Sumários
Week 12 Monday
9 Outubro 2023, 18:30 • Maile Colbert
simplest way to spatialize your Reaper audio is to use their own plug-in, ReaSurroundPan. It works quite well, just make sure to use headphones. I'm sending two tutorials on it, and I will also add them to the tutorial list:
Part 1: https://www.youtube.com/watch?v=KBLvTttsTaw&t=0s
Part 2: https://www.youtube.com/watch?v=vg28Dok2vqQ
Week 12 Tuesday
3 Outubro 2023, 14:00 • Maile Colbert
-Graphic and Visual Scores, explanation, examples, performances of:
https://www.theguardian.com/music/gallery/2013/oct/04/graphic-music-scores-in-pictures
https://schoolofnoise.com/global-graphic-score-project/what-are-graphic-scores/
Michael Snow Corpus
Callosum (2002)
- *Corpus Callosum is a 2002 experimental Canadian film
directed by Michael Snow. The title is a reference to the part of the
brain which was once thought to have been home to the human soul, and which
scientifically passes messages between the two hemispheres. The Corpus Callosum
of the film refers to the mysterious space between illusion and reality
- Writes Michael Snow: "The corpus callosum
is a central region of tissue in the human brain which passes 'messages'
between the two hemispheres. *Corpus Callosum, the film (or tape, or projected
light work), is constructed of, de-picts, creates, examines, presents, consists
of, and is, 'betweens.' Between beginning and ending, between 'natural' and
'artificial,' between fiction and fact, between hearing and seeing, between
1956 and 2002. It's a tragi-comedy of the cinematic variables. *Corpus Callosum
juxtaposes or counterpoints a realism of normal metamorphosis (two extreme
examples: pregnancy, explosions) in believable, 'real' interior spaces with
'impossible' shape changes (some made possible with digital animation). First
the camera, then we in the audience, observe the observations of the 'real'
people depicted in the obviously staged situations. What we see and what they
'see' is involved in shifting modes of belief. There seem to be (though there
is no narrative) a Hero and Heroine. However, from scene to scene they are
different people costumed identically or altered electronically.
The sound - electronic like the picture - is also
a continuous metamorphosis and as the film's «nervous system,» is as important
to the film as the picture. Or: the sound and the picture are two hemispheres
joined by the artist.
*Corpus
Callosum is resolutely «artificial,» it not only wants to convince, but also to
be a perceived pictorial and musical phenomenon.
Two
propositions: Video is a sense, not «optical.» Video has an inherent
instability, alterability and melleability. With digital anmation one can
change shapes pixel by pixel, something that was not possible with film.
The
«effects» in * Corpus Callosum were consructed by computer animation using
Houdini, a software by a team led by Greg Hermanovic, who was the animation
consultant for the film.
https://www.youtube.com/watch?v=eXKvV6XzsTY
Wavelength: it was filmed over one week in December 1966
and edited in 1967,[2] and is an example of what film theorist P.
Adams Sitney describes as "structural
film",[3] calling Snow "the dean of structural
filmmakers."[4] Around the end, one
can hear what sound like police sirens, but could just as well be a part of the musical
score, a distinct piece of minimalist
music that pairs tones at random. These tones shift in frequency (and in "wavelength"), becoming higher-pitched as the camera
further analyzes the space of the anonymous apartment. What begins
as a view of the full apartment zooms (the zoom is not precisely continuous as
the camera does change angle slightly, noticeably near the very end) and
changes focus slowly across the forty-five minutes,
only to stop and come into perfect focus on a photograph of the sea on the
wall. The film ends with the camera going completely out of focus and fading to
white, as the soundtrack finally raises to a pitch too high to be heard.
https://www.youtube.com/watch?v=963PSjAHo48
-MDA free plugins bundle and Shepard Tone generator: https://sourceforge.net/projects/mda-vst/
Lab Time: They can work on their projects, have individual
help, and also workshops with Pro Tools or Premiere Sound Essentials, or
Audacity
M.3 - Sound Design for
Image (moving image, installation, performance, soundwalk, sound score, etc.),
due December 1st
*they can
now use whatever programs they would like
M.4 – Final Projects and
Reports (including self-evaluation paragraph)
a. WIP (work in progress)
presentation, December 11th, 12th
b. Final presentations, January 8th, 9th
Week 12 Tuesday
3 Outubro 2023, 11:00 • Maile Colbert
-Graphic and Visual Scores, explanation, examples, performances of:
https://www.theguardian.com/music/gallery/2013/oct/04/graphic-music-scores-in-pictures
https://schoolofnoise.com/global-graphic-score-project/what-are-graphic-scores/
Michael Snow Corpus
Callosum (2002)
- *Corpus Callosum is a 2002 experimental Canadian film
directed by Michael Snow. The title is a reference to the part of the
brain which was once thought to have been home to the human soul, and which
scientifically passes messages between the two hemispheres. The Corpus Callosum
of the film refers to the mysterious space between illusion and reality
- Writes Michael Snow: "The corpus callosum
is a central region of tissue in the human brain which passes 'messages'
between the two hemispheres. *Corpus Callosum, the film (or tape, or projected
light work), is constructed of, de-picts, creates, examines, presents, consists
of, and is, 'betweens.' Between beginning and ending, between 'natural' and
'artificial,' between fiction and fact, between hearing and seeing, between
1956 and 2002. It's a tragi-comedy of the cinematic variables. *Corpus Callosum
juxtaposes or counterpoints a realism of normal metamorphosis (two extreme
examples: pregnancy, explosions) in believable, 'real' interior spaces with
'impossible' shape changes (some made possible with digital animation). First
the camera, then we in the audience, observe the observations of the 'real'
people depicted in the obviously staged situations. What we see and what they
'see' is involved in shifting modes of belief. There seem to be (though there
is no narrative) a Hero and Heroine. However, from scene to scene they are
different people costumed identically or altered electronically.
The sound - electronic like the picture - is also
a continuous metamorphosis and as the film's «nervous system,» is as important
to the film as the picture. Or: the sound and the picture are two hemispheres
joined by the artist.
*Corpus
Callosum is resolutely «artificial,» it not only wants to convince, but also to
be a perceived pictorial and musical phenomenon.
Two
propositions: Video is a sense, not «optical.» Video has an inherent
instability, alterability and melleability. With digital anmation one can
change shapes pixel by pixel, something that was not possible with film.
The
«effects» in * Corpus Callosum were consructed by computer animation using
Houdini, a software by a team led by Greg Hermanovic, who was the animation
consultant for the film.
https://www.youtube.com/watch?v=eXKvV6XzsTY
Wavelength: it was filmed over one week in December 1966
and edited in 1967,[2] and is an example of what film theorist P.
Adams Sitney describes as "structural
film",[3] calling Snow "the dean of structural
filmmakers."[4] Around the end, one
can hear what sound like police sirens, but could just as well be a part of the musical
score, a distinct piece of minimalist
music that pairs tones at random. These tones shift in frequency (and in "wavelength"), becoming higher-pitched as the camera
further analyzes the space of the anonymous apartment. What begins
as a view of the full apartment zooms (the zoom is not precisely continuous as
the camera does change angle slightly, noticeably near the very end) and
changes focus slowly across the forty-five minutes,
only to stop and come into perfect focus on a photograph of the sea on the
wall. The film ends with the camera going completely out of focus and fading to
white, as the soundtrack finally raises to a pitch too high to be heard.
https://www.youtube.com/watch?v=963PSjAHo48
-MDA free plugins bundle and Shepard Tone generator: https://sourceforge.net/projects/mda-vst/
Lab Time: They can work on their projects, have individual
help, and also workshops with Pro Tools or Premiere Sound Essentials, or
Audacity
M.3 - Sound Design for
Image (moving image, installation, performance, soundwalk, sound score, etc.),
due December 1st
*they can
now use whatever programs they would like
M.4 – Final Projects and
Reports (including self-evaluation paragraph)
a. WIP (work in progress)
presentation, December 11th, 12th
b. Final presentations,
January 8th, 9th
Week 12 Tuesday
3 Outubro 2023, 08:30 • Maile Colbert
-Graphic and Visual Scores, explanation, examples, performances of:
https://www.theguardian.com/music/gallery/2013/oct/04/graphic-music-scores-in-pictures
https://schoolofnoise.com/global-graphic-score-project/what-are-graphic-scores/
Michael Snow Corpus
Callosum (2002)
- *Corpus Callosum is a 2002 experimental Canadian film
directed by Michael Snow. The title is a reference to the part of the
brain which was once thought to have been home to the human soul, and which
scientifically passes messages between the two hemispheres. The Corpus Callosum
of the film refers to the mysterious space between illusion and reality
- Writes Michael Snow: "The corpus callosum
is a central region of tissue in the human brain which passes 'messages'
between the two hemispheres. *Corpus Callosum, the film (or tape, or projected
light work), is constructed of, de-picts, creates, examines, presents, consists
of, and is, 'betweens.' Between beginning and ending, between 'natural' and
'artificial,' between fiction and fact, between hearing and seeing, between
1956 and 2002. It's a tragi-comedy of the cinematic variables. *Corpus Callosum
juxtaposes or counterpoints a realism of normal metamorphosis (two extreme
examples: pregnancy, explosions) in believable, 'real' interior spaces with
'impossible' shape changes (some made possible with digital animation). First
the camera, then we in the audience, observe the observations of the 'real'
people depicted in the obviously staged situations. What we see and what they
'see' is involved in shifting modes of belief. There seem to be (though there
is no narrative) a Hero and Heroine. However, from scene to scene they are
different people costumed identically or altered electronically.
The sound - electronic like the picture - is also
a continuous metamorphosis and as the film's «nervous system,» is as important
to the film as the picture. Or: the sound and the picture are two hemispheres
joined by the artist.
*Corpus
Callosum is resolutely «artificial,» it not only wants to convince, but also to
be a perceived pictorial and musical phenomenon.
Two
propositions: Video is a sense, not «optical.» Video has an inherent
instability, alterability and melleability. With digital anmation one can
change shapes pixel by pixel, something that was not possible with film.
The
«effects» in * Corpus Callosum were consructed by computer animation using
Houdini, a software by a team led by Greg Hermanovic, who was the animation
consultant for the film.
https://www.youtube.com/watch?v=eXKvV6XzsTY
Wavelength: it was filmed over one week in December 1966
and edited in 1967,[2] and is an example of what film theorist P.
Adams Sitney describes as "structural
film",[3] calling Snow "the dean of structural
filmmakers."[4] Around the end, one
can hear what sound like police sirens, but could just as well be a part of the musical
score, a distinct piece of minimalist
music that pairs tones at random. These tones shift in frequency (and in "wavelength"), becoming higher-pitched as the camera
further analyzes the space of the anonymous apartment. What begins
as a view of the full apartment zooms (the zoom is not precisely continuous as
the camera does change angle slightly, noticeably near the very end) and
changes focus slowly across the forty-five minutes,
only to stop and come into perfect focus on a photograph of the sea on the
wall. The film ends with the camera going completely out of focus and fading to
white, as the soundtrack finally raises to a pitch too high to be heard.
https://www.youtube.com/watch?v=963PSjAHo48
-MDA free plugins bundle and Shepard Tone generator: https://sourceforge.net/projects/mda-vst/
Lab Time: They can work on their projects, have individual
help, and also workshops with Pro Tools or Premiere Sound Essentials, or
Audacity
M.3 - Sound Design for
Image (moving image, installation, performance, soundwalk, sound score, etc.),
due December 1st
*they can
now use whatever programs they would like
M.4 – Final Projects and
Reports (including self-evaluation paragraph)
a. WIP (work in progress)
presentation, December 11th, 12th
b. Final presentations, January 8th, 9th
Week 13 Monday
2 Outubro 2023, 18:30 • Maile Colbert
text to speech, sonification, geophones, and Shepard Tones
-Andrea Polli on
sonification: https://vimeo.com/8419919
Listening to the Earth:
As has been seen in recent Hurricane
disasters, many lives can depend on the interpretation of global information.
Developing a language or series of languages for communicating this mass of
data must evolve, and part of that evolution must include the work of artists.
The interpretation and presentation of data using sound is part of a growing
movement in what is called data sonification. Like its more popular
counterpart, data visualization, sonification transforms data in an attempt to
communicate meaning. Andrea Polli presents her sonification research
interpreting actual and simulated data that describe local and global climates.
Andrea Polli is a digital media artist living in New
Mexico. Her work addresses issues related to science and technology in
contemporary society. She is interested in global systems, the real time
interconnectivity of these systems, and the effect of these systems on
individuals. Polli's work with science, technology and media has been presented
widely in over 100 presentations, exhibitions and performances internationally,
has been recognized by numerous grants, residencies and awards including
UNESCO. Her work has been reviewed by the Los Angeles Times, Art in America,
Art News, NY Arts and others. She has published two book chapters, several
audio CDs, DVDs and many papers in print including MIT Press and Cambridge
University Press journals.
She currently works in collaboration with atmospheric
scientists to develop systems for understanding storm and climate through sound
(called sonification). Recent projects include: a spatialized sonification of
highly detailed models of storms that devastated the New York area; a series of
sonifications of climate in Central Park; and a real-time multi-channel
sonification and visualization of weather in the Arctic. She has exhibited,
performed, and lectured nationally and internationally and recently spent seven
weeks in Antarctica on a National Science Foundation funded project.
90degreessouth.org
As a member of the steering committee for New York 2050, a
wide-reaching project envisioning the future of the New York City region, she
worked with city planners, environmental scientists, historians and other
experts to look at the impact of climate on the future of human life both
locally and globally.
She has received a Master of Fine Arts in Time Arts from
the School of the Art Institute of Chicago and in 2000, she was voted Teacher
of the Year at Columbia College in Chicago in recognition of her work
connecting students to the wider community through collaborative projects.
These projects included performances and exhibitions at the Chicago Museum of
Contemporary Art and a large scale public art project connecting 5 neighborhood
arts organizations with live web streaming, an exhibition at the Chicago
Cultural Center and six billboards. Pause. was featured as the Millennium
Community Artwork for Illinois and funded by The Mid Atlantic Arts Council and
Ameritech.
Polli is currently an Associate Professor in Fine Arts and
Engineering at The University of New Mexico and Director of the
Interdisciplinary Film and Digital Media Program at the University. From
2005-2008 she served as the Director of the Integrated Media Arts Masters of
Fine Arts Program at Hunter College/CUNY. She is co-chair of the Leonardo
Education Forum, an affiliate of the MIT Press and the College Art Association
of America (CAA) that promotes the advancement of research and academic
scholarship at the intersections of art, science, and technology and co-chair
of the New York Society for Acoustic Ecology, a multi-disciplinary group
exploring the urban sound environment and a chapter of the American and World
Forums for Acoustic Ecology.
Martin Arnold - Passsage À L'Acte 1993
- passage a l'acte (1993) makes a simple breakfast scene from To Kill a
Mockingbird look like a surrealist nightmare. The 1950s family is the target
here. Those who know the film will recognize the characters as a father, his
two kids, and a neighbor woman, but the film transforms them into a crazed
version of the postwar family. While "Mother" sits with a frozen
smile and Father (Gregory Peck) reads the paper, sonny boy gets up from the
table and opens and closes the screen door repeatedly. The slamming of the door
sounds like gunfire, hinting at an unnamed aggression occurring somewhere just
outside this sacred space of the '50s home and perhaps at disturbing forces at
work within this family. Arnold's exploitation of these characters is pitiless;
like an evil puppeteer he repeats a shot of Gregory Peck screaming words and
parts of words to stultifying effect, while the son twitches back and forth
with some unknowable frustration and the daughter makes gutteral noises that
attain a kind of robot rhythm.
https://www.youtube.com/watch?v=93-G6EYnJO4
- a permanent architecture and sound installation, ‘sonic
pavilion’, where visitors are invited to listen to the sounds of the earth
turning. visitors enter the
site-specific ‘sonic pavilion’ to find a hole in its center, running 700 feet
deep down below the earth. geologic
microphones capture the live sounds of the earth turning and the tectonic
plates shifting — ‘geology in
motion,’ aitken describes.
these impressions are played aloud in real time inside the empty space, forming
a continuous and constantly-changing sequence of sounds rich in frequencies and
textures. reverberating throughout the site, these sounds generate a sense of
equivalence between the audio experience and visitors’ relationship to the
surrounding landscape. the curved glass exterior of ‘sonic pavilion’ creates an
optical distortion that visually blurs everything except what is directly in
front of the viewer. within the context of the rainforest, the prism-like architecture
of the installation synchronizes with the live audio to create a living
artwork, and a place for introspection.