I thought this piece gave a very intimate look using every day montage sequences in co-op with an audio that was deeply profound in it's vivid use of storytelling. The visuals were pictures of still or moving images, most of which had a still background but had action happening in the foreground, like people walking or machinery moving, or snow falling against the night sky at the end. The stills used their movements wisely and coexisted in time with one another, allowing the viewer to catch up on the split screens as they were listening to Katherine Arline talk about her experiences on the mid-20's New York mental health system scene, working in "State myriads and as a social worker and case supervisor. It made a mark to address the main catastrophes of these people's experiences by sequencing the audio in a repetitive and discombobulated order, reflecting details in the system that are flawed, as well as how they're shaped by the people and their environments, that collectively make it flawed.
One of the patients was picked up on the streets, found wandering alone and through city intersections at some time midday. Katherine explained that he was pretty young, Asian, and apparently was deaf and mute. They picked him up, and he would not say anything to the workers. But, after he was examined by an Asian doctor, the man started to speak to the doctor. This barrier of language, was a big issue present in many of the cases in those early days. I was just interviewing Jaimin for Illini Mentors, and we were discussing how international students here get ostracized at first because of the lack of similar representatives their age, their interests, their willingness to give their time to try and communicate to someone who does not speak the same language, I think that poses a lot of questioning in how we begin to approach integrative service in a social working medium. The representative faces of many institutions do not reflect its inhabitants.
Near the end, there was a mention of patients eventually realizing they held a disconnect for the settings that their environments, shaped by a physical association to precedents outlining the building as a place they would never get out of. This mental feedback that these places were bad only support the notion that they were understaffed and underfunded, leading to a poor execution of their institutional responsibilities as a state mental facility. This matter of fixed environments with unchanging processions in social adaptation to the simplest matter of equitable sustainability for each individual, we cement them further into the system instead of letting them go through a rehabilitated cycle of treatment.
Monday, October 29, 2018
Tuesday, October 16, 2018
Mic Fun
https://vimeo.com/295319246
Shotgun Mic:
Sources:
http://www.shure.com/americas/products/microphones/vp/vp83 https://static.bhphotovideo.com/lit_files/314639.pdf
Answers:
- Dynamic or condenser: electret condenser
- Mic does not have phantom power
- Frequency: 50–20,000 Hz
- Mic has roll off switch
- Polar pattern: supercardioid/lobar
- “The low-cut filter reduces low frequency rumble caused by camera handling and other environmental factors by rolling off low frequencies 170 Hz and below (12 dB per octave).” - was only information given about sensitivity.
- Output impedance up to 171 Ω
- Unbalanced
- 1 kHz at 1% THD[2], 1000 Ω load - Maximum 129 dB SPL
Lavalier Mic - Wireless Lav Mic
- Dynamic
- Phantom power - No, most condensers have that though
- Frequency Range: 35Hz - 22kHz
- Yes - most have low-frequency roll-off
- Omnidirectional/cardioid
- Dynamic range (typical): 102 dB.
- Impedance: 1800 Ohm.
- Unbalanced
- Maximum 110 dB SPL
Tuesday, October 9, 2018
Summary of Marta Zarzycka : Showing Sounds
Sound us so pertinent to our understanding of the world around us. Without the collective memory of sound that most people share, we could not translate the many voices, vibrations, and proximity of the events and people happening in them around us. Sound surrounds our 360 senses and elevates our experience, while also centering our direction of understanding through the manipulation of the very same sounds that we recognize/associate with certain sources. Are the sounds disjointed in the documentary video because they are telling of a story thats discombobulated? Or are the subjects in the video trying to extend the notion of being addled by whatever it is thats discontinuing the progression of their daily lives. Either way, the message that the sound interprets can be taken as an additive approach to the experiences on the documentary, or it can become a negative approach that strips away at the focal point of the siphoned unfolding.
The realities of a photograph can reach the audience watching if it makes a connection with the viewers presence in relation to the subject matter of the photograph. Since photographs are something of a hole in the time space continuum (because they are "neither now or later, here or there"), they're a recollection as well as a reminder of what was and what could yet come if the actions portrayed in the photographs are reminiscent of today's times and issues. It was explained in the article that if we allow ourselves to actually witness rather than just observe the subjects and their matters in the photograph, we can restore the accountability and status, which could have been denied in the moment of the photograph, but also could extenuate to other similar circumstances happening right now in the world.
The content and context of the project being showcased can be staged in it's own message. Sounds and rhythms are usually manipulated, regardless of their original form or source. Even interviews straight from a source can be altered in terms of rhythm, continuity, and volume. This can positively change the emotional output of the documented to increase awareness for it, as well as vary the emotional impact of the message to be unlimited from one stoic inheritance of sound. The bumps and grinds and twists of a soundtrack take us to that reality being shown in the documentary, but it also distinguishes our reality from the reality being physically captured on screen. In example of a 4D movie, it can heighten our senses of what it must feel like to be in that scenario captured on screen, rather than just watching it in 2D and relating to it via sight only. With a full body and sense immersement, I believe we become more empathetic to the lived experiences we see on screen, yet we can never truly replicate the way they've unfolded in real time, only interpret.
The realities of a photograph can reach the audience watching if it makes a connection with the viewers presence in relation to the subject matter of the photograph. Since photographs are something of a hole in the time space continuum (because they are "neither now or later, here or there"), they're a recollection as well as a reminder of what was and what could yet come if the actions portrayed in the photographs are reminiscent of today's times and issues. It was explained in the article that if we allow ourselves to actually witness rather than just observe the subjects and their matters in the photograph, we can restore the accountability and status, which could have been denied in the moment of the photograph, but also could extenuate to other similar circumstances happening right now in the world.
The content and context of the project being showcased can be staged in it's own message. Sounds and rhythms are usually manipulated, regardless of their original form or source. Even interviews straight from a source can be altered in terms of rhythm, continuity, and volume. This can positively change the emotional output of the documented to increase awareness for it, as well as vary the emotional impact of the message to be unlimited from one stoic inheritance of sound. The bumps and grinds and twists of a soundtrack take us to that reality being shown in the documentary, but it also distinguishes our reality from the reality being physically captured on screen. In example of a 4D movie, it can heighten our senses of what it must feel like to be in that scenario captured on screen, rather than just watching it in 2D and relating to it via sight only. With a full body and sense immersement, I believe we become more empathetic to the lived experiences we see on screen, yet we can never truly replicate the way they've unfolded in real time, only interpret.
Thursday, October 4, 2018
Summary of Chion Listening
! Late ! Thought we just had to read and we'd discuss it in class with no reflection.
Causal sound is more of a sound that we base off direction, pressure, depth, etc. The causal sound can be relative to something we find familiar, or it's something that's taken out of context even though it has a familiar pitch and frequency, if we hear it somewhere we make an assumption that's what it is even though it may be out of it's own content. In this case we are identifying even unnamed sounds, and putting associations and faces to them. This causal type of listening is also most important to distinguish between human and animal sounds, or between mechanical and nature sounds. The way we interpret these sounds is how we put them into boxes that fit our descriptions of those images/sounds we associate each with.
Semantic listening is more to do with language and how the organization of these noises are varying in pitch, tone, and repetition, etc. It's about how the collection of these sounds creates a story, rather than what the sounds are itself. Semantic listening is the most expanded upon study of listening, because there are so many formulas and variations of communicative language all around the world that it's impossible to pinpoint a singular sound to a meaning unless it is connected with another sound to make a rhythm that is passed down and understood over time.
Reduced listening was the most interesting, because it was the one that most responded to me as an artist. You basically strip the sound of all it's prior meanings and associations and take it as a whole of its own. There are sounds that we take for granted, like the sound of rain or the sound of traffic on a crossing cross walk. These sounds have meaning and they come from somewhere, but sampled in a song or turned into a sample for a project can change the meaning to an individual completely. This is why music is so personal yet so much of a semantic in its own way. Musical artists study the past sounds of greater artists gone, and they take their meanings and experiences and relate it to their own, sometimes even reflecting similar sounds and gestures in their composition. This creates a language in it's own, but it's not stoic in it's meaning. It's constantly changing and being added onto, creating a whole other generation of collective memory to those singling out the sounds they find most resonating.
Causal sound is more of a sound that we base off direction, pressure, depth, etc. The causal sound can be relative to something we find familiar, or it's something that's taken out of context even though it has a familiar pitch and frequency, if we hear it somewhere we make an assumption that's what it is even though it may be out of it's own content. In this case we are identifying even unnamed sounds, and putting associations and faces to them. This causal type of listening is also most important to distinguish between human and animal sounds, or between mechanical and nature sounds. The way we interpret these sounds is how we put them into boxes that fit our descriptions of those images/sounds we associate each with.
Semantic listening is more to do with language and how the organization of these noises are varying in pitch, tone, and repetition, etc. It's about how the collection of these sounds creates a story, rather than what the sounds are itself. Semantic listening is the most expanded upon study of listening, because there are so many formulas and variations of communicative language all around the world that it's impossible to pinpoint a singular sound to a meaning unless it is connected with another sound to make a rhythm that is passed down and understood over time.
Reduced listening was the most interesting, because it was the one that most responded to me as an artist. You basically strip the sound of all it's prior meanings and associations and take it as a whole of its own. There are sounds that we take for granted, like the sound of rain or the sound of traffic on a crossing cross walk. These sounds have meaning and they come from somewhere, but sampled in a song or turned into a sample for a project can change the meaning to an individual completely. This is why music is so personal yet so much of a semantic in its own way. Musical artists study the past sounds of greater artists gone, and they take their meanings and experiences and relate it to their own, sometimes even reflecting similar sounds and gestures in their composition. This creates a language in it's own, but it's not stoic in it's meaning. It's constantly changing and being added onto, creating a whole other generation of collective memory to those singling out the sounds they find most resonating.
Project 1 Reflection
I actually really enjoyed making this introductory project for class. Once I started to mind map and storyboard my ideas, then came the technical difficulties of realizing how I was going to piece together the visuals with the mechanics of Premiere. I knew that I wanted to overlap, or juxtapose, the two conflicting ideologies of the way appliance advertising presented woman in the early and late 50's, as well as show a correlation of its continuation into today's media outputs. I struggled with what effects could most clearly communicate that thought so that the order of events in the video would match up with the message goal at the end. I also struggled with some technical issues around the sizing of the video. Every time I imported it the video would zoom out the screen to about 200% without any prior editing to the clips/frames themselves. I was upset because the end product of the re-re-sized frame ended up grainy, as opposed to the really sharp imagery on the camera. Overall I had a really fun time experimenting with the literal and metaphorical interpretations in my video. At first I was startled that my video didn't look a lot like everyone else's in the sense of dialogue and a somewhat clear chain of events, but in the end I began to realize that I did end up getting my message across for the most part and was happy to find how my mind mapping came together on screen.
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