Project 1 update

To create buttons that would play sound, I mounted photos of books on foam and cut out a hole large enough for the play button of three cd players. The cd players are each hooked up to three sets of speakers. The button on the top most shelf plays one line of dialogue, read directly from one of Freud's essays about Inhibitions and Symptoms, followed by an essay about the Super Ego, Ego and the Id. The second button plays two lines of dialogue being read simultaneously, making it a total of thee voices being heard at the same time, slowly disintegrating the psychoanalytical text into noise. The third button plays three more sets of dialogue, making a grand total of six strings of dialogue all being read at once, each one is text from Freud's work.

The books in the front. Optical illusion?


The cd players and the speakers in the back.

projection 1.4.7

ipod 1 is a 1:00 loop

i pod 1 Left speaker:
pointed at the heart
sawtooth starting at 64 hz
sine 110 hz
sine 17000 hz
sine + cos oscillator starting at 440 hz

ipod 1 Right speaker:
pointed at the back of the chest
sine 110 hz
sine + cos oscillator starting at 20 hz with pitch offset of 8
sine 210 hz
sine 160 hz


ipod 2 is a 1:12 loop

ipod 2 Right speaker:
placed on stomach region
sine 140 hz
sine + cos oscillator starting at 10 hz with a pitch offset of 2
sine 110 hz
sine 120 hz
sine 60 hz
sine 90 hz

ipod 2 Left speaker:
placed on lower back
sine 60 hz
sine 100 hz
sine 140 hz
sine 19000 hz
sine 300 hz

Project 1 update

Part of my piece was to digitally re-create a book shelf, adding books that I wanted to be included in my piece. To do this, I started with hi-res pictures, then I digitally erased some titles then replaced them with titles of my choosing. The titles I chose were books by Freud (and some extra Freud-like, or Freud-related titles). The content of my piece is to discuss the overlapping and battle of the Ego and the ID, mirrored by the overlapping sounds of the books all being read at the same time.

As for images, here's a sample of some of the images and how they changed.

Before:

After:



Before:


After:

Project update

I wanted to post this Friday but my internet in my apartment complex was down through Sunday (I nearly went insane with no internet access). Here is where I am at: I have 4 sequences of sound and corresponding imagery that will play over 2 or so minutes. The nature of my imagery(pardon the pun :) will be the ocean and human impacts on it. The 5 I chose are: oil spills, overfishing, open water dumping from cruise ships, and wildlife caught in debris. The sound of the installation will still be more important though. I did a lot of research on surround sound and producing it with Sound Track Pro which ships with final cut. It actually is not hard to manipulate the the location of where sounds are coming from. I export as an Ac3 audio file which is then used in DVD Studio which interleaves it back the the video.

The general concept of my project is that I will have a sound track: for example sounds from the beach that we all know well. There will be the crashing waves, seagulls, and possibly people. Using the surround sound I manipulated the location of birds and people into what I hope will be an immersive sound experience. In addition the imagery will be revealed using the main sound unassociated with the image. In this case the waves would determine how the image is revealed and taken away. I plan on using the crit room in our space because it is pretty much set up how I would like to install it anywhere. I want the audience to come into a dark space and be able to walk around and just listen, while watching the image. The crit room has a projector and is wired for surround. Even if the amplifier in the room is not wired for 5.1 I will still be able to use front and rear directions. I previously thought it would be good to project images on the 2 walls but the sounds that go along with them would get muddled and would not help the installation.

projection 1.4.6.2

i've added some buttons to my jacket to tighten it up a little on the top, combined my 1/8 in plugs with the stereo cords required (positive, negative, and 2 grounds), and made a little sack to hold my ipod and attach to the jacket.

Project 1 update

Books by Freud that I will be using in my piece

1.  The Interpretation of Dreams by Sigmund Freud

2.  Civilization and Its Discontents by Sigmund Freud

3.  Three Case Histories by Sigmund Freud

4.  The Future of an Illusion by Sigmund Freud

5.  Beyond the Pleasure Principle (Norton Library) by Sigmund Freud

6.  Moses and Monotheism by Sigmund Freud

7.  Dora: An Analysis of a Case of Hysteria (Collected Papers of Sigmund Freud) by Sigmund Freud

8.  Sexuality and The Psychology of Love by Sigmund Freud

9.  Three Essays on the Theory of Sexuality (Basic Books Classics) by Sigmund Freud

10.  On Dreams by Sigmund Freud

11.  Inhibitions, Symptoms and Anxiety (Standard Edition of the Complete Psychological Works of Sigmund Freud) by Sigmund Freud

12.  Letters of Sigmund Freud by Sigmund Freud

13.  Sigmund Freud Collected Papers (Collected Papers of Sigmund Freud) by Sigmund Freud

14.  Introductory Lectures on Psychoanalysis by Sigmund Freud

15.  The Psychopathology of Everyday Life (Penguin Classics) by Sigmund Freud

16.  The Freud/Jung Letters by Sigmund Freud

17.  The Complete Correspondence of Sigmund Freud and Ernest Jones, 1908-1939 by Sigmund Freud

18.  The Origins of Psycho-Analysis: Letters to Wilhelm Filess, Drafts and Notes, 1887-1902 by Sigmund Freud

19.  The Standard Edition of the Complete Psychological Works of Sigmund Freud ( 24 Volume set ) by Sigmund Freud

20.  Leonardo Da Vinci and a Memory of His Childhood (Freud, Sigmund, Works.) by Sigmund Freud

Project Location

I've decided on the location to set up the installation. At first I was thinking about having it in a hallway, with the voices moving away from the viewer down the hallway. I began to think that it might be more effective to leave the viewer at the bottom of the stairwell while the voices begin to "climb" the above them. I wandered the fine arts building for awhile looking for a good location, and found that the best (and most isolated) stairwell would be the stairs leading to the basement in FAC. I them decided where to place the speakers and which speakers will play with sounds and so on. I have these things listed in the sketch below. I was having a little trouble coming up with ten unique conversations to use, so I decided to cut it back to six. I may add more before it is finalized.


Just in case you can't read this...
Speaker 1,2,3
___________
One-2 Conversations, alternating and clashing*
-iPhone

Two-
2 Conversations, alternating and clashing
-iPod

Three-
2 Conversations, alternating and clashing
-iPod nano

*I would like the conversations to alternate at some points and mix at others, this way the viewer would not assume the two speakers are talking to each other.

Speaker 4,5,6
___________
Four-
First two conversations continued after walking away from viewer
second half of footsteps and conversations
-Zune

Five-
Second two conversations continued after walking away from viewer
second half of footsteps and conversations
-CD player

Six-
Third two conversations continued after walking away from viewer
second half of footsteps and conversations
-Sixth device ???

(All six conversations begin within a few seconds of each other
They each go from general chat to specific.
After about thirty seconds the viewer hears the sound of footsteps as if the voices are moving upstairs. The voices continue talking as they move upstairs.
The sound coming from the downstairs speakers begin to become quieter.
The audio stops downstairs and continues upstairs where the conversations left off.
The voices get quieter and the footsteps continue until they disappear completely. )

Impromptu Trip to Sky-Craft

I decided to drive down to Skycraft earlier today to pick up some parts of my installation. Lauren is right, it is an amazing store. I would have stayed there all day if I could, so many awesome things to play with. I focused mainly on buying quality speakers, I picked out a few different speaker models and had a guy who worked there try them out. I went with the speakers with the strongest sound, which were a bit larger then most, but I loved them. Great speakers, especially for three dollars a piece =) I asked them about the possibility of connecting the speakers directly to an ipod, but sadly no one knew how to go about doing it. If anyone knows a way to connect a speaker directly to an ipod and have to sounds play loudly please please let me know!! I bought a large amount of copper wire, as well as eight stereo plugs. I have some idea what to do, but I'm still a little new with these sort of things.
Also here is a list of the sound devices I have for the project so far.
If anyone needs to borrow one of them for their project let me know =)
*Ipod
*Iphone
*Zune
*Ipod nano
*Old CD player
I am typing out my 10 conversations now, so I will post a bit of that here soon.
Also a map of were I plan on having my speakers and the stairway I would like to use...

projection 1.4.6

this is my little workstation with all my speakers and a close up of the speakers that vibrate really well on my sound tests. and yesterday i went out and bought THE JACKET!!!!

Mashup and Canon

I was looking though the blog and realized I forgot to post my canon and mashup last week.Ahhh! So here they are...

Mash up

Canon

Nature Algorithm

There is a lake behind my apartment, and each day a group of turtles periodically move back and forth from one side of the lake to the other. They do this consistently all day, and are predictable enough that if you go outside at a particular time they will potentially always be in the same spot. I would like to make an algorithm based on their movement throughout the span of one day. Initially I would videotape their movement throughout the day, then speed the tape up so I could quickly see where they move and when. I find it interesting to make a sound algorithm involving turtles as they themselves do not have vocal cords and do not produce any sound, minus the periodic sniffing and gurgling noises. The sound involved would have to reflect the sounds they produce by interacting with the environment. As the turtles move around in the grass I will record the swishing sounds of the movement of grass, only amplified. The sounds will become louder once they enter the water. I would like to record the sound of their movement under water. The sounds will track the movement of multiple turtles, their tones will differ depending upon their size, since that would effect their impact the level of sound they produce.

Squirrel-gorithm!

Squirrels on campus: a naturally occurring phenomenon.
The algorithm will flow as follows:

Pitch: effected by the frequency of squirrel appearances in a given area; the higher the population of squirrels, the higher the pitch, etc.
Loudness: based on whether or not the squirrel is chattering about something; the more chatter, the louder the sound.
Panning: occurs if the squirrels are darting around the area in play, fight, or dodging that hawk; the longer this goes on, the faster the panning becomes.
Bass: bass is added if the squirrel has a nut; light at first, if multiple squirrels are eating then more bass will be added.

:)

Algorhythm Sound

My sound would be the rain since I I really enjoy the sound of it. The measurables that I would concentrate on are: the amount of rain that has fallen, the rate at which it is falling, and the direction of which it is falling.

For the amount of rain that has fallen I would use a steady tone which would change pitches depending on the amount of rain. The more rain that falls, the deeper the tone would become. A very fast rain like we get here in Florida would probably be a very high pitched tone.

The rate at which it is falling would be tap dancing shoes. The harder the rain is falling the faster the shoes would tap dance.

The direction of the rain would be a computer fan, straight up and down rain would be a slow blowing fan while horizontal rain would be a fan at full blast.

I'm not sure what this would sound like but it would be at least interesting to listen to for a few seconds.

situation, equation, sonic natural circumstance algorhythm

Deep in the ocean there are undersea mountain ranges caused by the motion of the tectonic plates. In some places the motion of the plates tears the oceanic crust, causing thin spots which occasionally break and spew magma. In other places underwater fissures form which release magma more steadily. These are hydrothermal vents, and they are much like geysers. These hydrothermal vents are rife with biological activity, since there are giant tube worms which use chemosynthesis to thrive off of hydrogen sulfide gas. There are other creatures which eat the worms.

For my naturally occurring circumstance I would chart these areas. For every giant worm I would increase the bass. Their length would determine wavelength. For each gigantic crab thriving off of them (gigantism is common in the deep sea for some reason amongst creatures that would be smaller in shallows) I would add beats. The tempo would be based on the rate of flow of the hot material coming out of the black smoker (as these hydrothermal vents are called).

algorithmication

i would use an algorithm for a specific wildlife area. each animal that passes the predeterminded area would have a different sound association based on whether they are predator or prey, on specific buisness or loitering. based on which direction they are proceeding they will have a pitch or frequency phase. animals interacting with one another will be signified through a sudden drop in frequency and those interacting negatively will have a sound generated by interference of microphone and speaker. the environment will be mapped with blips and beeps and contintuous tones based on running water, trees, bushes, etc. Precipitation would add various noises (white, pink, etc) over the other sounds to demonstrate that they cover the natural elements and most likely prevent animals from passing through.

Natural Algorithm

I wonder if it is possible to measure the sound of growth of a tree or plant. there are several methods of measurement which would come into play. I would measure the height of the tree for the tone (higher trees have lower tones. because the vibration would travel longer distance) sound could be collected from beneath or inside of the tree. forests could denote compositions and syncopation, grass or surrounding vegetation could provide extra noise as a base layer. I'd imagine the waveform itself would resemble a forest.

Algorithm Exercise

When considering patterns and mathematics in nature, my first thought turns to the chambered nautilus shell. The chambers within the shell follow the mathematical construct of the Fibonacci sequence(1, 1, 2, 3, 5, 8, 13, etc.). The sequence involves a series of numbers with each number equaling the sum of the two preceding numbers. When considering a sound piece that could incorporate this concept I would consider additive sound, where the piece may begin with one pitch, one sound that plays very softly. Perhaps the sound would be barely detectable. As the piece moves through the requisite "chambers", sounds begin to build and layer. The same pitch is laid over the first (as the first two numbers in the sequence are both one). Thus the sound is louder but the pitch is unaltered. Then the pitch representing 2 would build on top of the previous sounds. Perhaps the pitch is harmonic, perhaps not. I would think in the early stages of the performance, at least, the sounds would agree with each other. As the piece progresses, more intense sounds play to represent the exponential growth of the numbers as the sequence approaches infinity. We lose touch with the original sounds as they are obscured beneath ever louder and more insistent sound. I think the ultimate goal here is cacophony, a conglomeration of sound that overwhelms the audience member by the sheer number of additive sound bytes all playing at once. Theoretically, this piece could continue building for all eternity. But for the sake of my listener and my equipment, I would find some place to cut off the piece once it reached a satisfactorily crazy level (kind of like A Day in the Life by the Beatles, minus the Apple startup sound. Or maybe with it. How cheeky).

And if either Wes or Marlowe writes about this, they're copying :P

Nature Algorithm Brainstorm

Natural processes: plants growing, leaves falling, wind, rain, snow, earthquakes and other natural disasters, lightning, animals (birds, flies, bees, frogs).

I'm interested in the rate of leaves falling, and would like to use this as the basis for my algorithm. There is a natural order of how and when the leaves fall in the year. During the year, leaves will fall randomly. However, around fall, the leaves on the trees die and fall off at an exponential rate. I would want to translate this into sound. Most of the year, there would be a steady rate, but during one part of the year, it would be really heavy. I envision this as getting louder. The main part of the piece would be the volume differences. During the fall, the sounds would be overwhelming and all-encompassing. Then, once winter hits, there would be an eerie silence where no leaves are falling. It would then again progress to a low roar through the rest of the year. There would be intermittent times when storm, such as a hurricane or something, would force more leaves off the trees than normal. With these irregular storms, I would also like to change the pitch, depending on the force of the wind, in addition to the loudness increasing. This would create moments of unexpected and overwhelming sounds.

Collection of really hi-res images of books

So many topics!

Project One Reconfiguration

Ok. Here goes.

Project One has undergone something of a makeover. As a refresher, the general theme behind my sound explorations has been language barriers and the obvious discomfort they produce. Few things will make one feel more alienated than the inability to communicate. My original concept sought to explore this sense of isolation by surrounding and overwhelming the audience member with a plethora of speech in various languages. I would assume to be working with an English speaking subject and the phrases would be indiscernible to him. The spoken languages would be layered to produce an overwhelming feeling in the audience.

The project now will involve found footage rather than video or audio captured by me. Specifically, I plan to use famous scenes and lines from well-known films. I'm not necessarily focusing on cliche, simply moments in film that are generally well-known. These will be displayed in a cut-up montage. The catch is the films are all recorded in English, so on the visual display, one may see the mouths move in accord with the English language. The audio will feature a language such as French or Spanish, dubbed over the English footage. Subtitles will also be present, in a language different from the one dubbed. There will be three languages presented in all. I want to explore the disconnect the audience feels when experiencing a familiar moment with unfamiliar language. Obviously, the barriers will cause some discomfort as the audience member will not be able to understand the languages spoken or displayed. I'm interested whether the language barriers interfere with the interpretation of the scene. Does the audience member even recognize the moment? Does he interpret the scene in the same manner? I want my audience to feel overwhelmed, confused, and frustrated. I think I'll keep the set-up simple, a dark room with a projection like a movie theater. Most likely I'll utilize the presentation room in the studio.

Oh and here's the mash-up. There may or may not have been some appropriation involved...

Mashup


And my canon essentially exploded last night. I'll try to redo it. Will keep you all posted (since I know you're all waiting in dire anticipation for its release).

Reading Response Awesomeness

In your own words, how is Keith Obadike's piece, Sexmachines, a portrait of two/three artists?

Obadike’s Sexmachines could be considered a portrait of two artists as it utilizes and draws inspiration from the work of Nam June Paik and James Brown. Obadike attempted to emulate an organic quality recognized in Paik’s work. He also incorporated more mechanical sounds and rhythms, referencing the tight riffs of Brown. Sexmachines serves as an integration of style and emphasis, a hybrid of organic and mechanical that alludes to the styles of the inspiration. Utlimately, all three artists emphasized and explored the role of desire in the human psyche and in avant-garde artmaking. Each artist attempted to create a synthesis between technology, art, and pleasure. Not only does Obadike create a piece that combines the diverse influences of Paik and Brown (and thus pays homage to each of them), he designs a work that expresses the collective goals of the group. He also attempts to simulate the sense of “playful seriousness” evident in the works of Paik and Brown.


What sounds would you use to create a sonic portrait of yourself?

A rushing wind would be an appropriate sound for my sonic portrait. I am often described as a whirlwind, a flurry of activity that blows through and sometimes leaves innocent bystanders disoriented. A prolonged buzzing would also be fitting as I tend to be chatty. Maybe an awesome guitar riff could be thrown in somewhere (the solo from Pink Floyds’s Comfortably Numb).

Describe Korot's and Reich's relationship to technology.

Korot and Riech embrace, rather than reject, sophisticated audio and video technology. The artists enjoy the advanced machinery used to create Three Tales because they recognize these devices as part of our modern culture. In order to make a commentary on technology, the artists felt they needed a thorough understanding of the technology facing critique.


For you, what makes a work of art, poetic? Is Three Tales poetic? Explain.

I tend to associate poetry with meaning and content. The piece does not exist simply to exist (the concept of art for art's sake). An attempt at commentary and observation is made, be it societal, psychological, historical, etc. Poetry takes a stance and expresses its evaluation of a particular concept, idea, norm, or what have you. Three Tales can be considered a form of poetry; it offers us two artists' interpretation of the 20th century and what iconic events typify that century. The choices made in the realm of both audio and video, what sounds and imagery to include, reflect a desire to create a commentary on the time referenced and the moments of human significance that most directly define the era.

The article in Sound Unbound discusses Korot's and Reich's process for the creation of Three Tales. Please summarize what you perceive to be their process. What if anything can you take to inform your own process?

Reich and Korot defined iconic moments and events in the 20th century that define the massive advance in technological innovation. Specifically, they selected the Hindenberg explosion ("the end of a failed technology"), the atom bomb tests on the island of Bikini ("the emblematic technology of the century"), and the sheep clone Dolly (technology "pointing to what life might be like for the rest of the twenty-first century"). These significant cornerstones were utilized to create something of a map of the 20th century, representing the beginning, middle, and end of an era and the technologies that accompanied the shifts in time. Korot was responsible for the visual element of the piece, selecting video clips of the events themselves and other visual media relevant to the events. Reich handled the audio for the work, creating lyrical connections between what the displayed video. What can I take for my own process? Research, research, research.


How is the sound in MSU sculptural?

The MSU functions as a physical, three-dimensional object, which may be the most basic definition of sculpture. The object itself is the means by which sound is retrieved and dispersed. Sound here also acts as sculpture; it defines space while simultaneously it is defined by that space. Sound is shaped and influenced by the audience's input, actively responding, shifting, and changing. In this manner, the resulting sound may be considered contrary to traditional sculpture; rather than a static object, it is continually in a state of flux.

Can you think of and tell me about instances where the noise of a situation is profoundly influenced by the space?

One specific moment that had a significant influence on me was within a French cathedral (surprise, surprise). I had the chance to attend a Mozart concert performed by a string quartet at the Sainte Chapelle in Paris. The music was beautiful on its own, but to hear it in that space was absolutely moving. The sound filled the space entirely so you almost felt you were floating in it. This is the blog post I wrote about the experience at the time:

Sight is not needed to get a sense of surroundings. Sound identifies space. Music fills the room, creeping into niches, caressing walls, traversing the expanse of ceiling before reverberating back toward the listener. As echoes fade, we “hear” the immensity of the room. Music acts as our eyes, creating an audio map of the space we inhabit.


What is a Boom painting?

The book defines a boom painting as " objects that interfuse the modernist painting tradition with the aural architectonics of black urban culture". The boom paintings make noise or possess some ability to make sound. Robinson creates color field paintings that function as "hearing field paintings". They are intended to be user-friendly, where any audience member is invited to act as DJ and spin the painting.

What is Nadine Robinson's relation to history?

Robinson explores the history of urban black culture, hip hop, and the role and function of the DJ. She considers her place in art history as a woman of color. She provides commentary on what she defines as the "obnoxiousness of modernism". She acts as a synthesis of the older vestiges of the modern movement (specifically in reference to painting) and the modern art of sound design. Yay for innovation.

work

Here is my round and mashed things.

In your won words, how is Keith Obadike's piece, Sexmachines, a portrait of two? three artists?
There are multiple sound sources and folding of sonic transience.

What sounds would you use to create a sonic portrait of yourself?
I would record the sounds of a hawk, and then I would manipulate said sounds to the rhythm of The Final Countdown by Europe.

Scroll down and listen to the excerpts from Bikini and Dolly.
The song Bikini was very choral sounding. If it was supposed to have a video, the video doesn't work.
Dolly was about cloning: "they removed the nucleus from the egg. no genes in it at all" and there were bell sounds in the background that cloned.

For you, what makes a work of art, poetic? Is Three Tales poetic? Explain.
I really thought that in the video the way that the workers moved in Hindenberg, when set to music and taken from their contexts, was like dancing. That is poetic, when a moment from life pointed out to be more than it is.

The article in Sound Unbound discusses Korot's and Reich's process for the creation of Three Tales. Please summarize what you perceive to be their process. What if anything can you take to inform your own process?

Three Tales by Steve Korot and Beryl Korot references the industrial age's crash of the Hindenburg zeppelin over Lakehurst, New Jersey in 1937; the atomic age's introduction of hydrogen bomb testing on Bikini Atoll in 1947 (which displaced 167 native inhabitants from the island that is still, to this day, uninhabitable); and the genomic age's infamous cloning of Dolly the Scottish sheep. And they sample interviews with people about their faith.

MOBILE SOUND UNIT :Look and listen to the mobile sound unit http://www.soundlab.org/MSU.html

How is the sound in MSU sculptural?
Well the Mobile Stealth Unit is in itself sculptural, and the sound comes out from all directions of it. Therefore this sound bouncing around the space in which the Stealth Unit resides would be sculptural.

Can you think of and tell me about instances where the noise of a situation is profoundly influences by the space?
The influences profoundly situations a space when bouncing. For example, changing the mood. And furthermore, the soundtrack.

Google nadine robinson .mp3 and click on second link that starts with ping http:// This opens iTunes and puts you into the free High Museum podcast. Scrool down and listen to Nadine Robinson (3' 10").
Nadine Robinson is of Caribbean descent. One of her first art project (7th grade) was a pencil drawing of Martin Luther King. She has relatives who are DJs and such. Sound systems could draw people together, paint a place as what it could be. She discusses the repression of the children by fire hoses in the park, where they were protesting segregation. I really like the way she speaks. She's awesome.

What is a Boom painting?
"-objects that interfuse the modernist painting tradition with the aural architectonics of black urban culture"

What is Nadine Robinson's relation to history? There are a couple of ways that you can interpret this.
She references the bible. The bible is one mythological flavor of history.

Bad Case of "the Mondays"

Keith Obadike
This work is apparently influenced somewhat seriously by James brown and Nam June Paik. It is a recording of sex toys and a recomposition of their timing. I think he was trying to reinvent his approach to sexuality and machine, to make machine seem natural or for natural purpose. His two influences do just that. I am sure that sound can be used for portraiture but I can think of no way to make it not obviously literal.

Three Tales
Korot's and Reich's relationship to technology steams back to earlier experiments they both took to try and push their artwork with the use of technology they have been working with it for a long time. Poetic artwork is simply work that creatively expresses an idea or theme. to that end Three Tales is poetic. it chronicles technology's role throughout stages of history without being a simple historical representation. it as a peice has more to say.

Moble Stealth Unit
This is a schuptural work because the work canges depending on the room or space it is located in the work creates new meaning for each different space. there are many situation where the noise will be influenced by the space the best example I can think of is reverb. the echoing continuation of sound, lenghtening and distorting a sound simply because it has so much space.

Nadine Robinson
a boom painting is a fusion of modernist painting with sounds of black urban culture. The term is from "Boom Boxes." Robinson seems very interested in her place in art history, especially as a black woman. She is constantly referenceing and trying to improve painting and art movements.

i'd like everyone to respond please

projection 1.4.5 and hearing test

Please please please respond and let me know which tones you can't hear if any. Use headphones or your computer speakers.
Frequency:
30
40
50
60
70
80
90
100
16000
17000
18000
19000

Reading Questions

In your own words, how is Keith Obadike's piece, Sexmachines, a portrait of two? three artists?
It is mentioned early on in the article that Keith Obadike believed the work of Nam Jun Paik and James Brown attempted to make the mechanical seem organic. It also mentions that Keith himself wanted to find an organic sound in electronic instruments, give these instruments new texture and sound. It seemed like he had Paik's "Sextronique" and James Brown's "Sex Machine" in mind when he created his piece. Sexmachines shows the possibility of art and sexuality coming together, as well as the idea of giving texture and an organic sound to mechanical sex toys.

What sounds would you use to create a sonic portrait of yourself?
Various types of jingling bells. Doors being slammed repeatedly. Eternal humming. Periodical screeching noises.I'd assume there would also be the sounds made by a cat or two.

Describe Korot's and Reich's relationship to technology. 
When asked in the article if the views and themes in Three Tales were meant to show them as being anti-technology they said no. They didn't create the piece to show their particular view of technology, but to show the variation in views that others have had over the years. Both Hindenburg and Bikini show a failures and negative side effects of technology. Dolly shows the potential future technology may take. They chose to illustrate three very different types of technology in their piece. I believe this shows that they are aware of the wide spectrum of possibilities of technology.

For you, what makes a work of art, poetic? Is Three Tales poetic? Explain.
I believe the piece must be abstract and metaphorical, and it's goal needs to be to evoke some sort of emotion in the viewer. Any piece that involves a build up of drama would be poetic, as it is going to effect the viewer in some way. Three Tales seems to have this sort of build up, the sounds and rhythms begin to get more complex the further you get into the piece. In addition the imagery also gets more complex and diverse. They chose three topics that will instantly bring about emotion in the viewer. Each theme could controversial and thought provoking to many.

The article in Sound Unbound discusses Korot's and Reich's process for the creation of Three Tales. Please summarize what you perceive to be their process. What if anything can you take to inform your own process?
They begin in saying that the idea of the hindenburg and the bikini came to them quickly. The concept ideas were not at all random. They looked specifically into both disasters, the imagery related to them "The image of an enormous hydrogen-filled zeppelin, with huge swastikas o its tail fins..." and their place in history "Hiroshima and Nagasaki seemed overly well documented...". When choosing the third portion they seemed to be walking the fine line between getting their point across while not seeming too heavy handed by showing too many disaster scenes. They did a lot of research into their topic, which is something I attempt to do with each piece.

(more coming soon)

Project 1 updates / Readings and Questions:

Project 1 Updates:

After meeting to discuss my project and ideas, I feel as if I have a much more congealed set of ideas floating around in my head. Ok, so the project still consists of communication, but it will have three different parts, consisting of loss of communication, atrophy, and then a regenerative type of growth and personal strength that forms from this atrophy and is a sort of rebirth in a sense. I am working with personal memories, text, and voice which I have partially recorded and will opverlay with sounds I associate with tensions and tribulations that I have experienced. One idea which I will incorporate is the use of a male voice, as well as my own, but my voice will be as if it were inside of my head, like I am speaking to myself. I have been experimenting in different spaces to create this sound and collect my data. Visually, I would like there to be a set of ipods with just the track on it, and a haiku which is deriveed from an algorithm or maybe just certain phrases from the text which i choose to represent poetically this regeneration and growth. I was also going to work in some of my own personal text etc., and maybe adapt an algorithm to these. I am working off of emotions and hope to provoke a sense of emotional state in the listener. The point is not for them to asociate with my memories, but to have the sound draw them into their own states of memory. If anyone has any suggestions they would be greatly appreciated. Thanks! My sound mash up and cannon are soon to follow.





1. In your own words, how is Kieth Obadike's piece, Sexmachines, a portrait of two? Three artists?

Well, I feel that Kieth's piece, Sexmachines, is a portrait of two artists in the fact that he is drawing both from Paik and from Brown as inspiration for his own work. So he is sampling from both artists ideas about pleasure, art, and technology, looking at how these precursors have used sound and for what reasons and what there goals were; as well as looking into where and how these two intersect. He is also looking at how the organic is made mechanical and vise versa. Add in Obadike and the portrait becomes of all three, Obadike, Brown, and Paik.

2. What sounds would you use to create a sonic portrait of yourself?

I would use language, spoken word manipulated to represent myself, because i am an advocate on communication, but also because i use this sort of communication above all other forms, in most cases in order to communicate. I would also use sounds that i hear often, for instance sounds that i hear everyday, even other people's voices, in order to map out instances of communication that surround me all of the time.

3. Describe Korot's and Reich's relationship to technology.

The ideas that I saw presented in this film of video and sound, were very process driven, just as the "Dolly" excerpt and the "Bikini" exceprt. I find it a very technical sound performance due to it's repetitousness of pings, and just the firm, rigid, and solid sound that is coupled with this specific video. By specific , I am referring to the rigidity, and the idea of counting, as in playing a musical instrument. Each sound had connected a visual image, and the images connected with these sounds played at specific intervals throughout the piece. It seems very machine-like and mechanical in performance, just as the subject matter, of the Hindenburg and the culture of Nazi Germany was very much the same in this mechanical sense.

4. For you, what makes a work of art poetic? Is Three Tales poetic? Explain.

What makes a work of art poetic is how that work of art moves me. for example, this can be through sound, spatial experience, touch, color. It has to do with that part of the peice that i identify with and that touches me; the part that speaks to me, and sometimes this is a combination of all, and sometimes just only one instanc eof the afore mentioned. I think with music, i associate with the rythm, the beat, and the intermix of high and low tones. Not even words, but the way that the piece moves me is enough, I odn't need words, it's the emotions that I am going from. Three tales is poetic. I feel this way because there is a narrative in each seperate piece. I think that correlation between these narratives is technology, and i think that by linking them together with this common thread, it makes Three Tales that much more poetic. I feel as if the sound captured as well, is highlighting a sense of emotion and reflection, which to me is very poetic.

5. Please summarize what you perceive to be their process (Three Tales). What if anything can you take to inform your own process?

I feel as if the process they are working with is concerned about time and place. There is talk in the excerpt about the right time within the right cintext, and i htink that they are looking at technology in it's different states throughout time to identify with this idea. There are failures and then also successes, and these are correlkating to exact amount of technology and advancements inidcative of a certain context in time. Also, they work with htis idea of sllwing down sound and then also combining sound with thetre and opera. I think that the slowing down of sound and using this as an underlay of harmony for the piece is important, in that it speaks to the ideas and power opf the spoken word, and also the idea mentioned earlier of the right technology in the right context, and this need to re-evaluate where we are and make the appropriuate advancements at the appropriate time. They also work with freeze-frame in film, which i feel almost makes that context, or that instant which they are referring to in the piece almost transcend time, it stand still also, and there is this somewehat technological plateau which is developed and can then be evaluated. It seems very mechanical even conceptually.I like how they sample sound from video, theatre, and opera, as well as imagery. These are our visual memories and sounds that contain information of the senses, and i feel as if that is one of the points that they are making, although not directly. I feel that with my own work and this project that i am working towards a finale of somewhat the same claiber, in that i want the sound icreate to emulate an experience and then as well to transcend and touch the other listeners in turn by reflection and this unwritten connection that correlates with emotions or memories they have. Also, I think that these different layers add a sort of complexity to the piece, and I myself am working with layering.

6. How is the sound in MSU sculptural?

I feel that the sound in MSU is sculptural in the fact that the unit itself is a sculpture, a physical entity used in capturing, retrieving, and then the playback of sound; but I also think that the MSU is sculptural virtually, in that it allows the physical user to actually move around and retrieve this sound in realtime space. The viewer then can be either the physical driver, or an independent being which is watching from the interent, but this viewer is still experiencing this idea of space, and the void as well as objects within these spaces. This to me is very sculptural, and the sound itself moving over the objects and the space are creating a virtual sculpture of sound.

7. Can you think of and tell me about instances where the noise of a situation is profoundly influenced by the space?

One of the first instances that comes to mind is a theatre, due to the acoustical panels and the way that sound is manipulated by bouncing off of this type of architecture. another, is in a gymnasium, due to the flooring and the height of the ceiling. also, a stadium of any sort. The coloseum in Rome.....

8. What is a boom painting?

According to Sound Unbound, a boom painting "...incorporates objects that interfuse the modernist painting tradition with the aural architechtonics of black urban culture." Nadine Robinson "...applies "sampling" to art historical concerns, in the process bringing into relief what she perceives to be the imperfections of modernist art practice, and highlighting what she deems the greater promise of aesthetics, which are informed by the cut and mix strategies of hip-hop and technoculture." I have not seen much of her work, but it alsmot comes off to me as a sort of visualization combining the two.

9. What is Nadine Robinson's relation to history?

I feel that her relation to history, lies in the fact of her sampling pieces of culture whether historical or present and combining these creating a new vernacular that everyone can understand. She is looking at correlations and where history and present may overlap. She is also working against the philosophers of modernism in that she is creating art ythat speaks to and of the everyday instead of holding it up above where it cannot be reached. Once again speaking a kind of vernacular. I also really am interested in her process of working with space as in architectural space as well as working with photographs. She talks too about the most inmportant part ofr her being the idea of layering and how all of that works together, and I look to issues such as these in my own work.

10.

mashup

my mash up

canon?

reading responses

How is Keith Obadike's piece, Sexmachines, a portrait of two? three artists?
Sexmachines derived strong influences from James Brown and Nam June Paik. Their work in similar subjects seems to have spurned Obadike on to make this work. It commemorates their ability to forsee a future in which technology and art and sexuality would meld. Here Obadike presents us with varying sounds generated by these sex machines. They play off of and into each other through repetitive vibration at random intervals.

What sounds would you use to create a sonic portrait of yourself?
I would probably use sounds generated from books and paper forms to create a portrait of myself. This is because I am always looking for more information and learning new things. I've always been an enthusiastic reader. Because of this information build up I have faceted my knowledge into many areas and I feel since books started it their multiple sounds could be the best way to express it: scratching, riping, folding, blowing on a tight edge, etc. would produce multiple sounds.

Three Tales
Describe Korot's and Reich's relationship to technology.
In this piece it appears that they want to appeal to breakthroughs in technology. They see both the negative and positive aspects of it. Reich's previous work for example dealt with tape loops and phasing and eventually making a live performance of a phased piece.

For you, what makes a work of art poetic? Is Three Tales poetic? Explain.
I think defining what makes art poetic is difficult. It mostly entails using a more emotional approach. And I would have to say that because Three Tales relies on intense sound composition (after listening to the clips) it could easily be called poetic. They are trying to start a dialogue about technology and the different views of advancement. Each part of Three Tales takes a different approach to this. One on failed technology, one on destructive technology, and the third on the impact of technology on our bodies. Here they rely on strong emotional relationships to be built among viewers.

The article in Sound Unbound discusses Korot's and Reich's process for the creation of Three Tales. Please summarize what you perceive to be their process. What if anything can you take to inform your own process?
I think Korot and Reich chose three high profile events relating to technology. Three events that could form different opinions on the advancement of technology. They went about compiling footage and composing sound for each act based on scientific research, theatrical influence, and a message to be transmitted.

Mobile Sound Unit
How is the sound of MSU sculptural?
The sound is sculptural because it relates directly to the presence of individuals in a room. As the room is filled the sound diminishes and as the room is emptied it gets louder. This also makes the individuals viewing the work sculptural. In this instance the sound is mapping the installation space, similar to dolphins using echolocation.

Can you think of and tell me about instances where the noise of a situation is profoundly influenced by the space?
Unless you're paying attention you won't notice that most noise is influenced by space. I will give some examples to show extreme difference. Imagine being in Grand Central Station in NYC. There are vaulted ceilings and hundreds and thousands of people pass through it on a daily basis. This means a lot of movement all done very quickly. When you stand still you can hear the echoes of all conversation and movement. The clack of high heels and rolly bags being pulled after individuals. It is easy to get lost in sound here because there is so much of it due to the large, open, echoing space. Conversely lets think of ourselves in an open space where there is strong wind continually blowing. We hear the wind. And that's about it. When we try to talk the wind whips the words away before they leave our mouths. Here there is only one noise because the space allows the noise to thrive by providing a wide open landscape where the wind can achieve high continuous speeds.

Nadine Robinson
What is Boom painting?
Boom paintings are paintings mixed with sound installations. Nadine executes this by allowing the speakers to be seen in the canvas.

What is Nadine Robinson's relation to history?
In Sound Unbound Nadine discussed her work in terms of her relationship to important events/culture for blacks. BBB uses a specific shade of blue that references Sugar Hill Records, the first hip hop label and found that the people who understood this color reference were Bronx school children.

Project update..

..not much of one. My idea has not changed over the weekend. My microphones should be coming in today or tomorrow and hopefully Mike's mini disc recorder will work for me. My only concern is how I'm going to find enough players, like iPods that since they can output 2 diff. tracks, to play the multiple tracks; also functioning speakers...but i may be able to find some at the junkyard - its just not guaranteed to find working ones there.

Any tips?

Edit: Linky to my first post about the project :) Here!

Building Closure Questionaire!

In your won words, how is Keith Obadike's piece, Sexmachines, a portrait of two? three artists?
All three reference the future of technology with regard to a mass sexual revolution. Keith was inspired by Paik and Brown, referencing them when he took actual sex machines/ toys and used the sound they emitted for his composition.

What sounds would you use to create a sonic portrait of yourself?
Hmm, not sure, might depend on my mood. Random assortments of noises/ sound effects that should accompany silly moments of the day. Hum of my laptop on its cooling pad.

Three Tales:
Describe Korot's and Reich's relationship to technology
Reich's video includes video and silhouettes that refer to advancements in technology seen of the years and people interacting with these examples as well as tools; aircrafts, steel high-rises. At first it seems to be a neutral comment on technology, but the ending scene may suggest otherwise from a biases opinion. The music or sounds doesn't seem threatening. Karot's clips suggest a more negative tone; advanced technology vs a small island community and creates even more of an impact when referencing Dolly, the controversial sheep.

For you, what makes a work of art, poetic? Is Three Tales poetic? Explain.
To be poetic a piece can be lyrical in either a sound or aesthetic way. Something that makes me think and consider different meanings from the same piece (but not so many that it just becomes a convoluted statement). I suppose the Three Tales is poetic; I feel that by itself the Nibelung Zeppelin video was poetic, each piece did make me consider different interpretations.

The article in Sound Unbound discusses Korot's and Reich's process for the creation of Three Tales. Please summarize what you perceive to be their process. What if anything can you take to inform your own process?
Watch major disasters on film, especially if these involved failed technology, don't forget other negative forms of tech: war and bombs, enjoy researching ancient forms of technology like the hand loom and considered the "double-edge sword" of gains and losses in the field of technology; tie in human meddling with science to the bible/ religion.
More research, for me, would be helpful.

How is the sound in MSU sculptural?
Can you think of and tell me about instances where the noise of a situation is profoundly influences by the space?
Simply listening to the MSU unit's sounds (from the first link) I am not sure if I would consider the sounds sculptural. After I read about what the sculpture does exactly, I would agree that the sound emitted is sculptural. Sculptural sounds shape a place but is in turn influenced by it. A favorite of mine is also from Paris: inside Sacre Coeur basilica.
Echo may have a lot to do with it.
Pink noise just sounds like static to me...with fade ins/outs.

Nadine Robinson:
What is a Boom painting?
A self-portrait, in Nadine's case, that is more created with sound than any other material objects.

What is Nadine Robinson's relation to history? There are a couple of ways that you can interpret this.
She uses historical figures and events that she considers as having a similar voice to her, in terms of their ideals, as her influence as well as the inspiration for her pieces. She references Dr. Martin Luther King and Jamaican musicians, segregation protests and authoritative repression.

Canon Mashing

Canon

Mash Up

hopefully I got the right definition of a canon :)

Mash up, canon and more

Here is my finished mash up...

In your won words, how is Keith Obadike's piece, Sexmachines, a portrait of two? three artists?

There are two very distinct sounds in there, and the combining of the two almost creates a third. There is a bell, a very fast thumping sound and a third which is hard to discern. The to distinct sounds could be considered two different people coming to together in an act. The two sounds representations of how different people have different personalities.

What sounds would you use to create a sonic portrait of yourself?

I would use a revving car engine and or crashing waves. The car would be the more aggressive side of me and the waves would be the passive side.

Describe Korot's and Reich's relationship to technology.

They both use technology but in different ways. Korot is more interested in using technology to aid in the creation of art while Reich seems to rely on traditional acoustic instruments with coordination to create his compositions. Korot is a video artist who likes to use technology o supplement his concepts. Reich does not use technology as extensively. In Three Tales they use technology to create the work but it displays the extreme downsides to scientific advancement. There seems to be a love-hate relationship there.

For you, what makes a work of art, poetic? Is Three Tales poetic? Explain.

For me, when I read a poem they are often very metaphorical and non literal. They encourage critical thinking and are often open ended in interpretation. I think the same could be said for artwork. There are pieces that need to be literal but most art is not, and that makes it poetic. It often the search for the meaning that makes it poetic and good art has that. Three Tales is poetic because it is a metaphoric look on a very intense subject. It clearly has a build up that creates a more narrative feel than most art but that is not a bad thing here.

The article in Sound Unbound discusses Korot's and Reich's process for the creation of Three Tales. Please summarize what you perceive to be their process. What if anything can you take to inform your own process?

I need to read this article more closely, will edit when once I do.

How is the sound in MSU sculptural?

Can you think of and tell me about instances where the noise of a situation is profoundly influences by the space?

The MSU is sculptural because it has the power to over take a space, much like a good sculpture can. It does so with sound and not so much presence which in some ways can fill a room better than something static. The MSu can also take over a space visually because it is not a common sight. It looks like a mad scientist machine but that aides in it being a sculpture in visually and auditorally. In a large public space, such as the capital building in Washington where the ceilings are very high and smooth, the sound of people bounce around to where someone hundreds of feet from you can sound like they are right next to you. This was the one example that came to me first but any space can be influenced by sound to some degree.

What is a Boom painting?

What is Nadine Robinson's relation to history? There are a couple of ways that you can interpret this.

Boom painting is painting that has sound included with it. Robinson wants to blur the lines between mediums to create a completely new experience for people to see. Her place in history would be on the cutting edge of manipulating mediums and fusing them together. I haven't heard of any other artist trying to do what she does so she is definitely trying something new. Also her content is history so it is nice contrast that she is pioneering something while using something that as already happened to supplement her process.

Project development

I haven't posted about his idea yet but it is probably the one I will be going with. It will have an environmental theme to it and use sound to evoke thoughts from the viewer. The catch is that there will also be a visual element to the piece that will be projected. I am not sure if it will be on three walls or just one because the sounds may compete with one another. An example of what I want to do would be to play sounds of waves crashing at the beach. Using after effects I will take this sound and use it to reveal parts of an image that will be projected. The imagery will not be of the mind's vision of the perfect beach however. It will be of an environmental disaster like an oil spill washing ashore. I do not want the imagery to over take the sound so whatever is displayed will be somewhat subtle. I would also like for the sound to completely overtake the room, so some form of surround sound may need to be used. Hopefully we cover this on Wed. I may stick with an all ocean theme since we are in Florida and are familiar with it over a more general cliche sweeping environment theme. This work would comment on the mind's expectation of a sound and the imagery that it expects to see when that sound is heard, but with an environmental twist. This contradiction of hearing and seeing is often not seen in the real world and I think using it in this set up lends it self to the theme.

Here are a few ideas for the imagery based on the sound:
Right-click, save as, may work better
One
Two
Three
Four

Monday 22

THREE TALES
In your own words, how is Keith Obadike's piece, Sexmachines, a portrait of two? three artists?

I hear independent sounds that could represent separate personalities. When mashed together, something humanistic happens. I guess I go straight to anatomic innuendos.

What sounds would you use to create a sonic portrait of yourself?
Nails on a chalkboard, fork on a frying pan and the sound of an air conditioner.

Describe Korot's and Reich's relationship to technology.
Karot seems to be a pioneer in the advancement of technology for art - multiple-channel video in the 80's. Reich takes more of a crafty approach to technology; finding ways to create from his surroundings - violin as violin.

For you, what makes a work of art, poetic? Is Three Tales poetic? Explain.
To be poetic is more of an aesthetic for me. It involves simple connections that make me say...ahhh, ok. Three Tales is poetic. The snapshots of voices allow me to make connections to the overall sound. The live ensemble adds to the dramatic effect. For me, drama lends to the poetic aesthetic.

The article in Sound Unbound discusses Korot's and Reich's process for the creation of Three Tales. Please summarize what you perceive to be their process. What if anything can you take to inform your own process?
Simple. Video interviews and recorded music. The difficult part is how they used the simple process. The final outcome is articulate and well executed. I wish I could be more controlled in my process. I will strive to design smarter and keep it simple, while producing well executed solutions.

MOBILE SOUND

How is the sound in MSU sculptural?
The sound is dependent on its physical container

Can you think of and tell me about instances where the noise of a situation is profoundly influences by the space?
Hallway noise - more objects, less echo
Outdoor siren - time + sound
Multi level Mall - one sound/noise overpowering another

NADINE ROBINSON
What is a Boom painting?
Sonic art that acts as a painting...

What is Nadine Robinson's relation to history?
She uses history as content for concept.

Mash UP + Canon Sounds

mash up
canon

Mash-Up and Canon

Sound mash-up

9/22 Responses

In your own words, how is Keith Obadike's piece, Sexmachines, a portrait of two? three artists?

Obadike uses this piece to incorporate the Godfather of Video (Nam June Paik) and the Godfather of Soul (James Brown) to represent his vision of what sexuality means today. He uses sex toys to create this piece, but in turn is honoring the artists I just mentioned. It is the "intersection of pleasure, art, and technology."

What sounds would you use to create a sonic portrait of yourself?

The sounds of buzzing bees would be incorporated in my sonic portrait to imply my busy-ness. It seems as though I am constantly moving and constantly working. At the same time, I would need some sort of monotonous sound, like a babbling brook or something, to portray some laziness that tends to happen. I would also need electronic sounds, perhaps video game noises to represent my interests. As well as cats. I need a meow or two in there :-)

Describe Korot's and Reich's relationship to technology.
Korot and Reich are interested in the modern aspect of technology juxtaposed against something not technological, or more mechanical.

For you, what makes a work of art, poetic? Is Three Tales poetic? Explain.
I think there is a certain aesthetic that goes with poecy, and I am not quite sure how I could describe it personally. It is a pretty broad definition in my head. Nevertheless, I do find Three Tales poetic in its own way. It is both pleasant and disturbing, using sounds from the atomic bomb test explosions and stuff.

The article in Sound Unbound discusses Korot's and Reich's process for the creation of Three Tales. Please summarize what you perceive to be their process. What if anything can you take to inform your own process?

Korot and Reich took significant technological events from the past century and incorporated them with other elements. Also, the technology shifts and the sounds with which they use to represent each change throughout the piece. I like how they use these shifts to influence their process. They are able to use historical and revolutionary events in our advances to create a work of art.

How is the sound in MSU sculptural?

The sound in MSU (or Pink Noise) is sculptural in its own way. As you listen to it, it builds in your ear. You begin to hear different depths of the noise, trying to find meaning and rhythm within it. As you listen, it builds and forms around you, making it sculptural.

Can you think of and tell me about instances where the noise of a situation is profoundly influenced by the space?

One local example that I can think of involves the building Keene-Flint. The floors of this University building are all made of wood, and the entire hall echoes whenever you make a noise. I find myself incredibly aware of my movements, especially when walking. I try very hard to make as little sound as possible.

What is a Boom painting?
Boom was first meant to represent a slang term for the type of painting she was creating: small and portable. But since "boom" is usually thought of to coincide with sound, her paintings have the capacity to make sound.

What is Nadine Robinson's relation to history? There are a couple of ways that you can interpret this.

Nadine Robinson is interested in herself having a place in art history. She uses history as a reference in her works. She is not interested in the stereotypical "woman of color in modernism" label in the history books, but wants to be known for pushing modernism in unexpected ways.

Monday Assignments Part 2

In your own words, how is Keith Obadike's piece, Sexmachines, a portrait of two? three artists?

Even though he didn't directly sample from Nam June Paik or James Brown, he was directly influenced by their Pleasure-Art-Technology work and channeled their ideas into his own piece by using toys which communicated a similiar message about machines and sex.

What sounds would you use to create a sonic portrait of yourself?

My sonic portrait would be composed of the sounds I make subconsciously, like the sound of my feet walking or my fingers typing, sounds that you don't usually think about making, you just do. I talk a lot too, so there would probably be a lot of that in my sonic portrait.

Describe Korot's and Reich's relationship to technology.

They embrace technology and keep themselves well balanced with anti-technology work as well (like acoustic compositions). They say 'ask someone who knows about the topic to tell you the good and the bad', and that's what they are, artists who know how to use technology and talk about it in a more rounded dialogue.

For you, what makes a work of art, poetic? Is Three Tales poetic? Explain.

I think an abstraction of an idea makes a piece of art poetic, when it isn't directly written out for the viewer, but it encourages the viewer/reader/listener to interpret the meaning through their own experience. I do think Three Tales is poetic because the message of the piece is interpreted through the viewer and not directly specified, but it also invokes an emotional response through its composition. I liked it, especially the Nibelung Zeppelin video.

The article in Sound Unbound discusses Korot's and Reich's process for the creation of Three Tales. Please summarize what you perceive to be their process. What if anything can you take to inform your own process?

They certainly start with a few ideas and then combine them and edit them. Since their theme was the twentieth century, they focused on the rapid evolution of technology. They chose disasters, but also wanted a more human, biological input, so added the cloning of Dolly. They collaborated and talked out their ideas until they narrowed it all down to what they wanted to talk about and how they would do it. In regards to my own process, I like the idea of compiling a lot of possibilities and then editing them down until it's perfect.

How is the sound in MSU sculptural?
Can you think of and tell me about instances where the noise of a situation is profoundly influences by the space?

MSU is sculptural because pink noise is the name of the audio used to test the architectural-acoustic dimensions of a space. MSU charts space.

A situation where noise was profoundly influenced by the space: I was in a cathedral in Paris and there were people singing way high up on a balcony almost at the height of the impossibly tall ceiling, the singers were hidden from view by the onlookers (tourists like me) and the way their voices sounded in that large cathedral, coming from way up there, would not have sounded the same any where else but in that particular space.

Project 1 -Ben

I have yet to post about my project because I have been ruminating for some time. What I am planning on doing is finding some short range radio broadcaster thingies and setting them up on opposite sides of the room and have some radio receiver headphones for the viewer to wear. as viewer explored the space they would pick up different noises depending on what radio transmitter they are closest to. The content I am making is about the invisible information, what people pick up through noise. this content reflects on the process in which it is presented. I would rather not explain my full intent because I do not want to spoil the effect.

Monday Assignments Part 1

Project One Update:

- Previously I stated that my idea was to have a bookshelf filled the books, and the sound coming from the bookshelf would be all the books being read out loud at once.
- After talking about my project last week, the idea remained the same but the methods changed slightly. Rather than actual books, I plan to just have a 2D picture of books all lined up next to each other, which would allow me to make holes for buttons (to play sound) as well as mount speakers more easily behind the books (the 2D picture).


-And rather than just one sound (all of the books being read at once), now I plan to allow more interactivity. Buttons will allow the viewer to gradually build up the number of books being read. Each time a button is pushed, more audio is added, pushed again and the audio is subtracted. If all sounds are playing at once, the original affect will take place: a cacophony of written text all being read at the same time, causing the deconstruction of the words into sounds by overlapping them.
- As suggested, I've thought of a theme for my book choices. At the moment, I'd like to juxtapose psychoanalytic text, dealing with the struggle of the Ego and the Id, with the way the sounds overlap, battling for precedence. I have a strong fascination in psychoanalytic theories ( I used to be a psych major) and I would like to explore and experiment with how those ideas work with art making. I think it will be a valuable experience to mix psychological concepts with overwhelming sound.

also this is neat

http://greyhoos.blogspot.com/2007_05_01_archive.html

there's a giant speaker that people can go inside and do things.

this doesn't necessarily relate to my project, but maybe to one of you guys.