BA Sound art – Page 8

Sound for Screen Film*

The first section is that the protagonist’s family lives in a dilapidated basement, with only a small window through the sunlight. There are not so many ambient sounds in this segment, but there are background sounds. The second stage is when the man enters the home of the rich, and there is no music throughout. In this segment, there are many environmental sounds such as the sound of closing doors, the sound of fountains, and the sound of walking. Compared with the first segment, it becomes more real.

In this segment, the sound surrounds the protagonist. From the beginning of the video, the breathing sound started to be very loud, but other people’s voices were very quiet. When I watched this clip, I felt like I was standing behind the protagonist. The surrounding sounds were all around the protagonist. The second part is in the train station, there are a lot of environmental sounds (people’s speech) ➕ the sound of talking with children and the protagonist. The child’s voice is very loud and contrasts with other people’s voices as if it were an entity and an incorporeal body. Let the audience know clearly where the focus of the film is, and it will be easily attractive.

The sound of the first photo taken in Force Majeure made me think it was a horror movie, such as an avalanche at the moment when a certain sound camera shutter was pressed. Although the movie is not about avalanches, it is also a very important point. In the first half of the movie, the protagonist’s family was eating outdoors and there was a relatively small avalanche, but the husband left his wife and two children to escape. This is very serious for a family that is already experiencing problems, and the movie revolves around the topic of marriage. The soundtrack of this movie is also quite interesting. For example, the sound of snow blowing and the sound of brushing teeth are spliced together by the screen, which is very interesting.

Sound Studies and Aural Cultures 3*

The lectures I heard in the British Library taught me a lot about sound. From the first machine that can happen to today’s advanced sound equipment, the development of history has brought us a lot of conveniences, but we should also not forget the “sounds of the past”. They invented better technology through practice, again and again, this kind of spirit is worth learning from me. When listening to the lecture, I can see their current appearance from the music equipment of the past. This feeling is very strange, like time and space overlap. I thought of using tapes to listen to songs when I was a child, but now there are fewer and fewer opportunities for tapes to appear in life. I also saw a lot of vinyl discs and magnetic recordings here, and also learned how to repair magnetic recordings.

This is some equipment outside. My favorite is “Song of the last Kana’l O’o A’a”, where you can hear the chirping of birds. Because of the recording equipment, the sound here is not as clear as it is now, but it is because of this that it becomes very sensible. I think these audios are very meaningful, these audios can bring me into the world of the past.

Sound Studies and Aural Cultures 2*

Tokyo Murder

Lost Rivers

Experimental music

Experimental music is a very new kind of music, different from other kinds of music such as romantic, classical, and pop music. He is irregular and disordered, which is very different from traditional music. This kind of music is innovative, technologically innovative, and tempo-innovative. Concerts under such novel creative conditions are very interesting. Experimental music itself pursues a kind of listening that does not carry any meaning, and its creative characteristic is that the creative results are “unpredictable.” Because experimental music is so disordered, most of it is not understood. I first wanted to do research on the doshit collection. I liked the song “Tokyo Murder” from their studio very much. It is experimental music. But after doing research, I found out that the original title of this song is “Lost Rivers” . “Lost Rivers” is about difficulty, about fear, about pain, about dry and cracked rivers, about modern music, and the ability to create songs for pleasure. “Lost Rivers” is an improvisation, You don’t have to say these words, just sing them out. Laugh it out, cry it out. Or improvise it. Let your emotions guide it all. ” This is recorded by sainkho namtchylak A Berlin music engineer told her at the time. And the “Tokyo Murder” of the Doshit collection adds a melody to the original basis to make “Lost Rivers” more audible. However, the basics of sainkho namtchylak’s vocal music and singing skills are worth learning.

sainkho namtchylak

The song of sainkho namtchylak is the experience of heaven to hell, then to heaven, then to hell, and then to… Her music praises nature, expounding the relationship between man and nature. Combine many contradictory things, such as the combination of tradition and modernity. But no matter what the central idea is, there are many innovative things in her music.

Censor

This film has a horror tint to it, which is a genre I don’t normally watch, therefore I’m not familiar with the sound of horror films. As a result, it was a novel experience for me. When I finished viewing this film, I realized that, in comparison to other types of films, horror films’ sound contributed more to the overall completeness of the film.

In this film, there are a lot of ambient noises. These noises resemble footfall on the subway, ringing phones, and breathing. This type of real-time sound and picture sync is ideal and can provide all the film requires. When these everyday noises are combined, they become extremely rich. The sounds expressed at different levels can better highlight what the picture expresses.

The last scene of the film impressed me deeply. The film combines the heroine’s imagination with reality, and alternate background music. Visual and auditory presented a perfect match.

Finally, the background sound of this film really let me learn a lot, there are a lot of sound effects and background sound are textbook level.

Spatialisation for Installation and Performance 3*

This is the first project. It’s very interesting and I think this project has a sense of science and technology. Use code to make the machine write the sentence. The sound and its mode of operation can make me reminds the typewriters and counters.

I really love this project. This project has an immersive multi-channel installation that comprises 100 microphones suspended above 100 metal spikes. The soundscape alternates between languages including Arabic, Azeri, Chinese, English, Hindi, and Spanish.

Visitors will encounter 100 microphones suspended over 100 metal rods, each piercing a verse of poetry. Over the course of an hour, each microphone, in turn, recites a fragment of the poets’ words.

” The title of the work is inspired by a poem by the 14th century poet known as Nesimi, born in what is now modern-day Azerbaijian and executed for the religious beliefs expressed in his poetry which ran counter to dominant contemporary doctrines. This is one of a number of historic poems included in the work (with the earliest dating to the 7th century). The vast majority of the poems, however, stem from the 20th century up to the present day, reflecting the artist’s particular engagement with the rise of the nation state, and the related social and political struggles for self determination and access to democracy and human rights.”

Nast, C., 2021. Venice Biennale invites artist Shilpa Gupta to showcase two installations. [online] Architectural Digest India. Available at: <https://www.architecturaldigest.in/content/venice-biennale-shilpa-gupta-installations/> [Accessed 19 November 2021].

Lucia H Chung

Lucia H. Chung is a London-based Taiwanese artist. She graduated from Winchester School of Art with a Master’s degree in sculpture and Goldsmiths University of London with a Ph.D. in Sonic Arts. As a mediator performer in the self-regulated system within Kering, her sound creations are influenced by her fascination with noise generated by feedback on digital and analog equipment as well as her role as a performer in the relationship between the Sonic events. She performs unreleased music under the alias ‘en creux’. She has also worked as a broadcaster and an independent curator, curating and organizing residency programs and music events at occurred. Three months in the United Kingdom and Europe.

The Somerset House Studios hosted a residency for Taiwanese experimental music, as well as a music hack-space in 2018. In 2020, the Tier One and Eclectic Sound Festivals will share a virtual residence in London. In addition, there will be a panel discussion on video game music as part of grinding practice at Somerset House Studios in 2021. in regards to video game music.

https://hardreturn.bandcamp.com/album/the-water

Because one of the questions in the Q&A session was about these album. It seems to be asking about How do you think of using the two extended pieces for the no-input mixer to illustrate how stillness is paradoxically a place for continuous energy clashes?

I thought it was an interesting question, but Chuang’s answer seemed to be that he wanted to try something new. But anyway, after the lecture I went to listen to the music. With two extended drone compositions for no-input mixer, (Lucia H Chung) digs into the “persistent” side of the Hard Return remit, exemplifying how so-called stillness is nonetheless a location of constant energetic struggle. The two sides portray insufficiency and surplus, with the first a semi-solid hum flickering on the verge of becoming and the second a hard buzz pressing into excess till it warps. Drones, so often associated with balance and stillness, are false — only implied in the negation of these deviations from equilibrium, manifesting as a non-state within a momentary pause between precisely maneuvered tilts.

This piece gave me a totally different experience. It didn’t have the sound of water that I hear every day but I could feel that it was water. I find it amazing that if a sound is similar to a sound we perceive as moving in a similar direction the brain will automatically classify it as the same (?) I’m not sure it’s just me. I may have brought in subjective thoughts about the track because of seeing the title of the album. But in any case, I really like this music.

1. Luciahchung.com. n.d. About. [online] Available at: <https://luciahchung.com/about/> [Accessed 6 December 2021].
2. Hard Return. 2021. The Water, by en creux. [online] Available at: <https://hardreturn.bandcamp.com/album/the-water> [Accessed 6 December 2021].

Richard Phoenix

Richard Phoenix is a multidisciplinary artist who works with painting, music, writing, and collaboration. His current research focuses on access, learning, and organization, as well as how art and music may be used to break down boundaries and establish new forms of normalcy. As an associate artist in learning disability arts organizations, he wanted to find subtle and powerful ways to analyze and explain his contribution in various collaborations. Working with school groups within an art institution as a musician in DIY punk bands. As a non-institutional arts education student. The conditions studio program I was a part of in Croydon was recently completed.

A learning disability arts group, Heart and Soul, also employs him as an associate artist. He has been an artist-in-residence with state schools and the Teachers Department, formed the non-profit organization Continuous Flux, and published the book DIY as Privilege. Rough Trade Books published the book Manifesto in 2020.

https://heartnsoul.bandcamp.com/track/jumpy

I always learn about new forms of art in the lectures every Thursday. This video contains some of the creative process. I felt that they were really good when I watched it and that they really loved creating. I completely lost sight of who they were while watching the video, the only thing I could feel was their love for their art.

Electric Fire – Jumpy This is the song below the video. I thought it was a great song when I was listening to it.

How can we recognize the artwork of people with disabilities without making the work about those disabilities?

“I believe that asking is a great way to go about it. What people want to do and then assisting them in achieving their goals. I remember particularly when I first started asking the people we worked with to reflect on disability. I think you have to make work about that and not disparage those who make work specifically about it……”

I took a little note of what he said and it made sense to me.

Richardphoenix.com. n.d. LCC — Richard Phoenix. [online] Available at: <https://richardphoenix.com/LCC> [Accessed 6 December 2021].

Foley

Last Friday I booked Foley Studios, which I used to record the sound of my final project. Before I go to the studio to record, I have to do some preparation. The first thing was to write down the sounds I might need on paper. The second is to use Markers to mark the sounds in ProTools (when footsteps start/when the doors open). After that, I also did some knowledge and experience about dubbing.

“As a side note, always keep an eye on the overall pace of the moving images. Let’s not forget that sound and audio are means to an end: they are supposed to create, enhance and improve a film’s storytelling in order to achieve a seamless transition between scenes.”
-Medium. 2019. A Closer Look at Sound Design: The Atmosphere. [online] Available at: <https://enhancedmedia.medium.com/a-closer-look-at-sound-design-the-atmosphere-680bbe2b9b2f> [Accessed 1 November 2021].

I also found that the voice of pinching cabbage can be used to simulate eating apples, which I think is very interesting. Maybe I can complete dubbing with some similar voices without real actions. Therefore, in order to better dub, I prepared some items that I thought could be used in advance, such as clothes, plastic bags, and sticks.

I used the 416 microphones and recorded the dubbing process recording equipment. The dubbing process is very interesting. Especially when I try to see if the sound matches the picture. I think I gained a lot of experience.

I think the hardest thing for me was matching footsteps. First, you have to follow the character’s movements, and second, you have to listen to see if my footsteps make sense. In the clip I chose there are two different sounds of footsteps, the first is the sound of footsteps on the wooden floor and the other is the sound of footsteps on the grass. In the process of dubbing, I will think about how to express only two voices walking on completely different materials.

We need to talk about Kevin 2*

We need to talk about Kevin

This is a sound for screen practice clip that we can use for some voiceover practice. This is group work because in Foley studio two or more people have to work together to make a recording. In the previous, I wrote a blog about this film [We need to talk about Kevin] and I did some analysis of the sound of the film. I brought along a box of pills for the dubbing, as there is a sound of pills spilling on the ground in the film. We also found some tools on a shelf near the studio, such as the bottle that makes an incredible sound when you blow into it. We recorded some of the sounds because we had some problems with the sound so we recorded with zoom3. I think it’s a bit of a shame. When I put the recorded sound into the film I felt it was a bit empty and there were a lot of places where there was no sound. So we recorded some background sounds like the sound of the school building, the sound of the cars and people talking. The background music was produced by me. I didn’t have any ideas at first until there was a shot where the main character was being lifted up by a lot of people and then his arms were spread out and it made me think of Jesus and the church, so I took the melody from ‘Ode to Joy. I added a chorus to it to make the scene seem surreal.

Åsa Stjerna

Asa Stjerna (born in 1970 in Stockholm) is a Swedish artist who explores sound and listening via her art. She investigates sound’s potential through site-specific installations, making the embedded circumstances and underlying narratives associated with a situation visible, generating links between past and present, local and global, as well as human and more-than-human. She hopes to redefine hearing in this way, producing a sense of locations as intricate ecologies. She has been examining the present circumstances of sonic located practice and its power to be transformational, i.e. what it means to “make a difference” in the period of Antrophocene and advanced capitalism, as well as working as an artist-researcher. She proposes an understanding of site-specificity as an aesthetic–ethical practice and engagement between specific and diverse “bodies” with agencies—human and non-human, spanning and connecting the material, social, discursive, artistic, and technical realms at the same time in a given situation, guided by feminism, ecosophy, and posthumanism methodologies.

“HOW CAN SOUND, AS ARTISTIC MEDIUM, MEDIATE QUESTIONS OF GLOBAL RELEVANCE?”

I was very interested in this project when I was listening to the presentation and I was really surprised that sound could be associated with the environment. The idea is very bold and new, and I also saw a lot of technology in this project and so on. Projects that combine technology and art always attract a lot of attention. There are also a lot of social issues in this project such as the melting of glaciers due to global warming. I think this is a good thing, because sometimes people don’t pay much attention to professional documentation. But when the artist presents the issue visually through art, it might make people pay more attention to it.

Nast, C., 2021. Venice Biennale invites artist Shilpa Gupta to showcase two installations. [online] Architectural Digest India. Available at: <https://www.architecturaldigest.in/content/venice-biennale-shilpa-gupta-installations/> [Accessed 19 November 2021].