BA Sound art

Version 2 Demonstration ：

How to use：

1. The audience draws a tarot card at random.
2. Touch the screen with the tarot card to get an audio clip relative to the tarot.

Version 3 Demonstration （Draft）:

How to use：

1. The audience chooses a tarot card on the screen that they feel most connected to/with.
2. Touch the tarot card on the screen with the phone to get an audio clip of the corresponding card.

They both have the core technology of using nfc tags, although it is a little more technically challenging than version 2 version 3. Version 2 just requires all the music to be recorded into the screen. Version 3, on the other hand, has to write the nfc data so that all phones can hear the music after a touch. The difference between it and version 2 is that one requires a single device to recognize nfc and the other requires all devices to recognize nfc. I am now trying to play music in java so that I can play it directly without having to go to another site. For me I would also prefer to show version 3 as the final project.

I’m trying to figure out how to play music in java so that when the viewer’s phone touches it, they don’t have to jump to the sound cloud to play it.

This is another book I found in the library about noise. I found the title of this book very interesting and it got me interested in what ‘SUBLIME NOISE’ is. In this book, ‘SUBLIME NOISE’ is a term used to describe a type of music that is artistic and literary. The book also states that ‘SUBLIME NOISE’ is a new language that enhances the presence and experience of modern sound. After reading through it I found that the book doesn’t actually have a strong relevance to noise music, focusing more on literary noise. Despite this information it still gave me a lot of new knowledge and made me more interested in my concept of ‘ultra-low frequency noise’.

Explanation of the noise

The term ‘noise’ has always been associated with the most powerful and threatening manifestations of language: with the productive but dangerously uncontainable forces of rumour, gossip, propaganda, propaganda and rhetorical violence. The symbolic power of noise is etymologically embedded in Latin elements in English: in French ‘noise’ is bruit, as in Claudius’ proclamation: ‘The king awakens all the bruit of heaven, / And speaks anew the thunder of earth’ (Hamlet 1.2.128-9); and in Italian, as we have already seen, it is rumore. the main goal of this chapter is to outline the rhythmic , dissonance and noise of theoretical and cultural significance for modernist literature and music, and in particular the mediation and aesthetics of rhythm and dissonance on the noise of everyday life. As one of the main challenges of modernist writing was to approach the musical character of these limiting noises in language, the linguistic and literary-historical significance of noise itself deserves comment.

Ideas

The book was a little different from what I wanted to produce, but still gave me some insight. These can actually be added to the production to make my details appear better. To me, noise is something to be explored and celebrated for its own sake. It is a sound that can be used to create art, to communicate, and to express oneself. As I continue to learn more about noise, I am discovering new ways to appreciate it and to use it in my project.

1. In order to fully engage the modern listener, music must incorporate new sonic elements in its structure. Only in this way can music truly connect with the listener on an emotional level.

“We must break out of this limited circle of sounds and conquer the infinite variety of noise-sounds.”

Russolo’s 1913 manifesto Arte Dei Rumore [“Art of Noises”] asserts

2. Dissonance and rhythm

3. I thought the text in this image was interesting so I saved it. Maybe this can be used in my project to determine the percentage of noise in the music.

These are the sounds I recorded for the Project 1 body theme, they are breathing, heartbeat, heel sound and zip sound. They are breathing, heartbeat, heels and zip sounds. I used Zoom H5 to record these sounds. I hope these sounds will help create an immersive and realistic experience for my project.

When I was editing these sounds I found that some of them didn’t fit like Breathing and Heartbeat so I cut them out. I used two different plugins in logic to edit the heels and the zip sound, one for Dawn and one for Mystery. You can clearly see the difference between the sound with the special effects and the original sound. Finally I also added two instruments to make the music sound fuller.

This is an accelerated drawing process for both Tarots.

Other different versions：

Final：

How to make music mysterious？

Music has the ability to evoke emotion and create atmosphere. I can use music to convey messages and feelings, and music can be a source of comfort and healing. Mystifying music can be achieved in a number of ways. By using obscure lyrics or playing in obscure keys, musicians can create a sense of mystery and curiosity for the listener. Also, by using unusual time signatures or chord progressions, I can create a unique sound that is difficult to replicate. Here are some examples that I have found.

Howie Lee

Howie Lee is regarded as one of China’s most internationally significant electronic music pioneers. He has formed his own distinct style by merging pure bass music with oriental folk elements, having studied sound art in London and been involved in the British electronic music scene for a long period. More than a professional, Howie Lee is sensitive to sound itself, transforming folk music from various countries, ready-made material from the internet, or just bits and pieces of life into music, or integrating real instruments and 3D engine visuals to create a cyberpunk style multimedia live performance… Howie generates a diverse spectrum of distinct sounds from numerous dimensions that are not genre-specific.

现客N. (2021). Howie Lee 的音乐世界是一门「玄学」. [online] 知乎专栏. Available at: https://zhuanlan.zhihu.com/p/353707818 [Accessed 19 Nov. 2022].‌

“Enter the Tigerwoods” and “Mountain Song in a Jar” are electronic occult music and have the energetic and powerful track . They have a strong sense of magic and mystery about it. I often find myself listening to it when I need to take a break from the hustle and bustle of everyday life and just relax. Both of these pieces are perfect for enhancing an occult ceremony or meditation session. The first time I listened to these two pieces of music, I felt a bit strange. However, the more I listened to them, the more I could feel the oriental occult overtones in them. There is something about the music that is definitely different from anything else I have heard before. It has a very strange feeling to it, and it makes me feel a bit uneasy. Despite the initial feeling of strangeness, I have grown to appreciate the music for what it is. It is truly unique and has a power to it that is undeniable. I would recommend giving these two pieces of music a listen. They may just surprise you with how they make you feel. In addition to some traditional music instrument, there is also chanting. “The Great Compassion Mantra” and “Amitabha Buddha” are traditional Buddhist music. Chanting is a major part of the music.

The practice of chanting has a long and varied history in traditional Chinese culture. Chanting is often associated with Buddhism, as it has been used for centuries as part of the Buddhist practice. Chanting has been used to express devotion, meditation, and prayer. It is also used to communicate spiritual messages to those present in a gathering.

Traditional Chinese chanting is often accompanied by a variety of musical instruments. The most common instruments used in traditional Chinese chanting are the pipa (a four-stringed lute), the guzheng (a 21-stringed zither), the yangqin (a hammered dulcimer), and the erhu (a two-stringed fiddle). Other instruments used include flutes, drums, and gongs. Each of these instruments brings a unique sound to the traditional Chinese chanting experience. The pipa is an essential instrument in traditional Chinese chanting. This four-stringed lute has a strong and lyrical sound that can be heard in many traditional Chinese songs. The guzheng is a 21-stringed zither, and it is often used to create a gentle, tranquil atmosphere. The yangqin is a hammered dulcimer that is often used to create a bright and festive atmosphere. The erhu is a two-stringed fiddle, and it can be used to create a wide range of musical emotions. In addition to the instruments mentioned above, traditional Chinese chanting often includes flutes, drums, and gongs. Flutes are used to create a light and airy atmosphere, while drums are used to add a driving rhythm to the music. Gongs are also used to create a variety of moods and effects, ranging from bright and uplifting to solemn and majestic. All of these instruments, when used together, create a unique and powerful sound that is essential to traditional Chinese chanting. The formal structure of songs is an important aspect of traditional Chinese chanting and Buddhist music. It is characterized by a repeating melody and lyrics that follow a specific pattern. This structure is based on the principles of rhythm, rhyme, and melody. The melody is typically composed of two parts: an A section and a B section. The A section is usually more elaborate and contains more musical elements than the B section. In some cases, the A section may be further subdivided into A1 and A2 sections. The B section is simpler and shorter. In traditional Chinese chanting and Buddhist music, the formal structure of songs can be divided into three distinct parts: the introduction, the main body, and the conclusion. The introduction typically contains a few lines of lyrics that establish the song’s main idea. The main body of the song is the core of the song and contains the main musical and lyrical themes. The conclusion is the ending of the song and contains a few lines of lyrics that bring the song to a close.

The formal structure of songs can also be divided into two distinct types: the monophonic structure and the polyphonic structure. The monophonic structure consists of a single melody line with no accompaniment. This type of structure is commonly used in traditional Chinese chanting and Buddhist music. The polyphonic structure is more complex and contains two or more melody lines that are performed simultaneously. This type of structure is often used to create a more harmonically and melodically complex sound. Chinese chanting has been around for centuries and is an integral part of traditional Chinese culture. It is a form of chanting which includes Buddhist and Taoist religious chanting, as well as secular chanting such as folksongs and poetry. Melodic lines of chanting are an important element of Chinese chanting and have a unique sound that is distinctly Chinese. These melodic lines are often composed of tones that move in a continuous, repetitive pattern, with each phrase having its own set of tones. The melodic lines of chanting are typically composed of five-tone scales. These scales create a sense of harmony and unity, and are used to express emotions and feelings. The tones of these scales can be arranged in various ways to create different melodic patterns. These patterns can be used to express joy, sorrow, serenity, and other emotions. The use of different melodic patterns can also be used to create a variety of moods and atmospheres.

Noise/music

Noise/Music is about the link between noise and music, as well as the various attempts to realize noise and music. Even if this combination is thought to be incompatible, unattainable, and doomed to failure. It is a history of how noise became a resource in the twentieth century, how it was assimilated into musicality and how it was rejected, all while taking place in musical spaces. While the book progresses through the history of movements, tactics, and practices, the question of whether we may do so legally pervades the whole work. What noise is or what it is meant to do alters the rough history, which implies that any noise narrative is interrupted and disrupted.

The entire is founded on the premise that noise is a negative (it can never be favorably, decisively, and forever positioned), a position of resistance, but also characterized by what society resists. In reality, this implies that detecting noise in a musical piece is merely the first step; the second step is to view noise as the first explicit link between noise and non-noise. This can be internal to the work, or it can refer to its relationship to institutional practices, musical conventions, society as a whole, or anything else that appears to be related to noise, but is always inextricably linked to it and it’s definition. The entire is founded on the premise that noise is a negative (it can never be favorably, decisively, and forever positioned), a position of resistance, but also characterized coteries by what society resists. In reality, this implies that detecting noise in a musical piece is merely the first step; the second step is to view noise as the first explicit link between noise and non-noise. This might be internal to the work, or it can refer to its relationship to institutional processes, musical norms, society as a whole, or anything else that appears to be connected to noise, but is always inextricably linked to it and it’s definition.

I didn’t read all the chapters because the book is so thick. ‘Japan’ and ‘Sound art’ these two chapters were informative and provided valuable information about the respective topics.

Japan

I think there is more noise in Japanese noise music, both in terms of volume and distortion, than in music that has a clear purpose. This type of music must be contrasted with music that is more musical and has a clear purpose. Therefore for me the non-musical and non-musical elements of Japanese noise music make it difficult to appreciate and understand.

For me Japanese noise music is more than just noise in music. It exists as a separate category from both noise and music. I think this is due to the fact that Japanese noise music is closer to real noise music, like it is what noise music was supposed to be. In other words, it is a unique type of noise music and I hope to be able to use this style in my project.

Japanese noise music is a loose, delightfully futile and simplistic genre that combines musicians with vastly different styles (many of whom vary enormously in their own recordings and performances, such as Keiji Ueno or Yoshitomo Otomo). With the massive growth of Japanese noise, eventually, Noise Musik: became a genre – a genre that wasn’t one, to paraphrase Luce lrigaray. In other words, it is not a genre, but it is also a genre with a multiplicity and characterized by that multiplicity. This means that, as a genre, it is neither arbitrary nor quasi-scientific, nor do we derive much definition from it. Japanese noise music can come in all sorts of styles, referring to all other genres, just as science fiction does, but the point is that the question of genre is raised – what does it mean to be categorized, to be categorizable, to be definable that’s what ties it together as a genre.

Sound art

In noise music, the art of sound is not limited to any one form of expression. Instead, noise elements and recordings can be used to create a unique listening experience. By being aware of the different ways noise can be used, I can create new and innovative ways to experience noise music.

Sound installations, performances, recordings, whether for direct public consumption or as purchasable objects to listen to at home, interactive pieces, works meant for headphone usage, sound transmission (often from other locations). Each of them has several vanants. The most essential aspect might be the sound source itself, or the listening process it establishes. Sound art is more than just sound used as art.

Sound art, like ‘noise music’, is a-noisy genre, something porous and very hard to define, but as I will argue below , follow ing Krauss ‘ take on minimalist sculpture, it is too self-contain ned , and sets up the list new as self-conte lined, in order to challenge not sufficiency, but only the way in which that has been constructed (i.e. it’s going to ‘make you think’, and In so doing reveal to the listening subject some part of a hitherto hidden sound reality).

In bridging the visual arts with the sonic arts, creating an interdisciplinary pracbce, sound art fosters the cultivation of sonic materiality in refation to the conceptualization of auditory potentiality. While at times Incorporating, refer- ring to, or drawing upon materials, ideas and concerns outstde of sound per se, sound art nonetheless seems to position such things in relation to aurality,

BrandonLaBelle

Hegarty, P. (2015) Noise/Music: A history. New York, US: Bloomsbury Academic. 

I was looking at the artwork for 44: A Tarot, and I had the idea to create a Tarot deck of my own. As I mentioned in my previous blog he not only digitised the Tarot but also gave it a new pictorial expression. By doing so, he was able to make it more accessible to a wider audience, which is something I really appreciate. I think it’s great that he was able to take something that can be seen as somewhat esoteric and make it more approachable. I thought it would be a fun and interesting project, and I thought it would be a great way to learn more about the Tarot. I did some research on the Tarot and found that there are a lot of different ways to interpret the cards. I also found that there are a lot of different decks, so I decided to create my own deck that would be unique.

Tarot Analysis：

1. The Fool
2. The Magician

（Here I will use only two cards to analyze）

1. The Fool

The Fool card can be interpreted as a symbol of new beginnings and the potential for excitement and adventure. It is often associated with the element air, and its image is that of a jester or fool. These images may suggest that the Fool is someone who is not afraid to take risks, or who is willing to be unafraid of new experiences. In terms of metaphors, the Fool can symbolize someone who is naively optimistic and who is not overly concerned with the details of life. They are often seen as someone who is open to new ideas and possibilities, and who is willing to take on new challenges. 

Meaning: naivety, innocence, possibility.
Pros: different, lucky, unconventional, pursues new and strange dreams, adventurous, aspires to freedom, artist, straightforward, free love.
Weaknesses: conceited, stubborn, unstable, set in their ways, lack of responsibility, living in a dream, unrealistic, unable to adapt, stagnant, eccentric behaviour, wrong direction, unstable relationships.

The classic Tarot card is rich in symbolism and meaning. The sun is a symbol of hope, joy, and enlightenment, while the man with the parcel represents the need for caution and vigilance. Small animals represent the challenges we must overcome in life, while the cliff and the sea represent the vastness of the unknown. This makes it easier for the reader to understand and follow the argument. In addition, the author’s use of concrete images and examples helps to illustrate the points being made. As a result, the reader is able to gain a clear understanding of the author’s position. If I was to recreate this card, I would need to consider how to connect the various elements. I would also need to consider the aesthetics of the tarot card and how it will fit in with the meaning.

These are the tarot cards I have in my hand, different versions but still showing the similarity of the rows. For example:aa a a the Joker-like costume (hat), the package inside the hand and the animal.

Here are some of my collages used for inspiration as well as sketches for painting.

The Magician

The Magician is a very pro-active and action-oriented card. His actions are clearly thought out, so he is sure and confident, in contrast to the fool’s unthinking and bold actions. The sceptre, chalice, sword and coin in front of him represent the four elements (fire, water, wind and earth), which in Western culture are equivalent to the Chinese five elements (metal, wood, water, fire and earth), the basic elements that make up everything. Now that the four elements are present, the magician has to use his creativity to transform the elements into something substantial. Thus, the card of the Magician expresses the concept of “transforming dreams into substance”. This is the beginning of an unlimited potential.

Meaning: creation, beginning, first time

Keywords: through and through, in control, in possession of technology, wise, capable, confident, valuing self, in control of resources, in control of strategy, in power of law.

Some elements such as the rose, the red coat and the infinity symbol in the middle of the card (‘♾️’) can be seen quite visually in this classic tarot card. Combined with the meaning of the card The Magician itself, I probably have a general idea of the images and the corresponding metaphors. A few of the elements/meanings that interest me more are: the rose, the ♾️, the beginning. I would consider how the different elements work together and how they can be used to create interesting image. 

These are the tarot cards I have in my hand, different versions but still showing the similarity of the rows. For example:Red cloak, four elements, and flowers.

Here are some of my collages used for inspiration as well as sketches for painting.