I chose to read the article, Material Memories, by Paul D. Miller. The article caught my attention because of the Internet site it was posted on. I had visited this site once before to research for a different class.
The article mainly talks about cinema’s images displayed on screen in their relation to the time period they were created. Most effects relate to modern day films, but in the past before such technology was known about they used different images to associate the film to the era. A quote from the article gives several examples of objects both human and non-human that represent the mesh of time on the screen.
This article related to my drift two final video when I was selecting contemporary images. In this abstract short video I want to capture a time that was modern and therefore wasn’t afraid to use effects, or keep images of newer looking things in the video. I believe I will find this article very useful in the future due to the fact that I may sometimes be attempting to portray elements of the past or future.
Saturday, December 6, 2008
Wednesday, December 3, 2008
Video Hardware/Software Repsonses
1. How was your experience with the Olympus digital camera? How did it compare with other still or video cameras you have previously used? Were you able to successfully implement your Image Capturing Strategies using the features of this camera? In an ideal world, how would your still/video camera of choice function?
The camera worked very well, and being one of the first digital cameras I worked with, it proved to be handy and easy to use. Everything I needed my camera to do to help capture images went well, with no set backs and no functions unavailable. The camera was probably my favorite piece of equipment to use. Due to the fact that I'm not huge into digital cameras or the best types, my ideal choice would be one like the Olympus digital camera because it was easy to use and everything went smoothly.
2. Discuss your choice of video-editing software and describe your history with this software. If you used this software for the first time, explain why you chose this particular application and how you think it helped you to accomplish your creative goals (or proved detrimental). Will you use this software again for future projects?
I choose to use the application iMovie 2008 that came with my new Mac. At first I thought it would be easy due to all the talk about it and figured since so many people new about it that it would be a good choice. Upon learning all of its functions and watching tutorials I was deeply disappointed when I learned of its limited editing capabilities. Most of the color and and stills could easily be changed but effects with videos were much more scarce. I plan on continuing to work with video editing and will just spend the thirty dollars to work with Final Cut Pro next semester.
1. How was your experience with the Olympus digital camera? How did it compare with other still or video cameras you have previously used? Were you able to successfully implement your Image Capturing Strategies using the features of this camera? In an ideal world, how would your still/video camera of choice function?
The camera worked very well, and being one of the first digital cameras I worked with, it proved to be handy and easy to use. Everything I needed my camera to do to help capture images went well, with no set backs and no functions unavailable. The camera was probably my favorite piece of equipment to use. Due to the fact that I'm not huge into digital cameras or the best types, my ideal choice would be one like the Olympus digital camera because it was easy to use and everything went smoothly.
2. Discuss your choice of video-editing software and describe your history with this software. If you used this software for the first time, explain why you chose this particular application and how you think it helped you to accomplish your creative goals (or proved detrimental). Will you use this software again for future projects?
I choose to use the application iMovie 2008 that came with my new Mac. At first I thought it would be easy due to all the talk about it and figured since so many people new about it that it would be a good choice. Upon learning all of its functions and watching tutorials I was deeply disappointed when I learned of its limited editing capabilities. Most of the color and and stills could easily be changed but effects with videos were much more scarce. I plan on continuing to work with video editing and will just spend the thirty dollars to work with Final Cut Pro next semester.
Sunday, November 9, 2008
A Deeper Look into Deep Listening
I choose to more deeply analyze the article Deep Listening: Bridge to Collaboration. This article mostly intrigued me because of the points it brought up about listening discussed the involuntary skill required to obtain a sense of deep listening.
The article by Pauline Oliveros discusses most of her work done in collaborations of artists. She defines a collaboration as, “joining or combining forces with another or others in interactions to produce work - a collaboration is a community of effort - preferably an equality of effort.” She brings up this point early in the article to discuss her liking for teamwork and combining ideas to reach a common goal. This part of the article was a point I could relate to because in my writing I have always liked to use others ideas with my own to create an interesting final story. The next part of the article relates the ideas behind deep listening to similar ideas I use when I go on sound walks. She brings up the point of subconsciously blocking out certain noises with our ears and only being able to hear them upon listening to a recording. This lets us acquire the deep listening sense, one that has us hear the noises we normally don’t pay attention too. This is a perfect example of the way I found some of my most interesting sounds and even pictures for my second drift. Most of the things I recorded of photographed are most interesting when I listened or looking at the copy. My pictures often were poor quality but gave the interesting effect of motion. And with sounds I sometimes noticed my most interesting sound was not the one I was intentionally recording.
The article by Pauline Oliveros discusses most of her work done in collaborations of artists. She defines a collaboration as, “joining or combining forces with another or others in interactions to produce work - a collaboration is a community of effort - preferably an equality of effort.” She brings up this point early in the article to discuss her liking for teamwork and combining ideas to reach a common goal. This part of the article was a point I could relate to because in my writing I have always liked to use others ideas with my own to create an interesting final story. The next part of the article relates the ideas behind deep listening to similar ideas I use when I go on sound walks. She brings up the point of subconsciously blocking out certain noises with our ears and only being able to hear them upon listening to a recording. This lets us acquire the deep listening sense, one that has us hear the noises we normally don’t pay attention too. This is a perfect example of the way I found some of my most interesting sounds and even pictures for my second drift. Most of the things I recorded of photographed are most interesting when I listened or looking at the copy. My pictures often were poor quality but gave the interesting effect of motion. And with sounds I sometimes noticed my most interesting sound was not the one I was intentionally recording.
Sunday, October 26, 2008
Audio Hardware Critique
1. Discuss your experiences with building your microphones. Was this process more or less what you thought it would be? How did your microphone rig work on your Drift walks? Were you able to capture both overall ambiance and extreme closeups? Describe your ideal microphone and recorder setup, with unlimited time and money.
The microphone building process actually turned out to be more fun and interesting than I expected. The only set back was a lack of soldering equipment made it a timely process. My microphones worked fine on my drifts, everything seemed to go well with them. Ideally, I would not have had us even make microphones, just buy them, so we could spend more time on the drifts, but it was still a fun experience.
2. How was your experience with operating the Minidisc recorder? How does this recorder compare to other audio equipment you've used? In an ideal world, how would your recorder of choice function?
This MiniDisc recorder I used was my first real piece of sound recording besides using a basic tape recorder. My personal experience sucked after having my first soundwalk have a Rec Error and all my sounds deleted. My second one went a little more smoothly, but still some problems with the transferring in the end. My ideal MiniDisc recorder would be able to skip the step of working on a PC so I could directly put my sounds on my Mac laptop.
3. Discuss the audio-editing software you chose and your history with this application. If you used this software for the first time, explain why you chose this particular application and how you think it helped you to accomplish your creative goals (or proved detrimental). Will you use this software again for future projects?
I used Audacity for the first time and found many of the capabilities intriguing and I’m looking forward to drift two where I can use them to make some abstract sounds. SonicStage didn’t work for me so I am unable to critique it expect for the fact that it wouldn’t let me transfer my songs onto a CD, with just added to the technical difficulties I had.
The microphone building process actually turned out to be more fun and interesting than I expected. The only set back was a lack of soldering equipment made it a timely process. My microphones worked fine on my drifts, everything seemed to go well with them. Ideally, I would not have had us even make microphones, just buy them, so we could spend more time on the drifts, but it was still a fun experience.
2. How was your experience with operating the Minidisc recorder? How does this recorder compare to other audio equipment you've used? In an ideal world, how would your recorder of choice function?
This MiniDisc recorder I used was my first real piece of sound recording besides using a basic tape recorder. My personal experience sucked after having my first soundwalk have a Rec Error and all my sounds deleted. My second one went a little more smoothly, but still some problems with the transferring in the end. My ideal MiniDisc recorder would be able to skip the step of working on a PC so I could directly put my sounds on my Mac laptop.
3. Discuss the audio-editing software you chose and your history with this application. If you used this software for the first time, explain why you chose this particular application and how you think it helped you to accomplish your creative goals (or proved detrimental). Will you use this software again for future projects?
I used Audacity for the first time and found many of the capabilities intriguing and I’m looking forward to drift two where I can use them to make some abstract sounds. SonicStage didn’t work for me so I am unable to critique it expect for the fact that it wouldn’t let me transfer my songs onto a CD, with just added to the technical difficulties I had.
Wednesday, October 22, 2008
10 Curiosities
1. Is there an interesting way to use echoes of buildings?
2. How can I use traffic to find an interesting sound?
3. Were there any houses with things inside to produce noise?
4. Is there a way to get a different view of the houses than the street?
5. Are there any more areas with people interacting?
6. Are there more areas of construction that I can find sounds at?
7. Were their any empty lots near the houses?
8. Are there any houses with unusual plant or flower arrangements?
9. Is there a street close to the houses with stores or markets?
10. Where is the nearest park or recreation area in relations to the streets of houses?
2. How can I use traffic to find an interesting sound?
3. Were there any houses with things inside to produce noise?
4. Is there a way to get a different view of the houses than the street?
5. Are there any more areas with people interacting?
6. Are there more areas of construction that I can find sounds at?
7. Were their any empty lots near the houses?
8. Are there any houses with unusual plant or flower arrangements?
9. Is there a street close to the houses with stores or markets?
10. Where is the nearest park or recreation area in relations to the streets of houses?
Drift 1 Assessment
1. Describe two situations that aggravated, bothered, shocked or otherwise stressed you during Drift 1.
When I started on my drift I noticed that only traffic sounds were apparently the only thing I could really hear. I began to look closer into sounds away from the street but could still have cars going by and would sometimes mess up my recordings. The second problem that became frustrating was when I walked through my drift algorithm once (left, left, right, right, straight, left, right) and still hadn’t recorded an interesting sound. I started to get stressed thinking I wasn’t going to be able to find some quality sounds. Eventually after walking far enough I found things to make interesting sounds.
2. Describe, with details, two situations during Drift 1 in which you felt unusually peaceful, at ease, or contemplative.
I think the first time I truly felt peaceful was when I got away from all the busier roads near campus. It was a relief to walk by houses that had maybe people talking but the sound of cars driving by was almost completely eliminated which set my mind at ease. The other time(s) I felt at ease was when I was actually making my recordings. Two that stand out are the birds and the children on the porch. Just sitting and listening is very peaceful to me and I would get a chance for 4-5 minutes to just relax while my microphone recorded everything going on in the world while I could just think more deeply about my surroundings.
3. Describe three surprises or unexpected situations you encountered on your Drift and in the days that followed. The surprise could stem from your expectations that conflicted with "on the ground" realities, cultural or social issues of which you were previously unaware, feelings and reactions that you did not expect to have, appearances and soundings of things you did not expect, good or bad outcomes of "on the spot" decisions you had to make, or the discovery of "deeper" realities in the materials you brought home. (Again, skip anything technology-related!)
The first surprise I guess you can call it, was when I asked a woman to return her lawn mower. I was actually surprised with how creepy she suspected me of being because the idea of recording sounds was so unusual to her. The next day I just had to laugh about the whole situation and wondering how many people she told about being recorded while pushing her lawn mower. Another surprise actually came when listening back to my recordings. During the time of recording I was listening to a specific sound, but during the recording I would hear other sounds that I wasn’t aware of at the time. This made me realize how much our ears tune out things that we don’t want to hear. The final reaction I had derived from drifting as a whole. When the project first was presented I honestly didn’t understand why anyone would ever do this. Afterwards I realized how peaceful and just separated from the real world I became. The entire time I felt that I wasn’t a person in the real world just a spectator listening in which was really cool.
4. Describe your favorite experience, situation, place, or recollection from your Drift. Be specific about what happened, how you felt, how you reacted, and why you think this particular experience affected you so much.
My favorite experience of the entire drift definitely came on finding my final sound of a leaf blower. At first the sound was coming from a yard with a huge fence up. I decided that it was a perfect opportunity to really listen to the sound in order to guess what the object making the sound was. I remember listen and ruling the obvious things first that it was a machine, with a constant engine that was moving around. Then I took my guess of it being a leaf blower, and walked around the house to see the answer. I felt excited when I found out I was correct because I felt that I had learned something from listening my entire walk and felt that sound now had new meaning to me.
When I started on my drift I noticed that only traffic sounds were apparently the only thing I could really hear. I began to look closer into sounds away from the street but could still have cars going by and would sometimes mess up my recordings. The second problem that became frustrating was when I walked through my drift algorithm once (left, left, right, right, straight, left, right) and still hadn’t recorded an interesting sound. I started to get stressed thinking I wasn’t going to be able to find some quality sounds. Eventually after walking far enough I found things to make interesting sounds.
2. Describe, with details, two situations during Drift 1 in which you felt unusually peaceful, at ease, or contemplative.
I think the first time I truly felt peaceful was when I got away from all the busier roads near campus. It was a relief to walk by houses that had maybe people talking but the sound of cars driving by was almost completely eliminated which set my mind at ease. The other time(s) I felt at ease was when I was actually making my recordings. Two that stand out are the birds and the children on the porch. Just sitting and listening is very peaceful to me and I would get a chance for 4-5 minutes to just relax while my microphone recorded everything going on in the world while I could just think more deeply about my surroundings.
3. Describe three surprises or unexpected situations you encountered on your Drift and in the days that followed. The surprise could stem from your expectations that conflicted with "on the ground" realities, cultural or social issues of which you were previously unaware, feelings and reactions that you did not expect to have, appearances and soundings of things you did not expect, good or bad outcomes of "on the spot" decisions you had to make, or the discovery of "deeper" realities in the materials you brought home. (Again, skip anything technology-related!)
The first surprise I guess you can call it, was when I asked a woman to return her lawn mower. I was actually surprised with how creepy she suspected me of being because the idea of recording sounds was so unusual to her. The next day I just had to laugh about the whole situation and wondering how many people she told about being recorded while pushing her lawn mower. Another surprise actually came when listening back to my recordings. During the time of recording I was listening to a specific sound, but during the recording I would hear other sounds that I wasn’t aware of at the time. This made me realize how much our ears tune out things that we don’t want to hear. The final reaction I had derived from drifting as a whole. When the project first was presented I honestly didn’t understand why anyone would ever do this. Afterwards I realized how peaceful and just separated from the real world I became. The entire time I felt that I wasn’t a person in the real world just a spectator listening in which was really cool.
4. Describe your favorite experience, situation, place, or recollection from your Drift. Be specific about what happened, how you felt, how you reacted, and why you think this particular experience affected you so much.
My favorite experience of the entire drift definitely came on finding my final sound of a leaf blower. At first the sound was coming from a yard with a huge fence up. I decided that it was a perfect opportunity to really listen to the sound in order to guess what the object making the sound was. I remember listen and ruling the obvious things first that it was a machine, with a constant engine that was moving around. Then I took my guess of it being a leaf blower, and walked around the house to see the answer. I felt excited when I found out I was correct because I felt that I had learned something from listening my entire walk and felt that sound now had new meaning to me.
Sunday, September 28, 2008
I selected the article "The Art of Noises" by Luigi Russolo. Of all the articles to read, I found this one most relevant to the sound walks we are currently taking part in. I found this article interesting because of it taking something today we almost taking for granted, and gives it a history and a past. I like the idea stated about the evolution of sound, how it was look at as sacred, before the modern area has turned a precious sound into noise.
The article states several important facts about sound development. One of the most critical points is the complexity of sound increasing through the ages. It states how machines can give us new sounds, that we could not develop without using them. Previous era's before the 19th century are talked about as the silent era. The isn't just related to film, but to life. Back in that time the only thing that constantly made noise were living things like people and animals. Now with the development and technology of machines, electricity, and radio were can have become accustomed to constant noise which we have even learned to block out. Even nature used to be described as silent. The article says that despite natural diasters like earthquakes or storms, nature was peaceful and quiet. Now nature is full of the industrial world, all combining together to create a more complex sound, that could not be created without the updated technology in this era.
After reading the article I'm going to take this type of idea about noise versus sound on my drifts. I feel that I might try to stay away from machine made noises, and find sounds in nature. Original sounds that are overpowered by the loud banging noises that we commonly hear. I am going to attempt to avoid traffic, industries, and people, but instead look for the simple things in life that people in past era's truly appreciated. I think the coolest sounds I can find as the article states, will be sounds and not just noise.
Sunday, September 14, 2008
Reflect on your experiences on the Soundwalk. Answer as many of the following questions as you can:
Were you able to find places and spaces where you could really listen?Of course. I believe anywhere you are is a place to listen. Some places make you listen harder than others, but there is no place you can not truly listen if you focus.
Was it possible to move without making a sound?
No. Everything you do makes a sound. If you truly feel that your motions aren't causing a sound, (ex: pants swishing, stick under your foot) you can always listen for sounds like your stomach rumbling, swallowing, or simply the creaks and cracks of your bones.
What happened when you plugged your ears, and then unplugged them?
When my ears were plugged, it was obviously tough to hear anything going on around except extremely loud noises like buses which sounded like a hum. When my ears were plugged it was possible to hear my bodily functions such as swallowing, or just my hands moving on my ears. As I would unplug them the outside noises would seem to take a split second to be heard and seem extremely loud.
In your sound log exercise, what types of sounds were you able to hear? List them.
- Squirrel in woodchips
- Trees in breeze
- Car accelerates
- bus brakes squeal
- children laughing
- child coughing
- truck in reverse
- plane decending overhead
- Bike chains clicking
- machines on top of building
- footsteps of concrete
- paper rustle
- pen click
- girl on phone
- talking man and woman
- water drain clank
It was difficult to decide some of the unknown sounds origin. Mostly due to the fact that so many sounds are all around us, we don't realize where some are even coming from. The toughest sounds were coming from tops of buildings that you couldn't see exactly what you would hearing.
Human sounds? Mechanical sounds? Natural sounds?
Of the three I believe that mechanical sounds are the toughest to distinguish. Most human and natural sounds can be pinpointed, but machines can create so many different sounds that we just don't break down enough to identify.
Were you able to detect subtleties in the everpresent drone?
No. One of the hardest things to do when listening is not simple blocking out a constant sound. This is what made it difficult to realize the small sounds that make up the "constant drone".
Extremely close sounds? Sounds coming from very far away?
Our thinking our brains are almost programmed to know which direction sounds are coming from, and about the distant they are away from us. This helped out on the soundwalk.
What kinds of wind effects were you able to detect (for example, the leaves of trees don't make sounds until they are activated by the wind)?
I think the wind influence a constant sound we hear when it enters our ears. The wind is what seems to ruin silence. When indoors, the change is extremely dramatic of the noise level unless you are in a large crowded room.
Were you able to intervene in the urban landscape and create your own sounds by knocking on a resonant piece of metal, activating wind chimes, etc.?
Yes, we listened to a hand rail vibrate, and claps in the parking garage to get the idea of echoes. Other human sounds like talking, or opening a door were only possible due to human interaction.
Do you feel you have a new understanding or appreciation of the sounds of our contemporary landscape/cityscape?
Yes, after truly listening to everything going on, its seems almost as if true nature is a rarity. This soundwalk inspired me to do my drift project near the lake so the sounds of the city aren't so overwhelming.
How do you think your soundwalk experience will affect your practice as a media artist, if at all?
I think it has taught me to appreciate the complexity of our senses, and I will transfer these complexity to my visual art which I hope to use to become a succesful artist.
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