I written down the score on paper and then recorded it. Compared to the last project, this time I add more instruments such as drums and violins.
When I finished my melody, I use the recorder to record the sound around me. Because of the lockdown, I couldn’t go everywhere, so I just recorded the sound outside the window. However, in the first project, I also recorded the ambient sound outside the window at home. Compared with the recording this time, I thought that there were the same. That’s all that happens in front of my window every day. I can’t find the new voice. But finally, I solved this problem I added my own voice.
Diffused Long Cascades
Downwards
I used new software– Ableton, and I put recorded sound clips into it. Then I added the echo Audio Effect. I tried two different effects of the echo Audio Effect and finally chose the Downwards.
– Above are some drafts of my work on this topic. The Ouroboros is not only my inspiration but also the structure of my whole sound piece. Ouroboros is the form of the finishing snake, end to end, which means endless. I also want to make the structure in this way, which means continuation and it has its own way of circulating independently. This just like anima can not be created and can not be destroyed，It’s something that exists on its own.
– When I doing some research, I found that Norman, a psychologist, gave a meaning of Ouroboros which was called “pre-ego”. I got 2 explanations of ‘pre-ego” when I put this word in sound art. The first meaning is the sound you hear when you are unconscious, or when you are not conscious. The second is the sound heard in the womb.
– The sound heard in the womb: prenatal education music. Many people like to listen to Mozart’s music as fetal music. Most of Mozart’s music was fluid and cheerful. Mozart’s musical creation perfectly embodies Goethe’s thinking that “Art is nature and nature is art”.
– “Art is nature and nature is art”：When I close my eyes, I can hear the sound of the wind, dogs barking, people talking… These are all-natural sounds.
Sung Tieu (*1987 in Vietnam, lives and works in Berlin and London) studied at the Hochschule für Bildende Künste in Hamburg and at the Royal Academy of Arts in London. Tieu is a winner of the ars viva Prize for Visual Arts 2020.
Tieu’s practice; placing her work against the backdrop of bureaucratic power structures, global capitalism, the psychological effects of sound, and the legacies of the Cold War.
In Cold Print comprises of a newly conceived installation, including sound, texts, sculptures and architectural interventions. Tieu’s new body of work continues her ongoing investigation into the psychological dimension of warfare, acoustic weaponry and its relationship to Cold War ideologies.
At the heart of the exhibition, Tieu’s new soundscape manipulates material related to the so-called “Havana Syndrome”. First reported in late 2016 by US embassy staff posted in Cuba, it manifested in unexplained disorders and brain injuries resembling concussions, and was believed to be caused by a sound weapon. Spurring a multitude of theories, the US considered this to be a politically targeted attack. The Cuban government denies such accusations.
The exhibition space is dominated and divided by a maze of steel fences and concrete pillars. Within it, large vertical display screens showcase newspaper spreads, a continuation of the artist’s Newspaper 1969 – ongoing series. Acting as information agents, they reveal the complexity of the research material and the manipulated set up of the project, blurring the line between evidence, counter-evidence, science and conspiracy, while exploring how the dissemination of ideas can affect perception.
I was attracted by this project in her art exhibition. When I saw this work for the first time, I thought that I had heard someone say that listening to the music of the Baroque period can improve human memory (Lozanov’s music). Although this has been criticized as pseudoscience, I think music is a kind of frequency, and what happens when your brain waves align with the frequency of music… Of course, this is just my idea, I hope I can prove it myself later.
Later, I read the introduction to this project. It is a study of acoustic weaponry by Sung Tieu. Admittedly, acoustic weaponry will hurt your brain. When the sound frequency is too large to become ultrasonic when it will hurt people’s lives. I was impressed that Sung Tieu allowed himself to perform these sonic attacks and record the changes in the brain. It was striking to me that it was not just a work of art.
The name of our theme is “Anima” which is derived from Latin. At first, for some personal reason, I misread the name of the theme, thinking it was “continuation”. The good news is that my overall source of inspiration is the same. So I don’t have to update my whole draft.
Anima：which originates from Latin, used to describe ideas such as breath, soul, spirit, or vital force, which links to the idea that energy can neither be created nor destroyed; only be transferred or changed from one form to another. There’s an element of mystery.
Thinking:
I mentioned in my blog about Echo Ho at the beginning. I want to use Guqin to finish my project. The story of this project is about sacrifice. I couldn’t find the sound piece of guqin in the software, so I contacted my friend who is studying music in China.
However, when I got the sound piece was late and it was only a few days before the deadline, I try to add the sound piece. Finally, I gave up. I hope it can be used in the next project.
Thinking:
Mobius BandOuroboros
While we’re waiting for the recording of Guqin I was still thinking about the theme. Then I find Ouroboros, it was originating in ancient Egyptian iconography and the moving action of snakes symbolizes the transmigration of the soul.
Ouroboros and Anima both are mysterious and have explanations of the soul and some spirits. I combined the Mobius ring and the Ouroboros, so the Ouroboros looks like “♾️” which a symbol in mathematics called infinite. There’s a sense of inexhaustibility.
Final
The two above are my favorite music. I want to write something similar, but I haven’t figured out how to combine them with the theme。
These two videos have many different music types. The video above, the music shows on 15 ’49 and 24′ 17, is the style I like. There are people’s sounds in 24 ’17 seconds, but it blends in with the music and I think it’s interesting.
This isn’t the first time I’ve tried to listen to the sounds around me, but it’s the only one I’ve ever sorted them out. The more I classified it, the more abstract it seemed to me. Things like pleasant sounds and unpleasant sounds, these are really abstract concepts.
I think my band teacher once said in high school that music is to organized the sounds, people only like or dislike.
Sound is more abstract than the other art forms.
Part 2:
Ableton
This is new software, its interface has a lot of categories. At first, I didn’t know how to use it, so I found it a bit troublesome. But then I saw the demo and I realized it was really interesting software. It has a lot of Musical Instruments and sound effects. Although I am not used to writing music on this software. I import the written music and then use its sound effect to make me feel very interesting. It gives me lots of different types of music, and even completely breaks the melody of my original song, which makes me feel surprised.
Kind of like lightning/fire sound, with reverb and resonance.
He would take me to another world, the relationship between the human body and sound.
I think so. He can make me understand the work better, which is a kind of explanation
Part 2:
6 words:
1.house 2. book 3. Mushroom 4.full moon 5. Swimming pool 6.rain
images
STORY
On the day of the full moon, it began to rain again. The rainwater is in the empty swimming pool in front of the house. There was only one window with light and that room is for reading. A child was stepping on a stool to look for a book on the shelf. Soon she found the book she wanted, a red book of fairy tales. The child opened the book and began to read it. Outside it was still raining, the flowers were scattered by the rain, the mushrooms were all over the damp planks.
Pictures and stories show the sound:
1: The sound of rain
2: The sound of turning the pages
3: The creak of the wooden floor
4: The sound of stools rubbing on the floor
The story doesn’t show but the voice of my personal imagination:
1: The sound of leaves getting wet from the rain
2: The sound of the forest blowing in the wind
3: play the thunder
4: The voice of a child
5: The sound of the fireplace burning wood
Some Ideas:
– Actually, I want to write, “Open my storybook and a red mushroom pops out and says to the little girl,” Would you like to have an adventure with me?” ” at the end. But I wasn’t sure if that would work, so I changed the ending. So my first thought when I finished the story was, I wanted to make a type of music that was a little bit fairy tale.
-The Ominous and the story I wrote both give me the impression that they are unrealistic and would not happen in the real world.
-I suddenly thought of the Disney Land, the place of the fairy tale. The music in there is mostly cheerful, the impression is a symphony.
Echo Ho, born in Beijing, lives and works in Cologne. Her work ranges from audio/video installations and sound art interventions to live intermedia performances. It focuses on migrational contexts and conceptual links of culturally diverse materials and artistic disciplines.
Ho’s works have been performed and exhibited at the He Xiangning Art Museum Shenzhen, Center-A Vancouver, ISEA, ZKM Karlsruhe, among others.
When I watched her presentation, I was very interested in her content. These make me feel very interesting, I also have the idea of using classical instruments to make a piece of music. But these are difficult for me, so I may need to think about something in the future.
Screen shoot of presentation
Then I searched many projects related to her and found this.
This is my favorite Guqin song. And at the beginning of the semester, I shared the other versions of this music. If I have a chance, I would like to learn Guqin or other Chinese classical instruments. I hope I will focus on these points in the future. Echo Ho gave me more concrete ideas for my future planning.
Ideas for project:
sacrifice
Shen Ren Chang is played by the guqin, and it tells about things related to sacrifice. In ancient China, sacrifice was a very important ritual in which people prayed for protection by offering animals to the gods. Even today China still maintains the tradition of sacrifice, but it is not as complicated as in ancient times. I think it’s a kind of faith and mystery.
Guqin is one of China’s traditional Musical Instruments and sacrificial instruments. It has a history of about 3,000 years and is an intangible cultural heritage. The sound of the guqin is very ethereal, I want to add this instrument to create a mysterious atmosphere.
Daisuke Ishida (1980, Tokyo) is an artist, based in Berlin since 2004, working with sound and contemporary media, studied Political Science and Economics, and Sound Studies in Japan and Germany respectively. He is interested in the consequence of artistic praxis and theory in sound, space, and perception. His works explore the boundaries of ephemeral and time-based media to open up new perspectives on spatialities, while his understanding of space extends from the physical to the social and political realm. He strives to induce a multitude of complex individual experiences of space, that cause the spectator to reassess his/her/their understanding, position, and relation to their physical and conceptual environment.
Most of his work is installation art. I am very interested in this work which was produced in 2017. Its name is The Sine Wave Orchestra Stay.
It was a collaboration of many artists.
”The single sine waves, which the participants each play freely without a score or conductor, rise and intricately interfere with each other like thin strings, and ultimately create an ocean of sine waves.”
It is a collective performance, creating work that continues to change while revealing different sonic qualities depending on the listening point, and the number and the position of the device are installed.
As far as this project is concerned, they are completely free to develop. Even the artist does not know what the music performed is like. Art is abstract and free, that is the reason why I am always interested in installation art.
-Can each requirement demonstrate a radiogenic quality?
-Yes.
-How? What techniques would this involve?
Environmental sound
In radio production, and in particular on location, the sound quality of the environment is an important factor. This is partly determined by the reflective properties of surfaces and their distance from the microphone (Starkey, 2004a: 11).
Acoustics allow the listener to ‘hear space’ or, to put it differently, ‘space is created acoustically’ (Shingler and Wieringa, 1998: 56).
If the sounds are produced in a studio and all resonance is deadened then these sounds seem to occupy the same space as that of the listener, replicating the acoustic qualities of most people’s homes, where typically sounds are deadened by carpets, wallpaper, curtains and furniture. (Shingler and Wieringa, 1998: 56)
Co-presence
One of the main ideas emerging from this work is the idea of the shared experience of listening or viewing at the same moment in time and the sense of others being present (or ‘co-present’) with us in that activity.
Intimacy
In her ‘chats’ with callers about their personal problems, Raeburn established a bond of intimacy using the full repertoire of ‘para-social interaction’; in other words the characteristics of intimacy in face-to-face interaction (sincerity, attentiveness, empathy, caring) but performed over the air.
Liveness
Ellis makes the point that its live quality was extremely important, ‘live performance gave television a direct and intimate link with its audience, and this link became one of the defining characteristics of broadcast television’
Recent developments in technology and in the economics of radio production have led to an increase in pre-recorded DJ speech on commercial radio stations.
Practically, if used without regulatory control, at the extremes automation could enable a whole radio station to broadcast without any presenters or technical operators at all, or to appear to have the same presenter broadcasting 24 hours a day.
Liveliness possesses the same qualities as liveness in that it gives the impression of unscripted speech, which has an unpredictable and spontaneous quality and is delivered to an audience co-present in time.
