Final mixing session. A few more sounds came up. Flipping a book, sonic clues for the interactive objects in the room. Painting Sonic Clue: water dripping recording ran through some echoes and reverb; cavey quality; Music Box Sonic Clue: gear turning sound, recorded with a dpa microphone; Computer Sonic Clue: a combination of a synthesized… Continue reading Mixing Session 2
Category: Year Two
Final Crits
The project was not in the stage we planned for it to be by this time. The sounds were only roughly placed by Rosa in the project. It was our first time hearing it as well. There was a lot of clipping happening, especially in the painting scene. The feedback we got was: Cinematic, sits… Continue reading Final Crits
Mixing Session 1
We had our first mixing session on Thursday, May 25th. Although we had all intentions to finish on that day, few issues arose. We therefore will be having a second and hopefully last meeting today. Having to work on a single laptop is probably the most challenging part (Rosa’s laptop as it’s the only one… Continue reading Mixing Session 1
Sound Arts Lecture Series
I chose to wrote one blogpost on some of the visiting practitioner lectures and some of the notes I kept from them. March 9th: Angus Carlyle -questions sound’s claims to immediacy -field notes -‘cortisol listening’ – the reason why field recordings seem to never capture the whole experience of the sound; – April 13th: Derek… Continue reading Sound Arts Lecture Series
Reflective Writing/Context
I will be using this blogpost to make apparent how I see my creative soundwork relating to the subject of my essay. At the core of my research lays the question of authenticity, along with immediacy and intimacy. Sound often claims I have a troubled relationship with authenticity. What stories am I trying to tell?… Continue reading Reflective Writing/Context
Nyokabi Kariuki
Sound artist, performer and musician primarily working with her voice and field recordings. The tracks that stood out to me were Quiet Face and Feeling Body. The aspect that appealed to me in Feeling Body is the use of domestic sounds, like dishwashing. This is something I experimented with during the first year and something… Continue reading Nyokabi Kariuki
Introduction Cat
We decided to change the plan for the introduction. As previously mentioned, one of the suggestions given to us during the last crit session was including a brief introduction to make the aim clearer to the player. Instead of having a separate scene, we are going to place a cat in the main hub. The… Continue reading Introduction Cat
Performer/Sound Poet
A big part of my research this semester went into extended vocal technique performers. There seem to be two threads: avant-garde sound poets examples: Francoise Duphrene and Henri Chopin extended vocal technique Cathy Berberian is often accredited as the pioneer (she came from an opera singing background) other examples include Diamanda Galas, Joan La Barbara,… Continue reading Performer/Sound Poet
Bye Bye Butterfly
‘early experiments with tapemusic in pieces such as Bye Bye Butterfly(1965), which morphs and manipulates aloop taken from Giacomo Puccini’s operaMadama Butterfly (1904) through a delaysetup. In this pioneering feminist work,the operatic voice emerges as horrificallywounded, sinister and damaged, presenting,as Oliveros puts it, a ‘farewell not only tothe music of the nineteenth century butalso to… Continue reading Bye Bye Butterfly
Jennifer Walshe
Her work with machine learning can be separated in two categories: real and speculative. I will be discussing the two ‘real’ AI works Ultrachunk (2018) and ‘Anthology or Early Music, Vol. 1 (2020). Ultrachunk is a live vocal performance featuring the neural network GRANMA developed by Memo Akten. The neural network has been trained throughout… Continue reading Jennifer Walshe