always wanted to, he came up with a reason for finally doing it. He decided that in order to make himself read the book, he would make his own art, in this case a performance of spoken word, through the experience of reading the original text. Not only did he decided this, but he gave himself a format in which to approach his revised version; the use of a mesostic. Although I am not familiar with the use of mesostics in such extensive form, I can appreciate his approach of creating a structure for how to approach an artwork before actually creating the artwork.

I think there are many ways that a text could inspire a piece of sound art. Cage's reading of Finnegans Wake was definitely very poetic. So I began to think about poetry and prose and what the differences between the two are. Of course one of the main differences is that poetry typically carries a consistent rhythm to it, whereas prose usually does not. So what happens if you read a text of prose in a poetic fashion? Does it add more emotion to the text? Does it imply things that would not be implied if the text was read plainly? What if you did the opposite: read poetry as if it were prose? Does it take anything away from the text? I think this option would be harder to execute as I think it would be hard to avoid conforming to the natural rhythm of a piece of poetry. I think I remember hearing about an artist, though I can't remember who, reading pages out of phone book to an audience. Can you make a phone book sound poetic?

Even outside of the rhythm of poetry, there is also the tone with which a text is read. Although I have to admit that John Cage's voice is perhaps not the most exciting ever (neither is mine), I did find his voice soothing (if not sleep inducing), and he seemed to create a sense of calm contemplation through his reading. However, what if the text was read really aggressively, what if the words were shouted and hard emphasis was placed certain words? I think doing such a thing would have the potential to completely change the meaning of a text. The content would remain the same, but the reading of the text would suggest that the text be interpreted differently than if it were read another way.

So how could I personally make an artwork based on text? Well in high school I had this really cheesy (there's that word again) idea to get people to read the lyrics to a Linkin Park song very seriously, and perhaps almost poetically. No offense to anybody who may like them, but I personally hate(d) Linkin Park so I suppose this would have been mainly satirical. But for a completely different idea, what if you took a specific text, and made a recording of all the sounds implied by the text but that you (obviously) can't hear (because it's text). So let's use Catcher in the Rye as an example. There's the part where he has rented a cheap motel room and calls for a prostitute to come to his room, but can't get himself to go through with anything with her and eventually gets accused by the...uhhhhh...pimp that he did not pay as much as he was supposed to. So before this actually happens I think he's just sitting on the bed chain smoking cigarettes. So there's a sound: the sound of smoking cigarettes (burning tobacco and paper, inhaling, exhaling, crushing them when they've gotten to the end, ashing, etc). I think at some point (either before or after the "pimp" comes) he reads the Bible (or at least thinks about reading the Bible). So there's another sound: turning the pages of the Bible. And finally there's the sound of the pimp pounding very hardly on the motel room door, and the sound of Holden Caulfield getting knocked around a bit. So I guess this could be a way of creating a sound environment through being inspired by text (all of this assuming that any actual talking would be omitted).

Sunshine Hotel was very interesting, but also very depressing as well. It did make me more hopeful for my own sanity because I suppose things could be much, much worse than what I have. Though some of the people in this sort of "audio documentary" seemed to become very attached to the place and began to consider the place home (the guy who lived there for 30 years!). But as far as addressing the audio outside of the content, I thought the piece was very well composed and used the layering of sounds to full effect in creating a sense of what the place is like for those who live there. Talking would merge into other talking, background talking gave the sense of buzzing activity with the place. There was narration crossed with conversation. Descriptions of what the place looked like, but also how some of the men there began to consider the place home. The audio managed to be very dense, yet very coherent at the same time. I would like to make something like this.

using compressor and DVD studio pro to make surround sound

You can sort of fake multichannel audio using the five surround sound speakers. TO do this open up compressor and then click on the little speaker icon in the main window. It is on the right side of the window. A diagram of the speakers pops up and what you need to do is assign an aiff file to five of the speakers. YOu can do this by double-clicking on the speakers or actually dragging the sound file to the speaker and then dropping it on the speaker of your choice. For the speakers in the lab, you would the following five speaker options--L, C, R, Ls, and Rs. Select a format by clicking on the middle column in the main window and from the drop down formatting options, choose Audio and then Dolby Auto from the Audio options. Be sure that the Inspector Window is visible. and that the Dolby Auto option is selected in the main window. In the Inspector window, select the Audio tab. As a Target, I chose DVD audio, but you might also want to experiment with DVD Audio and see how that works in DVD STudio Pro. Then in the Audio Code Mode, be sure that the speaker configuration option is 3/2(L,C,R,Ls,Rs). Leave the rest of the options at the default. Do not worry that your audio is 44 and not 48, Compressor will convert it for you. You may also want to give your configuration a name in the text box at the top of the Inspector Window. I have left it blank and submitted the audio to Compressor and it worked, but yesterday, I had to name my settings in order for me to submit the audio for processing so...

When you are done you will have an AC3 file. Go into DVD Studio Pro. I import some dummy video or still pic as place holder. Be sure that the video or pic is as long or longer than the sound track you want to create. Then I import the AC3 file and follow the typical steps necessary to make a DVD, in this case a surround sound/multi channel DVD.

Elmo asks kids an eternal question

So... this is pretty nuts. Apparently someone has reprogrammed the SAME book I bought... to devious ends.

Miya Masaoka

Here's a link to her lovely webpage: MiyaMasaoka.com
And here's the interview which I cut short during class. It's really neat, and only 4.5 minutes long, so give it a shot!

Monday, September 24, 2007

Sound Book Stuff

Okay, so here's my idea in its current state. Any input would be greatly appreciated.
:)

I plan to repurpose a childrens' "sound book" that has buttons with pictures on them that correspond to icons in the text of the book. The way these things work is that when a button is pressed at a point in the story, a sound plays, giving the user a better understanding and general "feel" for the story. But even though the story may change, the sound never does; it's frozen in time even though a progressing narrative draws reference to it.

I would like to create a memory book with sound. I'd like to replace the existing Elmo icons on the sound book I have with photographs and insert these cropped images as icons into a non-linear, fragmented text of memories I have that link to these sounds. I want them to be sounds I cherish, sounds I want to listen to again and again. But the fact that the sound will never change while the people/animals/things that make the sounds will age and change, presents the sort of futility I was trying to get at with the idea of a degrading sound without being too literal (or, realistically, without making the road towards realization of my project impossibly difficult).

Cicada update

So I sat down and REALLY thought about why I was attracted not only to the audio quality of cicadas but the insect themselves. I guess I'm attracted to their lifecycle because it is devoid of complication. Lately I guess I've been dealing with a lot of mental and emotional stress and maybe subconsiously I wish that I didn't have to worry about anything but reproducing and dying. Cicadas spend most of their lives underground developing from a larva into an adolescent and then emerge for several months to reproduce and die. Thier lifecycle is so simple. They don't have to worry about relationships between people, getting a job, car payments, getting health insurance, etc. This lifecycle is true of many other insects but if I ditch the cicada sound them I'm back to square one with nothing so I think I'm going to try to build around their call. The problem is I don't know how I would juxtapose their development/lifecycle to ours as humans - and whether that message would get across. Does the audience even need a clearcut message? Maybe the title can suggest some kind of message? I mean, how many times have we looked at a piece of art and immediately knew for sure what it was about? I don't know....lots of thoughts running through my head at the moment. HELP!!

Audio Hi Jack Pro

a pretty nifty mac app to record just about anything off of your laptop, ive used it before for jack's processing class and will end up using it again for this project, just thought i'd let you all know. You can download it here.

Presentation Link

Don Simmons

Ulrich Eller - Sound Artist

-born 1953 in Leverkusen, Germany
-studied at the Hochschule der Künste Berlin from1977 to1983
-professor at the Fachhochschule Hannover in department of sculpture and space in 1994
-since 2004, been professor of sound sculpture/sound installation at the College of Art in Braunschweig

-considers himself a sculptor who works mostly with sound
-early works influenced by Fluxus and happenings
-eventually inspired by Minimalism
-works are space-specific
-works deal with movement and materials
-explores surfaces of buildings, resonances of exterior spaces compared to interior ones
-sound expressed visually and visuals expressed through sound
-example works:
Percussion of Two Spaces
In the Circle of Drums

-works have been featured in renown shows such as:
dokumenta 8 in Kassel (1987)
sonambiente. festival für hören und sehen in Berlin (1996)
Das XX. Jahrhundert. Ein Jahrhundert Kunst in Deutschland in the Neue Nationalgalerie in Berlin (1999/2000)

Christian Marclay

-- Born in California in 1955, raised in Switzerland

-- Studied sculpture at Massachusetts College of Art, receiving his BFA in 1980

-- In college he was particularly interested in Joseph Beuys' art, the Fluxus movement, performance art, and punk rock music.

-- In 1979 he began to perform with other artists, using turntables as instruments. He is credited as being the creator of "turntablism", well before turntables were prominently used within hip-hop.

-- He often manipulates and breaks vinyl records in order to create loops, unique sounds, or sound collages.

-- Explores the way that sound is experienced and translated into other forms.

-- Is interested in the way music functions socially.

-- Through his manipulations of vinyl, he hopes to make the listener aware of the physicality of the medium. He addresses the physical nature of objects made to produce, visualize, or are otherwise inspired by ephemeral sound.

-- He stresses the difference between live sound and recorded sound. He feels that the two create completely different experiences for the listener.

-- He feels that his manipulations of prerecorded sound is a way of simultaneously acknowledging and rejecting the past.








Sunday, September 23, 2007


This is a sketch for the interface of my project. At the top left it says 1am, and for the time line, it's broken down to maybe 60 which means 60 minutes of one hour. The time line indicator would look like an arm of a clock. The top right are the record, loop and pause button. At the bottom there will be icons of images that indicates the different sounds. 


found a link

this is a really short clip, but its the only one i could find, and this guy isnt nearly as good a dancer, but the audio is pretty decent, and conveys that evocative sense that i described earlier...

Saturday, September 22, 2007

proposed follow up deux

So the other night i saw Parson's Dance Troupe at the Phillips center, and one of their routines gave me that final little nudge i needed to solidify an idea for my sound project. The piece was called "caught", i'll post a link to it if i can find a video of it. What i enjoyed about the piece was the synthesized electric beats that were very industrial yet very humanistic in a sense. Not only did the audio feel electronic it also felt incredibly soulful and moody. So whats the idea for my sound project? I want to compose a piece of "music" that is made up entirely of sounds produced by communicative devices (phones, modems, computers, morse code, fax machines, printers, etc.).

Project progress 2

Instead of an instrument of "my life," I was thinking more of an "audio portrait." That's one of the reason i choose to use specific sounds that people would associate me with rather then using the sound from a day of my life. Also using all the sounds happen in my day would involved way too many sounds and I don't know how I would go about organizing them in an interactive interface. But I do like the idea of "audio time line".. Maybe I would choose and pick some sound that I would make everyday rather then things that happens in the day of recording, and that would limit the sounds down.

As for the interface, I was thinking something in the form of that instrument in the Youtube video I linked a few days ago. People can choose certain sound at certain time and then they can choose to "loop" that interval of sound and start a new layer of sound. Maybe the final sound can be recorded and exported as an mp3, and for the title they can enter the month and date. But I have no idea how that is accomplished in flash so I'm not sure how complicated I want the project to be.

I will do some sketches tomorrow and post them.

Friday, September 21, 2007

That Cheesy "Talking Gun" Project Idea

Ok. I know this is probably very corny and extremely literal and possibly cliche, but I just had to post it. It was somewhat inspired by Katerie's comment to me about the military's use of sound weapons. I think I do want to look into the military aspect of it more, but I suppose that this particular idea would address something closer to domestic violence.

Like I said, I don't think I'm going to seriously consider this idea, but perhaps if it is carried out in the right way it could transcend the initial cheesiness of the idea.

So, perhaps I could take something like this Space Gun and modify it to play my own sounds.

Possible variations:

The Lonely Gun:
"How come you never call me?"
"I think we should spend more time together."
"Why don't you ever say you love me?"
"What are you really doing after work?"
"I know that you're really busy, but we should hang out sometime."
"What do you mean I'm not your type?"
"How come every time I come home the dishes are still dirty?"
etc.

The Gun Violence Awareness Gun:
"Did you know that guns kill more people per year than blah, blah, and blah combined?"
"People don't kill people...I kill people."(spoken very sadly)
"You should always keep me out of reach of children."
"Is your safety lock on?"
"Always keep me pointed in a safe direction."
"Keep me away from your face."
etc.

The Heartbeat Gun?:
makes heartbeat sounds when trigger is pulled. Um, I think this could go deeper into something, but I'm not sure how.

The Random Insult Gun:
"You are a loser."
"Your shirt doesn't match your pants."
"You are very insecure."
"You talk a lot because it makes you seem more important."
"Nice Unibrow."
etc.

Ok, so these are more on the silly side of how this idea could be approached, but maybe there's something in there or something that could be done to make it more thought-provoking and less of a novelty.

Thursday, September 20, 2007

Beating Hearts Club

So I've been thinking some more about how to produce a physical product for my idea about the sound of heart beats. I think I've come to the conclusion that trying to make a device that can measure and amplify actual people's pulses may be too challenging of a conquest at this time. However:

Note to Katerie: I'm not sure exactly what you were referring to when you suggested looking into fetal monitors. Do you mean something that is an actual medical device (like devices used to conduct sonagrams) or something that would be more commercially available? If there is some type of device that I could obtain fairly easily and is not too expensive, I may still be interested in doing something that involves actual "participants'" heartbeats. If something like these heart rate monitors is not too expensive, I could perhaps alter the appearance or physical form of them to make them more my own. Actually here are a few products that are not too expensive, but I'm not sure how I could "crack into them" in order to create audible sounds, which would be pretty essential to pursuing the project from this angle. Anyway:

Heart Monitor Ring
Heart Rate Watch
Heart Rate Watch 2 (Timex)

Heart Rate Watch 3
This last one of these very "portable" heart monitors seems like it may be the most usefull for my purposes because it comes with a "chest transmitter belt" and a watch style monitor that can pick up the signal from the chest belt up to a distance of 98 feet. This sort of "wireless" feature could potentially be useful for an installation, as I could have the monitor portion "hidden" somewhere, and would only have to use the chest belt visible. I guess having the monitor hidden would aid in the production of sound -- having it connected to speakers in some way -- but once again that is the main problem; how can I get these things to produce sound? I think I would have to essentially break at least portions of the products, and I think it would only get more complicated from there.

I think the actual measuring of heartbeats in an installation space could get very hairy very fast.


So
: Here is an idea for producing the project that does not involve the things described above.

This would involve the use of prerecorded heartbeat sounds or possibly sounds that suggest the beating of hearts. I would essentially create an installation space in which sound would suggest the beating of multiple hearts (I think I would like to keep the number of "hearts" somewhere between 2 and 4 for reasons of practicality of time and materials needed).

I would like to suggest the presence of people in the space with the heart sounds. As far as how this could be approached aesthetically: I could put speakers into clothes or some other type of human-like figures, or I could create more "disembodied" types of hearts that produce the sound, or perhaps whatever is producing the sound doesn't visual resemble a heart at all.

As far as the sound itself is concerned, I could appropriate some heart beat sounds that may be available online. Or I could try to record heart beat sounds myself, but I think the end product of that might not be as high of quality as audio that I could appropriate. Or perhaps I don't even use actual heartbeat sounds. What if I use the sound of a snare drum? Or the sound of a musical tone? I like the idea of this, however I do not want to suggest or run into the cliche of "hearts beating in harmony" or whatever (though, what about the opposite? heart tones creating dissonance?). Perhaps it could be a sound that is neither a musical sound nor a "natural" heart beat sound.

Anyway, regardless of what sound I choose to represent "heartbeats", I could use an audio sample of just one "heartbeat" (as in just one beat of the heart) to create audio tracks. I could create a separate track for each heart present in the space. Perhaps the hearts start off beating at very different rates and volumes, and over the time of the audio tracks, they begin to beat in unison and at the same volume. After I create separate tracks for each heart, I could create a DVD in DVD Studio Pro that would play the separate tracks simultaneously and send each audio track to separate, individual speakers.


ooooooooh! I just thought of this: perhaps a way to make to make the project somewhat more interactive would be to use some type of motion sensor that can sense distance. I could create an installation in which the proximity of a person to the "hearts" determines how the heart beats. I would probably have to use Processing or something similar to achieve this, something that would allow for some programming. Perhaps the closer somebody get, the faster the heart beats. Or the closer somebody gets, the slower it beats -- this might actually be more interesting because I think it would tend to draw people closer into the hearts.


I know I just wrote a lot, but I just want to think of as many ways to approach this idea as possible.

Sound Proj Idea Change

I want to work with the idea of communication. There is a phenomenon very present in Japanese society known as tatemae (facade) and honne (true self). They all strive to maintain balance and harmony within their society, so they go out of their way to be extremely polite and well-mannered to others even if they do not like one another.

I would like to play off of this idea of expressing one thing and really meaning something entirely different. I want to create an installation involving two suspended masks facing each other as if in conversation. Viewers standing to the side will hear the outward dialogue, but once each viewer walks up behind the mask, they will hear (from little speakers/earbuds) words opposite of what that particular mask is saying.

I'm not sure whether to just record a conversation between two people (which is very literal), or to make it minimal and just have single words (making it more abstract).

I'd like to install in that room by Jack's office. Let me know what you all think :D Thanks!

Project Process

I like Katery's suggestion about making an instrument of me using flash, an instrument that consist of "important" sounds in my life.  that way it's accessible for more audience and people would be more engaged with the project. 

I started listing sounds that I would want to include in the "instrument." I tried to pick sounds that are more exclusive to me, or sounds that people who knows me would associate with me.. so here there are: 

*My alarm goes off
*hit snooze
*Keys dangling
*frog squeeze thingie (key chain thing)..
*foot step (rapid!)
*shuffle as i walk
*camera shutter 
*cell phone thing.. 
*pop knukles
*tab feet with sit
*whistle 

My next step would be designing the layout and how the "instrument" would function. 

Wednesday, September 19, 2007

Song of the Cicada

So I've been doing some reading and I think I'm starting to shave away much of the access baggage attached to my project idea. I focused on the "sound" aesthetic and decided that I was really interested in the song of the cicada. For those of you that don't know, cicadas are insects that are known for their loud calling songs. They resonate small membranes in their abdomens to create ringing sounds to attract mates. Cicadas have interesting life cycles, especially Magicicada, who have lifespans of 13 or 17 years, the majority of which is spent underground during development. After the larva are finished developing they crawl out of the ground, shed their skin, and emerge as complete adults. Their sole purpose in life is reproduction, which can be said about many species of animals/insects. Now most insects have the same kind of life cycle but what drew me to the cicada was their call. Their call is distinct, even with variations between different species of cicadas.

When I think about the visual aesthetic that I have developed, what particularly sticks with me is the idea of birth and reproduction. I see these shapes (whether I end up using faces or not) trying to break through this placenta-type membrane. It reminds me of sperm breaking through an egg as well. I've done some projects that had dealt with the difference between lust and love and I think it can be applied here as well. Through the use of the cicada's song I juxtapose the basic human instict of reproduction with our affinity for love/lust. Perhaps the forms that push through the membrane are slighty sexual (I think this imagery can lend itself to slighty erotic connotations, much like Magritte's The Lovers II) or perhaps they are more "romantic", tender, and caring. These visually pleasing forms are broken by this piercing call that eminates from behind them.

So far this is about as specific and "narrowed down" I can get my concept - which I believe was my problem - the concept was too broad and needed to be grounded somehow. Below is a link to a page where I included the cicada song that I found and several images that were interesting.


Cicada Page

Tuesday, September 18, 2007

Playing Super Mario World in time to a Song

I think this relates to both sound and digital media. And it's also fun to watch.

Thoughts on Project #1

So, my sound project is going to deal with memory, and I really liked Katerie's suggestion of degrading the sound each time it plays. In an ultimately perfect world, I'd love to create a sound storybook, kind of like this:

But I have no idea how to create or even repurpose an existing sound storybook for my purposes, so I guess I have to scratch that idea.

I also like the idea of filing cabinets. Our minds don't work like filing cabinets; they aren't made up of drawers but rather interconnected nodes. However, we still find some sort of (perverse?) comfort in the rigid sorting and filing of data into filing cabinets. As our records are becoming digitized, however, the filing cabinet is finding itself an endangered species. Because of this, and despite the true workings of our brain, I think an old filing cabinet is a nice image to pair with a group of sound memories. I was contemplating having a filing cabinet, empty and with its drawers locked, installed in a space. The drawers would each be labeled with a sound category and they'd have some sort of button protruding from the front. It would be nice to have big, red, invitingly dangerous buttons. Pressing a button would cause a (possibly random) sound from the drawer's category to play from the cavernous interior of the cabinet. It would also be nice if the selected sound could then be run through a filter, degrading the quality slightly and overwriting the original file. But perhaps this last bit can be added on at a later date, if I decide to go this route.

A final idea I had to present sound memories was through the use of a determinate, nonlinear hypertext novel/document/poem. This is definitely related to discussions we've had in hypermedia. It could be made up of bits of thoughts that come to mind when I hear a certain sound or could have recollections of when and where the sound came from. The sound could be embedded in the page of text and could play at a specific or random time. The text could "loop" in on itself, but as you went further in, on what appears to be recurring pages of text the associated sounds that play become more and more degraded until, if you keep following the hypertext, they're no longer discernible.

Any comments or thoughts you guys have would be quite helpful. :)

Monday, September 17, 2007

Ambient recordings

So brian and I walked around the fine art complex recording "The rain in Spain falls mainly on the plain" in a fake British accent. It was amusing...

http://digitalmedia.arts.ufl.edu/~joshc/AdvTopics/Ambience.html

sounds in space

1. sound in locker
2. sound in jack's office
3. sound in stairway

Sleepy! Sounds Around FAC and FAD

I went to the Focus Gallery and sat in the corner to record myself saying "sleepy."

I then went underneath the stairs in FAD and recorded myself there. I really liked the echo.

Lastly, I went to one of the benches outside in the Fine Arts Courtyard.

Space Sounds

The places:
An elevator ride from the the 3rd to the 1st floor (whereupon Jack happened to be waiting for the elevator)

A nook in the wall of the basement floor

Standing in the hallway of the 2nd floor next to a guy talking on his cell phone

sound environment

forgot to post this up earlier...the idea came to me while trying to sleep and not being able to, i took note of sounds that i heard and attempted to recreate that particular environment http://digitalmedia.arts.ufl.edu/~briannogues/Audio/sound2.html

Environment Sound

I thought of creating an environment that was suggestive of time or a period in time. Over the summer I took a history of jazz class and I was really interested in the tumultuous past of the jazz artists. Many of them were afflicted with drug addiction and battled acceptance as artists with the expansion of music from central locations such as chicago, new york, and new orleans. Many styles were mixed and ideas were taken from musician to musician to create new movements in the genre. With my project I guess I was just trying to show that tumultuousness and the combination of different styles (which seems appropriate with our DJ Spooky discussion)

heres the link:
digitalmedia.arts.ufl.edu/~joshc/AdvTopics/environment.html

spoooooooky!

If pluralism is the idea that something is made up of of 2 or more parts/elements, then the idea of the mix is clearly a pluralist medium. Multiple Tracks, Multiple Sounds, all intermixed to create a new composition. In the interview he describes DJ culture as the new folk music. Folk music in the sense that its an art that everyone has access to, everyone can appropriate and contribute to the culture. A melting pot of ideas, with no rules. No one person is really in power, its a dispersion of power among groups of people. The mix in my opinion is a gestalt-ish way of creating sound, no one pice outways another, its a creation of an entirely new piece of sound that gets its meaning and concept from the bits of audio that create the whole. It can completely change meaning and identity, you can have a presidential speech playing to some brit pop instrumentals, meaning is changed, its been stripped of its original context and placed in another. DJ Spooky feels that copyrights are an illusion, everything belongs to everyone, and ultimately copyrights will only be payed by those that want to pay them. Radio is "cool" but its dead in paul miller's opinion, its for the right wing politics. He prefers pirate radio over commercial radio, too many politics involved in commercial radio. He views radio as a gallery space. I think radio sucks, same 15 songs in an endless randomized loop until 15 more songs take there place, i prefer to make my own mp3 cds or listen to my 60+ gigs of music on my own schedule, if i want to hear something. i hear it and don't have to wait for the radio to play it or sit through 20 minutes of commercials. The Satyagraha Mix wont play without Real Player. His Ghost World piece was pretty interesting, mixing african anarchist radio, malcolm x speeches, contemporary hip hop beats, and organ music (just to name a few) all recomposed into an alternate reality of sound.

DJ Spooky

Pluralism - a condition or system in which two or more states, groups, principles, sources of authority, etc. coexist.

The mix is just that, only with music. If it is a good mix, there is harmony there. The music flows together; they songs fit against each other. It's metaphorical because similar or drastically different types of music can be part of the same mix and comment on each other, whether good or bad.

DJ culture is a mixing culture - like Spooky said, it is a place where people don't necessarily have to follow the rules. They can put together things however which way they want to.

DJ Spooky has a very "power to the people" kind of outlook on control and influence in today's society. I kind of agree with what he says but I think there are more things to consider. Yes, we in a sense control the information that circulates us today, but when we take in what we want, who's giving this to us? Isn't most of mass media controlled by several corporations? the government? It might sound kind of 1984 paranoia-ish to say but I don't necessarily think we have as much control as we think we do.

I don't necessarily think that the mix has meshed together all these typical identities that we're familiar with. The mix is the joining or pairing of items, objects, ideas into one thing, but this only creates new identites to juxtapose with other mixes. The announcer mentions that a few years ago we had a choice of being punks, hippies, and such. I believe now that there are just as many identities, if not more. The information (aesthetic, intellectual) that is circulating and being absorbed by mass culture is allowing for new groups and subgroups to form.

I like his thoughts on copyright, especially the sand castle metaphor. I agree, those that are able to build their own sand castles will. They might approriate a little sand for the next person's sand castle but it'll still be their own creation. This is a double edged sword though because I can understand why artists (I guess particularly music artists is what I'm thinking about here) would want to protect their "intellectual property." On the other hand if there isn't an opportunity for "mixing" ideas, cultures, theories, works, etc. then there can be no growth.

I'm not personally a big fan of mainstream radio so I can understand what DJ Spooky says. I too would much rather play music myself. He compares radio to a gallery, where there are very much rules. It's curated, regulated, and not "nomadic" as he describes. I'm much more a fan of independant radio, or school radio where students are allowed to dj. My friend at the University of Arkansas has a radio show where he plays hip-hop that isn't necessarily mainstream. I think it's great and I enjoy listening to his show. Of course there are still rules that surround what he can play (censorship and the like) but I like to think of his show as an opportunity to take back some of the control that we have lost.

DJ Spooky Response

The mix is a metaphor for pluralism because it samples from different styles of music and compiles all of them into one track. Pluralism in contemporary art is the notion that art of all sorts of styles is practiced at the same time. Audio science fiction.

DJ culture is a constant sampling of different songs, a continually changing sound sculpture. It involves 'dematerializing' sounds. You can mix anything and don't have to follow rules.

DJ Spooky states that America is the first culture to be utterly consumed by communication media. No one is really in control anymore. He doesn't think that the money-makers are in control.

The mix is the coming together of two or more pieces of audio. Many DJs stress about splicing pieces together seemlessly, but DJ Spooky thinks of splicing as an aesthetic opportunity. The mix characterizes our identity as a melting pot of cultures. A mix is a melting pot of sounds.

Copyright will be paid by those who want to. He makes a metaphor to sand castles and states that one can build their own sand castle or pay for one thats already made. I agree with him.

He is interested in grassroots radio, the kind that's only available in a small area. He calls it a micro-niche. He says mainstream radio is similar to gallery, a mix tape, or the internet in that there's a lot of cultural politics involved with what/when/how it gets played.

I have a love-hate relationship with the radio. I enjoy listening to new songs and keeping up-to-date with what's popular, but the radio will many times cause me to dislike certain songs because they get played over and over again.

The Satyagraha mix definitely has noticeable, but not unpleasant splicing. There is also a very interesting combination of sounds from different cultures, from the very urban sound of Missy Elliot juxtaposed with a very traditional Indian song. DJ Spooky advocates the mixing of different cultural sounds and this song is a great example of him putting that idea into practice.

re:DJ Spooky

It's interesting how he talked about cutting up of sound, literature, and other informations because we just read an article in Jack's written by Burroughs about cutting up of novel. I've always thought that art of different forms can have same theories applied to them, and the techniques can be shared.

 I like how he uses noise made by machine (ex. scanner) and whatever makes sound.  The way he composes sound is really cool too. Even though some sounds were recognized as "noises" but he used them in such cohesive way which made the sounds not so "noisy," but rather pleasant to the ear. I also enjoy how he layers the sound, they don't get too loud or try to stir you up with emotions, but creates a 3-dimensionality in the piece. The use of adequate echo also helps to create a space. unlike the futuristic sound artist we looked at earlier, instead of using just noises, he combines instruments with sound which is nice.  

He talked about how people are consumed by the media communication and how no one has control over the pulse and where things are going. I thought that was interesting and could be pondered upon. 

He said copy rights are illusions, and described information as sand castles. Good way of summarizing it because that's really how it feels like.. Now a days so many things can be downloaded in digital format for free. I was able to download e-books of school material and comics that i want to read.

I like his insight into things, his mixings are very interesting and enjoyable, but it wasn't like mind-blowing.  I've heard a lot of different types of non-vocal music, some of them are really unique and well composed as well. 


DJ Spooky is Kooky

Actually, I thought he was really well-spoken, and his music is pretty interesting.

-How is the mix a metaphor for pluralism? You need to know what pluralism is to answer this question.
I think this relates to when DJ Spooky is talking about copyright. The mix, for Spooky, is a way of subverting and re-purposing the stuff of mass culture, the advertisements, the slogans, the tv shows, the world of information that surrounds us. We're living in a community of information, it's, "the new natural environment," and with this raw environment, we can each reshape it according to our will to express our own unique ideas and visions. It's like, "kids building sandcastles, who owns the grains of the sand? It's the natural environment. The new natural environment is information." When we let something go into this environment, even if it is "copyrighted," it's loose, and there's no telling where it will end up.

-What is DJ culture?
Spooky talks about DJ culture as the new folk culture. It's the music of the people, reflecting the environment of media exposure that we've been subjected to for most/all of our lives. I think this is why his music is so enjoyable - it comes in a package we're used to, but has been rearranged to create a new message.

-DJ Spooky wonders "Who's in control of how people think?" The announcer asks DJ Spooky to clarify his thoughts on that question. What is Spooky's perspective on control and mass media? Do you agree or disagree? Explain.
Spooky doesn't think anyone is in control of mass media, even if they're making enormous profits from it - "You can make money, but that doesn't mean you're in control." I agree with him to some degree, but I don't think it's a black & white issue. Media is kind of like this huge snowball rolling downhill, gaining mass and momentum, unable to be halted by any one person. However, aspects of this media snowball can be changed by the individual seemingly "in control," the one making the money - they choose what won't be aired, they bar things that are offensive to them and promote the things that they value. Fox News is perhaps a good example of this type of biased broadcasting because it is so transparent (but of course everything has some kind of bias to some degree).

-How does the notion or even perhaps the ideology of the mix change or characterize our identity? Be sure to include what your definition of what the mix is when you answer this question?
The mix, to me, is a combination of disparate elements of sound to create a cohesive sound experience or message. Our identity is made up of various disparate experiences that we've synthesized into our record of memory to create how we think about ourselves and the world. I think the mix is an expression of freedom, however, while identity is necessarily shackled by experiences that one cannot just pick and choose.

-How does DJ Spooky feel about copyright? What do you think about his perspective on this?
I inadvertently discussed this in the first question, but he feels that copyright is somewhat useless; when something is created, it's set loose in the world. He said that some people will still of course always pay for copyrighted items that could be obtained for free, but that copyright is kind of in opposition to the natural way of things. As in the first question, I think he envisions a world where people create and share.

-The broadcast that you listened to is radio format on the internet. What does DJ Spooky think about radio? What does he compare radio to? What are your habits and thoughts about the medium of radio?
He doesn't think radio is dead, but that there are many grassroots radio programs, that maybe only reach people in a 2 block radius, that are really valuable. He doesn't think much of mainstream (garlic pill infomercials and right wing talk show hosts) radio, however. He compares radio to the gallery, and even to the internet. He says that with radio, as with the gallery, a certain group of people chooses what will air. I really never listen to radio, except at work, where it's the same group of songs played every single day. Radio may not be dead, it's a medium with a lot of possibility, but in its current state it sure is pretty stale.

-Listen to 5-10 minutes of the Satyagraha Mix from the sounds section of DJ Spooky's website. What aspects of the mix reflect the themes that DJ Spooky spoke about in his work?
It really does feel like a new form of folk expression to me. In the US, we just really aren't living in little villages anymore, churning butter or herding goats. We're connected on a mass level, and DJ Spooky's work reflects this, "impact of mass culture and information." It really reaches a level of beauty that the disparate elements of this sometimes annoying and affronting cultural experience, that of living in the US, cannot achieve when they are separate. By weaving in popular songs into his new composition, I think it allows many people to connect to the work and will keep them listening.

A side note - DJ Spooky spoke about Burroughs and the "cut-up," which I thought was neat because we were talking about that in Hypermedia last Thursday. Everything really is connected!

Another note, I looked up the meaning of Satyagraha: "a philosophy and practice of nonviolent resistance developed by Mohandas Karamchand Gandhi (also known as "Mahatma" Gandhi). Gandhi deployed satyagraha in campaigns for Indian independence and also during his earlier struggles in South Africa. Satyagraha theory also influenced Martin Luther King, Jr. during the campaigns he led during the Civil Rights Movement in the United States." This relates well to the spoken voice parts of the track that I heard. It certainly has an Indian flavor underlying it as well - it's like a melding of the American Civil Rights movement with the movement towards independence in India.

Dream Recording Progress

I managed to record three of my dreams over the weekend.

Two were actually about my job at Rolls n Bowls.

The third was pretty random, about this guy who's been trying to date me.

I suppose all three dreams were very stressful. I'm just going to keep recording and see what happens.

DJ SPooky blog questions

How is the mix a metaphor for pluralism? You need to know what pluralism is to answer this question.


What is DJ culture?

DJ Spooky wonders "Who's in control of how people think?" The announcer asks DJ Spooky to clarify his thoughts on that question. What is Spooky's perspective on control and mass media? Do you agree or disagree? Explain.

How does the notion or even perhaps the ideology of the mix change or characterize our identity? Be sure to include what your definition of what the mix is when you answer this question?

How does DJ Spooky feel about copyright? What do you think about his perspective on this?

The broadcast that you listened to is radio format on the internet. What does DJ Spooky think about radio? What does he compare radio to? What are your habits and thoughts about the medium of radio?

Listen to 5-10 minutes of the Satyagraha Mix from the sounds section of DJ Spooky's website. What aspects of the mix reflect the themes that DJ Spook spoke about in his work?

heartbeats

maybe the device makes peoples heartbeats extremely loud.

Another Random Sound Project Idea

So this just popped into my head. It is something that could possibly be applicable to the "wearable technologies" project as well.

This may have been somewhat inspired by the super-quite room that Katerie was talking about that is often used for experiments (I believe it was called the Anne Echo Chamber). Well Katerie said something about it being so quiet that if you stayed in there long enough you could hear your own heart beating and your internal organs working. So I was thinking about this some, and I came around to the question of "what if everybody could always hear each other's heart beating?"

This idea really interests me as far as how people's hearts may beat at different speeds and intensities under different situations. A change in one's heart beating could possibly be caused by many different events, whether due to physical activity, lack of physical activity, being in a certain social situation (being alone with a close friend as opposed to being in a group of strangers), or perhaps something as simple as entering a particular room (perhaps entering a room that one has never been in or one that somebody hasn't been in for a long time but has very deep emotional connections to).

This idea addresses a sound that is not typically heard by most people, especially not in the form of somebody hearing the heartbeat of someone else. The idea could be carried out in many different ways, and some could introduce a study of social behavior into the project as well. Say I make some type of device that can measure and amplify a persons heartbeat. Maybe the device does not merely amplify the "natural" sound of a heartbeat, or sounds like the machine found in hospitals (whatever it's called), but maybe it merely measures the heartbeat and plays back an audible sound (possibly a tone that changes pitch depending on the frequency of the heartbeat).

So a few ways to execute this. If I could make multiple such devices, I could create an installation in which multiple people can wear the devices and effectively hear each others heartbeats, which may in turn cause changes each persons heartbeat. Another possible project would be to see how peoples heartbeats are affected by different types of sounds that could either be played in a room or through headphones. I think there are a lot of different things that could be done with this idea and it may take some honing in to create a more clear direction. Lastly, I'm not sure how hard it would be to make such a device. I am sure that it would not be incredibly easy, but perhaps it wouldn't be as hard as I think it might be. Perhaps it's something that I could research.

Sunday, September 16, 2007

Sound Project Ideas and Brain Mishaps

Side note to Brian: I don't know if you can make a storm out of breakfast, but you can make a "psychedelic breakfast", as in Pink Floyd's "Alan's Psychedelic Breakfast", found on their album Atom Heart Mother. If you've ever wanted to hear a song with progressively louder sounds of somebody eating cereal, this is the one to check out. If you haven't heard it, I'm sure you have ways of obtaining it.

Anyway...

So I have a few ideas floating around for the sound project. For some reason, even though I've looked at several of the sound artists listed on the course website (by the way, the link http://www.floraberlin.de/soundbag/index.html#soundbag doesn't work for me, firefox says it can't open it because it's not associated with a program) and have been thinking about the sound project quite a bit, I haven't really seemed to come up with anything that seems interesting or kept my attention for very long. It would seem like this project would come pretty naturally for me provided my strong interest in music, and sound for that matter, but something seems to be barring me. Perhaps I need to create a greater separation between "music" and "sound" or "noise" within my mind. Music is sound, but sound isn't necessarily music, unless you adhere to the John Cage school of music. I would really like to attempt some type of project that skews ideas about what sounds can be music and what sounds are just...sounds. However, I'm not currently sure how to approach this idea.

Idea #1:
I was, however, very interested in the Evelyn Glennie video that we watched in class. The idea of experiencing sounds not through the ears, but purely through vibrations within the body was a very exciting idea to me and something that I would like to approach. How do we "feel" sound physically? What types of sounds can actually cause not only a psychological, but also a physical impact on us? It seems that with "hearing" people (as opposed to Glennie who feels sounds with her body) really only seem to "physically" experience very loud sounds, such a sonic booms from space shuttles, or standing near an airport runway, or sounds of similar magnitudes or decibel levels. The idea of being physically affected by sounds once again reminds me of the Lightning Bolt show that I went to (Lightning Bolt is a two piece band that I talked about in a previous blog entry) where the sound was so loud and, at times, abrasive, that no person standing in that room could avoid being physically affected by the sound/music. However, the band, though ear-bleedingly loud, is able to achieve moments of beauty within their music that can transcend some of the more abrasive aspects of the music. Like I said before, it was like the sonic version of actually getting struck by lightning (you could feel the actual vibrations of the sound), but perhaps this lightning bolt was more of the divine type. Anyway, I'd like to brainstorm a bit more about the physicality of sound (though not necessarily the "look" of sound, I've tried projects with that idea and they didn't seem to go well), and how sound can affect our bodies and make us move through space.

Idea #2:
I suppose this idea confronts how sound can create a sense of specific time and place; how it can transport somebody to a time that is not now and a place that is not here. Recently, I have been thinking much about the time that I lived in Michigan (when I was in 3rd and 4th grade) and how my time there (a time of being displaced from Florida, my native state) affected the rest of my life. I've tried to think of sounds that would be specific to that time and place, or at least specific to my own memory of that time and place. Some sounds that I thought of include:

sound of walking in snow, tall trees cracking in the wind, snow-plows clearing the roads of snow and ice, the "sound of snowy weather", the sound of "cold winds", sound of chopping fire wood, fire in the wood burning stove, sound of sledding down a hill, sound of somebody shivering in the cold, sound of somebody putting on many layers of heavy clothing, the sound of gunshots from people hunting deer and other animals, the sound of hail on a house roof or car or just the ground, and (in the late spring/summer/early fall) frogs in the ponds near our house.

However, none of these sounds are necessarily specific to Michigan for anyone other than myself. And, also, none are necessarily particulary to a specific time (outside of possibly the winter season). So I tried to think of what could make the sound more specific to that time period, and I wondered what else was going on in the world when I lived in Michigan. Well, I was pretty young then, and didn't keep up with the news much, so for me to be more thorough with this I would need to research it some more, but I do specifically remember that the Oklahoma City Bombing and Kurt Cobain's suicide both occurred while I lived there. So perhaps some use of archived audio or reference to these or other things of the time could be effective. However this would achieve time displacement through content as opposed to pure sound, which isn't really what I'm looking for either. So perhaps I should think of a time and place that is even more specific, and that I can easily record sound from or access existing sound from.

Idea #3:
This isn't necessarily something I want to go too deeply into as far as where my inspiration is coming from, but I suppose I can briefly sum it up without going into too much detail. Basically early this past summer one of my longtime good friends began to show signs of paranoid schizophrenia or something very similar. It was something that came very unexpectedly and surprised both me and other people close to him. He eventually ended up moving out of town with his parents, but there was a time period of about two weeks after he started showing symptoms and where I talked to him pretty frequently. Within this time period there was one instance, fairly late at night, where he seemed to think that a blinking light was "talking" to him. This was indeed a very strange (and, at the time, disturbing) occurrence.

So the idea that this leads to is not necessarily a comment on people experiencing schizophrenia or anything like that (although I suppose I could explore that idea as well), but I was very attracted to this idea of light communicating to a person. I think this could take many forms, anything from something as conceptually simple as a light that brightens according to the waveform of some prerecorded audio, or perhaps even to live sound present within a room. So perhaps the occurrence of people talking within an installation room causes the light (or lights) to react a certain way. Or perhaps I have audio playing within the room, and a way for people to adjust the audio that changes the behavior of the lights. I believe this idea needs a stronger conceptual basis, but I feel that I have more ideas on how to produce something physical for this idea than the others that I wrote about.

If anybody has any suggestions or comments I'd be more than glad to hear them.

thought this was cool.

http://youtube.com/watch?v=_SGwDhKTrwU&mode=related&search=

Saturday, September 15, 2007

project idea

Okay I finally think of something for my sound/space project. I would like to record all the main things I do in one day from morning to night, then compose the sound. Maybe the composed sound would kind of reflect my mood of that day... But I'm not that experienced in composing sound so that can just be a direction but the final result might not turn out like that. and the presentation of the sound would involve a picture frame. instead of having an picture in it, it would have a headphone which one can remove it listen to the sound. So this becomes a self-portrait, not with pictures, but with sound that makes up my daily live.

Wednesday, September 12, 2007

Hi Everybody!

Hi Everybody!

I just wanted everyone to know about my new favorite song!

As I've said before I often times put music on before I go to sleep! Well sometimes when I do this I wake up while the music is still playing! When this happens, I'll be in the grips of the music, not fully awake and not fully asleep, and I'll experience epiphanies! Well that happened to me this time as well, except that I just happened to fall asleep while reading the 17 page A File Structure for The Complex, The Changing and the Indeterminate by T. H. Nelson!

Anyway!, the song sounds a little something like this!:

Music for Epiphanies!


Hey Katerie

im ready to talk about my piece i think, i figured itd be easier to tell you than to write it, atleast for the moment...

Listening Responses

Katherine's composition sound to me like an alien throwing up...so yes, I would say that is pretty foreboding. It is definitely pretty creepy. It makes me think some crazy animal is about to sneak up behind me and attack.

May's composition makes me think of getting ready for work/school in the morning in the bathroom and kitchen. The ticking clock makes me think of feeling rushed to get there on time (which I don't always do as evidenced by today). The groaney sort of sounds make me think of somebody groaning because they don't want to be awake yet.

Josh's sound is hanging out in the house/apartment, ignoring phone calls because the TV is more interesting and perhaps consuming too much liquid.

Brian's sound makes me feel very lonely and possibly going schizophrenic. Autumn's laughs sound more like crying to me, and the repeating "not available" is unnerving in that makes me wonder if someone else is not available or I'm not available.

I had some trouble trying to listen to the other people's compositions. They either didn't play or the site I was taken to didn't seem to be right.

Link to uploadable sound

http://web.mac.com/babyface4realll1/iWeb/Audio%20Sound/Home.html

Experimental Composition

Foreboding.wav

sound

http://digitalmedia.arts.ufl.edu/~meowyuan/together.wav

Sound Space

Recently I've been interested in incorporating forms of sculpture into my artwork. I've found that a lot of my work deals with self or inner conflict/confusion and the struggle that occurs physically, mentally, and spiritually, to purge or deal with this conflict. I was really inspired by an installation I saw at the WARPhaus a year or two ago where there were ties that were suspended from the ceiling. In some of the ties was a small speaker that spoke a narrative piece corresponding to each tie. I thought it was interesting to give inanimate objects life simply by giving them a story to "tell." I have this image of a white canvas or fabric of some sort that is stretched across a wall. Behind this canvas are impressions of faces that try to break through this membrane that obstructing their "rebirth" (I guess that's what I would call it - the concept isn't exactly concrete at the moment). I would probably use generic masks to create the impressions and have small speakers placed at the mouths of the faces. I'm not sure what they would be saying though (narratives, random thoughts, poetry, etc.), I'm not exactly sure what kind of resources I can use to make this happen, thus, I'm not sure how long the faces could be talking. I know that I want them to be whispering though, bringing the viewer in closer, closing the gap between audience and piece, making the faces more confrontational. In my art history class, we talked about Egon Schiele's work and how his small sketches forced people to look at them closely, thus creating a new kind of viewing atmosphere and evoking a different emotion, perhaps unatainable if the piece were larger.