John Priestly & Nathan Altice are both MATX students that Stephen Vitiello recommended I visit with. They have backgrounds in areas that interest and overlap with mine, yet don't fully align. The studio visit with them both was nice as their areas of focus overlap, but their perspectives and expertise don't.
I showed them the fish tracking
John suggested i look into granular synthesis... they both considered the difference in tones to be a little too harsh, and feel like the tone would be more successful if the steps were smoother.
they think a title would really tie the piece together, as well as tip the viewer off to what it was they were looking at, why it was important, and how they were involved. They were worried that the visual and sonic elements of the piece actually pull apart from each other, instead of reinforce. On top of that, they both suggested changing the sonic elements to introduce elements that would add a bit of tension into the tones. Doesn't have to be dramatic, but it would help the smooth tones to have more meaning.
They both recommended utilizing more analogue elements in the work as well, whether it be analogue effects boxes, like the cracklebox, or some sort of acoustic interface/resonator via a programed arduino board.
johnpriestley.net
Nathan Altice's band - Circuit Lions
Showing posts with label sound. Show all posts
Showing posts with label sound. Show all posts
Saturday, December 10, 2011
Friday, March 25, 2011
Janet Cardiff
TO TOUCH | 1993
The action of passing your hands over the surface of an old carpenter’s table elicits an aural response from audio speakers around the small room. A couple impart their bodily passion while other voices disclose mysterious dream-like events reminiscent of a cinematic suspense thriller. These voices mingle among the familiar sounds of a car screeching, telephone ringing, a knife being sharpened, a gun shot, movie music, a woman softly reciting the alphabet. The viewers’ hands orchestrate this collage, composing layered and provisional tales.
IMBALANCE.6 (JUMP) | 1998
A monitor hangs from the ceiling held by two thin wires. On the TV is a close-up of the artist's feet jumping continually into the air. As the feet land on the floor 2 pneumatic pistons pulse the TV giving the impression that the weight of the landing feet somehow effect the erratic swinging motion of the television swinging it back and forth through the air. This work continues Miller’s explorations of gravity and balance (physical and psychological).
Video here.
The Forty Part Motet (A reworking of “Spem in Alium” by Thomas Tallis 1573)
Forty separately recorded voices are played back through forty speakers strategically placed throughout the space.
Comments by the artist:
"While listening to a concert you are normally seated in front of the choir, in traditional audience position. With this piece I want the audience to be able to experience a piece of music from the viewpoint of the singers. Every performer hears a unique mix of the piece of music. Enabling the audience to move throughout the space allows them to be intimately connected with the voices. It also reveals the piece of music as a changing construct. As well I am interested in how sound may physically construct a space in a sculptural way and how a viewer may choose a path through this physical yet virtual space.
I placed the speakers around the room in an oval so that the listener would be able to really feel the sculptural construction of the piece by Tallis. You can hear the sound move from one choir to another, jumping back and forth, echoing each other and then experience the overwhelming feeling as the sound waves hit you when all of the singers are singing.”
The action of passing your hands over the surface of an old carpenter’s table elicits an aural response from audio speakers around the small room. A couple impart their bodily passion while other voices disclose mysterious dream-like events reminiscent of a cinematic suspense thriller. These voices mingle among the familiar sounds of a car screeching, telephone ringing, a knife being sharpened, a gun shot, movie music, a woman softly reciting the alphabet. The viewers’ hands orchestrate this collage, composing layered and provisional tales.
IMBALANCE.6 (JUMP) | 1998
A monitor hangs from the ceiling held by two thin wires. On the TV is a close-up of the artist's feet jumping continually into the air. As the feet land on the floor 2 pneumatic pistons pulse the TV giving the impression that the weight of the landing feet somehow effect the erratic swinging motion of the television swinging it back and forth through the air. This work continues Miller’s explorations of gravity and balance (physical and psychological).
Video here.
The Forty Part Motet (A reworking of “Spem in Alium” by Thomas Tallis 1573)
Forty separately recorded voices are played back through forty speakers strategically placed throughout the space.
Comments by the artist:
"While listening to a concert you are normally seated in front of the choir, in traditional audience position. With this piece I want the audience to be able to experience a piece of music from the viewpoint of the singers. Every performer hears a unique mix of the piece of music. Enabling the audience to move throughout the space allows them to be intimately connected with the voices. It also reveals the piece of music as a changing construct. As well I am interested in how sound may physically construct a space in a sculptural way and how a viewer may choose a path through this physical yet virtual space.
I placed the speakers around the room in an oval so that the listener would be able to really feel the sculptural construction of the piece by Tallis. You can hear the sound move from one choir to another, jumping back and forth, echoing each other and then experience the overwhelming feeling as the sound waves hit you when all of the singers are singing.”
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