Sumários

Week 10 Tuesday

17 Outubro 2023, 11:00 • Maile Colbert

Missed Class due to illness, made up for in January

Week 10 Tuesday

17 Outubro 2023, 08:30 • Maile Colbert

Missed Class due to illness, made up for in January

Week 11 Monday

16 Outubro 2023, 18:30 • Maile Colbert

I wanted to remind you that you can begin your M.3 project. This is the audio-visual (or other sense) project that I described to you last week, and there is also a written description in the class notes. 

 

The focus of this project is how sound works with the other material/media/elements...how they work together. What might come to mind immediately is a soundtrack to a video or animation, but you are welcome to explore installations and performance with, for example, photography, drawing, painting, sculpture, performance, lighting, etc. You could explore soundwalks, or visual sound scores. We'll be exploring examples or all of these together next week, but you are encouraged to meanwhile think about/begin research for/begin production for what you would like to do. 

 

As a way to think about the relationship between, for example, sound and visuals, I'm sharing the film director Robert Bresson's Notes on Sound. While it is quite minimal and perhaps even conservative, I appreciate the thought towards balance and how the two sense play together in cinema...

 

Notes on sound

 by Robert Bresson

Sight and Hearing 

To know what business that sound (or that image) has there. 

  • What is for the eye must not duplicate what is for the ear.
  • When a sound can replace an image, cut the image or neutralize it. The ear goes more toward the within, the eye toward the outer.
  • A sound must never come to the help of a image, nor an image to help the of sound.
  • If a sound is the obligatory complement of an image, give preponderance either to the sound or to the image. If equal, they damage or kill each other, as e say of colors
  • Image and sound must not support each other, but must work each in turn through a sort of relay.
  • The eye solicited alone makes the ear impatient, the ear solicited alone ,makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the senses in governable way. Against the tactics of speed, of noise, set tactics of slowness, of silence

 

All my best,

Maile

Week 11 Monday

16 Outubro 2023, 18:30 • Maile Colbert

I wanted to remind you that you can begin your M.3 project. This is the audio-visual (or other sense) project that I described to you last week, and there is also a written description in the class notes. 

 

The focus of this project is how sound works with the other material/media/elements...how they work together. What might come to mind immediately is a soundtrack to a video or animation, but you are welcome to explore installations and performance with, for example, photography, drawing, painting, sculpture, performance, lighting, etc. You could explore soundwalks, or visual sound scores. We'll be exploring examples or all of these together next week, but you are encouraged to meanwhile think about/begin research for/begin production for what you would like to do. 

 

As a way to think about the relationship between, for example, sound and visuals, I'm sharing the film director Robert Bresson's Notes on Sound. While it is quite minimal and perhaps even conservative, I appreciate the thought towards balance and how the two sense play together in cinema...

 

Notes on sound

 by Robert Bresson

Sight and Hearing 

To know what business that sound (or that image) has there. 

  • What is for the eye must not duplicate what is for the ear.
  • When a sound can replace an image, cut the image or neutralize it. The ear goes more toward the within, the eye toward the outer.
  • A sound must never come to the help of a image, nor an image to help the of sound.
  • If a sound is the obligatory complement of an image, give preponderance either to the sound or to the image. If equal, they damage or kill each other, as e say of colors
  • Image and sound must not support each other, but must work each in turn through a sort of relay.
  • The eye solicited alone makes the ear impatient, the ear solicited alone ,makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the senses in governable way. Against the tactics of speed, of noise, set tactics of slowness, of silence

 

All my best,

Maile

Week 11 Monday

16 Outubro 2023, 18:30 • Maile Colbert

I wanted to remind you that you can begin your M.3 project. This is the audio-visual (or other sense) project that I described to you last week, and there is also a written description in the class notes. 

 

The focus of this project is how sound works with the other material/media/elements...how they work together. What might come to mind immediately is a soundtrack to a video or animation, but you are welcome to explore installations and performance with, for example, photography, drawing, painting, sculpture, performance, lighting, etc. You could explore soundwalks, or visual sound scores. We'll be exploring examples or all of these together next week, but you are encouraged to meanwhile think about/begin research for/begin production for what you would like to do. 

 

As a way to think about the relationship between, for example, sound and visuals, I'm sharing the film director Robert Bresson's Notes on Sound. While it is quite minimal and perhaps even conservative, I appreciate the thought towards balance and how the two sense play together in cinema...

 

Notes on sound

 by Robert Bresson

Sight and Hearing 

To know what business that sound (or that image) has there. 

  • What is for the eye must not duplicate what is for the ear.
  • When a sound can replace an image, cut the image or neutralize it. The ear goes more toward the within, the eye toward the outer.
  • A sound must never come to the help of a image, nor an image to help the of sound.
  • If a sound is the obligatory complement of an image, give preponderance either to the sound or to the image. If equal, they damage or kill each other, as e say of colors
  • Image and sound must not support each other, but must work each in turn through a sort of relay.
  • The eye solicited alone makes the ear impatient, the ear solicited alone ,makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the senses in governable way. Against the tactics of speed, of noise, set tactics of slowness, of silence

 

All my best,

Maile