1. Identify the article you have selected and why you chose it.
I read Pauline Oliveros’ Deep Listening: Bridge To Collaboration but I was intrigued by the title and how the ideas of sound editing and capturing worked with the idea of artistic collaboration.
2. What are the main points of the essay?
Oliveros touches on several topics in the article. In the first section she discusses her feelings towards collaborating with other artists and how much joy just gets from working together with someone on a project. She discussed how the differences in artistic idea create a non-linear work of art. Overall, the reader can tell how much she enjoys collaborating with friends and successful artists to create an entirely new piece. With discussion about collaboration came discussion about collaboration technologies. Pauline Olveros tells the story of receiving her first tape recording form her mother in the late 1950’s. She marvels at how advanced recording technology has become since then and expresses her desire to see collaboration go to the internet so that artists can discuss and work together without even being in the same country. The article then transitions into Oliveros work called Sonic Mediations where she encourages her early love of recording sound and focusing on the listening process of these recording sounds. She then does what same may call a “shameless plug” for some of her work and for her foundation, which helps fund artists wishing to create pieces in this vein.
3. How are the ideas or arguments in this article relevant to your own practice as a media artist?
Although I think Oliveros’ discussion about collaboration was mostly a side note, I was interested in hear what a professional artist had to say about working together with others to produce a joint effort. In the future, I would like to write or work with a friend or fellow artist, because I think two artistic minds together can compliment each other and create a unique piece that one alone may not be able to do.
Sunday, December 7, 2008
Tuesday, December 2, 2008
Video Hardware/Software Response
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?
My work with the Olympus was relatively positive. My only complaint was the use of AA batteries as opposed to a stronger, rechargeable battery. Three times during the drift I had to change batteries because the others would drain very quickly. The only other camera I had used for video was my own digital camera, and the functions were basically the same. When it came to capturing the right images, the Olympus did the job successfully, and I was able to capture everything I wished to on my drifts. In a perfect drift I would prefer a camera with more manual options to limit editing on the computer as much as possible. I would also prefer a camera that is larger and able to steady more easily. It would also help to be able to do a zoom while shooting as opposed to zooming before the shot.
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 chose Quicktime Pro to edit all of my videos and this was the first time I’ve used it. I chose Quicktime so that I would be able to ask my TA if I ever had trouble with some technical issues. The program as a whole was somewhat surprising. I was expecting something a bit more substantial with a definite program that would open up. It took a bit of research and asking around before I figured out even some simple special affects that I could do with my videos. If nothing else, I’m thankful this class introduced me to a basic program to work on my overall computer skills and editing skills. I will try to become more familiar with QT Pro and use it at least throughout the year.
My work with the Olympus was relatively positive. My only complaint was the use of AA batteries as opposed to a stronger, rechargeable battery. Three times during the drift I had to change batteries because the others would drain very quickly. The only other camera I had used for video was my own digital camera, and the functions were basically the same. When it came to capturing the right images, the Olympus did the job successfully, and I was able to capture everything I wished to on my drifts. In a perfect drift I would prefer a camera with more manual options to limit editing on the computer as much as possible. I would also prefer a camera that is larger and able to steady more easily. It would also help to be able to do a zoom while shooting as opposed to zooming before the shot.
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 chose Quicktime Pro to edit all of my videos and this was the first time I’ve used it. I chose Quicktime so that I would be able to ask my TA if I ever had trouble with some technical issues. The program as a whole was somewhat surprising. I was expecting something a bit more substantial with a definite program that would open up. It took a bit of research and asking around before I figured out even some simple special affects that I could do with my videos. If nothing else, I’m thankful this class introduced me to a basic program to work on my overall computer skills and editing skills. I will try to become more familiar with QT Pro and use it at least throughout the year.
Saturday, November 8, 2008
Reading Responce 2
1. Identify the article you have selected and why you chose it.
I chose the article The Future of Music: Credo by John Cage because I was always fascinated by the “music” of Cage and more so his take on art and sound in general.
2. What are the main points of the essay?
Cage mentions some of his most common points throughout his career about the concept of music and sound together as one. He says, essentially, that we here music everyday and that the noise of cars passing and rain is in fact music. However, sometimes we chose to ignore it, and that’s when it becomes annoying to us. We should instead try to capture the noises and turn it into music. Cage also talks about the future of sound and music and how electronic instruments continue to represent the noises of the past. He also hopes for the day when music and noise is available to everyone on all levels. Percussion tracks and multiple tones and sounds will be available to play and perform and no noise throughout all existence will be left out. Yet, until the way when all sound is available and been used he says we should continue to experiment with sound and with the music that is all around us.
3. How are the ideas or arguments in this article relevant to your own practice as a media artist?
As an artist I am extremely drawn to music and have always wished to combine my love for film and music together. Cage has an odd take on music but his recognition of the beauty of all sound helps me as a hopeful filmmaker pay more attention to soundtracks and sound effects that I may need for future films. I also will continue myself to experiment with sound as Cage urges me to do while I work with film and music in one artistic package.
I chose the article The Future of Music: Credo by John Cage because I was always fascinated by the “music” of Cage and more so his take on art and sound in general.
2. What are the main points of the essay?
Cage mentions some of his most common points throughout his career about the concept of music and sound together as one. He says, essentially, that we here music everyday and that the noise of cars passing and rain is in fact music. However, sometimes we chose to ignore it, and that’s when it becomes annoying to us. We should instead try to capture the noises and turn it into music. Cage also talks about the future of sound and music and how electronic instruments continue to represent the noises of the past. He also hopes for the day when music and noise is available to everyone on all levels. Percussion tracks and multiple tones and sounds will be available to play and perform and no noise throughout all existence will be left out. Yet, until the way when all sound is available and been used he says we should continue to experiment with sound and with the music that is all around us.
3. How are the ideas or arguments in this article relevant to your own practice as a media artist?
As an artist I am extremely drawn to music and have always wished to combine my love for film and music together. Cage has an odd take on music but his recognition of the beauty of all sound helps me as a hopeful filmmaker pay more attention to soundtracks and sound effects that I may need for future films. I also will continue myself to experiment with sound as Cage urges me to do while I work with film and music in one artistic package.
Sunday, October 26, 2008
Audio Hardware/Sofware Responce
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 creation process went relatively quickly for me. There was certainly enough help and information for me to finish successfully. There did seem to be a lower amount of hot rods in order for everyone to get moving equally, but the extended help sessions made it more available. I imagined a much more difficult and chaotic few days but in fact it was the opposite of that, and the descriptions of the building are not nearly as difficult as they sound. I had zero errors with my microphones. They collected close vibrating sounds as well as overall noise of the city and traffic. My ideal set up would be a blue-tooth technology on a microphone small enough to place in a soda can. When set in the desired area a remote can control the pausing and recording.
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?
Despite very small inconveniences my experience with the MiniDisc was very positive. It worked as explained and I did not have any issues saving my sounds or losing any of them either. This was my first experience in audio recording. Ideally, the recorder would be able to connect directly to the computer without the assistance of a specific program and setting on the recorder could be saved to avoid having to adjust after every STOP.
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 SonicStage and Audacity and this was the first time I’ve used sound editing software. I used these applications so that, if I had questions, I would be able to get it from the instructors. They were self-explanatory and easy to use and also gave me all the useful tools to complete my finished sounds. While editing sounds in the future, my first idea would be to use Audacity.
The creation process went relatively quickly for me. There was certainly enough help and information for me to finish successfully. There did seem to be a lower amount of hot rods in order for everyone to get moving equally, but the extended help sessions made it more available. I imagined a much more difficult and chaotic few days but in fact it was the opposite of that, and the descriptions of the building are not nearly as difficult as they sound. I had zero errors with my microphones. They collected close vibrating sounds as well as overall noise of the city and traffic. My ideal set up would be a blue-tooth technology on a microphone small enough to place in a soda can. When set in the desired area a remote can control the pausing and recording.
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?
Despite very small inconveniences my experience with the MiniDisc was very positive. It worked as explained and I did not have any issues saving my sounds or losing any of them either. This was my first experience in audio recording. Ideally, the recorder would be able to connect directly to the computer without the assistance of a specific program and setting on the recorder could be saved to avoid having to adjust after every STOP.
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 SonicStage and Audacity and this was the first time I’ve used sound editing software. I used these applications so that, if I had questions, I would be able to get it from the instructors. They were self-explanatory and easy to use and also gave me all the useful tools to complete my finished sounds. While editing sounds in the future, my first idea would be to use Audacity.
Tuesday, October 21, 2008
10 Questions to Ponder
1. What sounds did I miss because of the time of day I went on my walk?
2. Could I get access to park’s at all times of the day?
3. Are there areas in my walk where the two mic heads could be separated and record two entirely different sounds?
4. Are there areas with little to no human made noises?
5. Can I find more areas of nature in my walk?
6. Does the area I walk look different at night?
7. Are there areas that appear dark, even in the middle of the day?
8. Can I find a section where most of the visual is one color (sky to lake, large grass fields)
9. Are there sections of my walk with a lot of text?
10. Are there any areas with impressive graffiti?
2. Could I get access to park’s at all times of the day?
3. Are there areas in my walk where the two mic heads could be separated and record two entirely different sounds?
4. Are there areas with little to no human made noises?
5. Can I find more areas of nature in my walk?
6. Does the area I walk look different at night?
7. Are there areas that appear dark, even in the middle of the day?
8. Can I find a section where most of the visual is one color (sky to lake, large grass fields)
9. Are there sections of my walk with a lot of text?
10. Are there any areas with impressive graffiti?
Drift Assessment
1. Describe two situations that aggravated, bothered, shocked or otherwise stressed you during Drift 1. (Please note that the situation CANNOT be technology-related.)
In the beginning of the drift we had to sort through relatively uneventful residential area. The first half of the walk was up and down driveways and house stoops, and the sounds were often times similar or dull. It became a stretch to find and even manufacture sounds, and the worry of not getting enough material began to circulate through my head. However, after walking more it became evident there were obvious sounds that were unique and meant for my recording. Yet, the sheer length of the walk also was quite stressful. Initially, we did not plan on traveling as far as we did but before our algorithm completed ONE cycle we were already in downtown Milwaukee.
2. Describe, with details, two situations during Drift 1 in which you felt unusually peaceful, at ease, or contemplative.
At the park by Lincoln Memorial Drive I got a great reminiscent feel of my childhood listening to the swings and children playing. It sounds cliché, but there really is nothing better than not caring about tomorrow. Also, just up the road, I really enjoyed listening to the noises of the flagpole and the waves. My friend and I were the only one’s there and we just sat in silence at a truly sincere moment in nature and structure.
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!)
I was genuinely surprised with how much enjoyment I got from simply being out in the world. Soundwalking is certainly a relaxing concept that I would like to continue after school in some regards. It truly gave me a new appreciation for my ears and the nature around me. There’s nothing like a hike that has a motive. I also was surprised by the reactions of people. The first was negative. While we walked on Hackett Drive I approached a man raking leaves on the cement and, after seeing me, he completely stopped and stared. He had no desire to even ask what I was doing but instead motioned with his hands that I should leave. Ironically, just a few minutes later on Hackett, we encountered a group of friends eating lunch outside at a restaurant who were extremely curious as to what we were doing. They were very curious and seemed to actually find interest in our artistic expression.
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.
Well, my favorite moment, unfortunately, comes at someone else’s expense. My good pal, Gus (William) Ingebretsen was recording on the rocks by Lake Michigan and stepped on a slippery boulder. Despite his best efforts in saving a camera, headphones, and microphones, he could not save the mini-disc recorder from falling into the lake after his tumble on the rocks. The fall was immediately followed by a loud obscenity which I will only go as far to mention has four letters and starts with the letter that comes after E. Although I did feel bad for Gus it certainly was quite humorous for everyone involved.
Goodbye mini-disc recorder. May you find peace at the bottom of the wicked deep.
In the beginning of the drift we had to sort through relatively uneventful residential area. The first half of the walk was up and down driveways and house stoops, and the sounds were often times similar or dull. It became a stretch to find and even manufacture sounds, and the worry of not getting enough material began to circulate through my head. However, after walking more it became evident there were obvious sounds that were unique and meant for my recording. Yet, the sheer length of the walk also was quite stressful. Initially, we did not plan on traveling as far as we did but before our algorithm completed ONE cycle we were already in downtown Milwaukee.
2. Describe, with details, two situations during Drift 1 in which you felt unusually peaceful, at ease, or contemplative.
At the park by Lincoln Memorial Drive I got a great reminiscent feel of my childhood listening to the swings and children playing. It sounds cliché, but there really is nothing better than not caring about tomorrow. Also, just up the road, I really enjoyed listening to the noises of the flagpole and the waves. My friend and I were the only one’s there and we just sat in silence at a truly sincere moment in nature and structure.
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!)
I was genuinely surprised with how much enjoyment I got from simply being out in the world. Soundwalking is certainly a relaxing concept that I would like to continue after school in some regards. It truly gave me a new appreciation for my ears and the nature around me. There’s nothing like a hike that has a motive. I also was surprised by the reactions of people. The first was negative. While we walked on Hackett Drive I approached a man raking leaves on the cement and, after seeing me, he completely stopped and stared. He had no desire to even ask what I was doing but instead motioned with his hands that I should leave. Ironically, just a few minutes later on Hackett, we encountered a group of friends eating lunch outside at a restaurant who were extremely curious as to what we were doing. They were very curious and seemed to actually find interest in our artistic expression.
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.
Well, my favorite moment, unfortunately, comes at someone else’s expense. My good pal, Gus (William) Ingebretsen was recording on the rocks by Lake Michigan and stepped on a slippery boulder. Despite his best efforts in saving a camera, headphones, and microphones, he could not save the mini-disc recorder from falling into the lake after his tumble on the rocks. The fall was immediately followed by a loud obscenity which I will only go as far to mention has four letters and starts with the letter that comes after E. Although I did feel bad for Gus it certainly was quite humorous for everyone involved.
Goodbye mini-disc recorder. May you find peace at the bottom of the wicked deep.
Saturday, September 27, 2008
Reading Responce 1
Gary Ferrington’s, On a Clear Day I Can Hear Forever struck a pleasant remembrance of my childhood. Back in the days of grade school, I spent early evenings at my grandmother’s house in the small town of Kewaskum. Her house was off a major freeway but still tucked within the inner section of the township. In comparison to my house, grandma’s was like playground of noises. My home was hidden gently in the woods, and traffic noise was non-existent. As night came closer, the traffic became louder, and more traffic, meant mom and dad were close to picking me up. Overall, the trends of traffic could remind me of the time on the clock, and in early mornings, I always knew when I had to wake up. This article tapped into these memory gems, and gave me moments of enjoyable daydreaming.
In the article Ferrington discussed the noises of his city, his enjoyment with them, and the subtle differences while the day and season progressed. Ferrington poetically describes the noises of his city which include the traffic noise building through the early morning and the birds chirping at the first signs of light. However, Ferrington shows great attentiveness to his city noises, and during the article informs readers he can distinguish what airplanes are leaving the nearby port. Also, throughout the article words like “enjoy” and “safe” make appearances showing the writers affinity for these sounds. His overall expression is that these fluctuating noises are moments to be admired. Finally, Ferrington discusses how the changing seasons and progression of the day produces different sound. Early morning there are subtle moments of quiet life through the window as birds awake and cars begin to hum down streets. However, the birds begin to take a back stage as people fill the streets. In the end, Ferrington describes his favorite time to listen, during the winter. He mentions that when the snow falls, the sounds become dulled and quieted. Gary Ferrington’s article detailed noises of the city, the enjoyments of these noises, and changes among sounds in his article On a Clear Day I Can Hear Forever.
As a media artist, I can take a lot from Ferrington’s article. If I wish to direct films, I need to take into context every element of the setting. By understanding what impressions different elements give, I can control what I want my viewers to understand. Also, I understand that there are always noises around us, and when recording I need to be conscious of every object emitting noise. This awareness will allow the editing process to go much smoother. Overall, Ferrington’s article has great nuances for everyone, but for a media artist, there are many ideas to hold onto and remember.
Mitch Keller
In the article Ferrington discussed the noises of his city, his enjoyment with them, and the subtle differences while the day and season progressed. Ferrington poetically describes the noises of his city which include the traffic noise building through the early morning and the birds chirping at the first signs of light. However, Ferrington shows great attentiveness to his city noises, and during the article informs readers he can distinguish what airplanes are leaving the nearby port. Also, throughout the article words like “enjoy” and “safe” make appearances showing the writers affinity for these sounds. His overall expression is that these fluctuating noises are moments to be admired. Finally, Ferrington discusses how the changing seasons and progression of the day produces different sound. Early morning there are subtle moments of quiet life through the window as birds awake and cars begin to hum down streets. However, the birds begin to take a back stage as people fill the streets. In the end, Ferrington describes his favorite time to listen, during the winter. He mentions that when the snow falls, the sounds become dulled and quieted. Gary Ferrington’s article detailed noises of the city, the enjoyments of these noises, and changes among sounds in his article On a Clear Day I Can Hear Forever.
As a media artist, I can take a lot from Ferrington’s article. If I wish to direct films, I need to take into context every element of the setting. By understanding what impressions different elements give, I can control what I want my viewers to understand. Also, I understand that there are always noises around us, and when recording I need to be conscious of every object emitting noise. This awareness will allow the editing process to go much smoother. Overall, Ferrington’s article has great nuances for everyone, but for a media artist, there are many ideas to hold onto and remember.
Mitch Keller
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