MTF3B Wk5

In forum today the group Negative Land became the vehicle of the an exploration into ideas of copyright and artistic freedom. This group uses satirical music, and video mash ups to challenge mass media, corporate advertising, and in the process offend many who object to their ideas.

I think it is important to acknowledge the power music/art has to influence and challenge peoples ideas. It has proven to be a highly effective revolutionary tool, The ultimate question is whether you actually agree with the idea presented within the art. Satire is powerful in this sense, because it doesn't attempt to dictate how to feel, but exposes potential flaws and misconceptions.

Reference:

Whittington, Stephen. “Forum – Week 5 – Semester 2, 2008: My Favorite Things (II).” Workshop presented in room 1004, level 10 Schultz building, University of Adelaide, 28th of August 2008.

CC3B Wk4

This week was a major struggle to integrate the GUI. I think I came pretty close but as with my first attempts at integrating GUI with my Granular synthesis, I probably was approaching it from too complex and angle and need to simplify it. Hopefully I can overcome this hurdle as being able to integrate GUI simply and easily will be very helpful for my various projects.

Here is the links to the code. I couldn't get sound when implementing the GUI.

Wk4 rtf

Reference:

Haines, Christian. “Creative Computing – Week 4 – Semester 2, 2008: Splice and Dice.” Lecture presented at tutorial room 408, level 4 Schultz building, University of Adelaide, 21st of August 2008.

MTF3B Wk4

This week quickly engaged us in the emotive use of sounds and various examples of this. Firstly we looked at a psychologist who studied how sounds can be interpreted to induce emotional states in people. The initial sounds used were chosen based on his intuitive sense of each sound pertaining to the essence of that sounds emotions. Through statistical testing on Sydney students he found he had significant results in proving the emotive characteristics of these sounds.

However, this idea has also been present in the Ancient Indian theory of Nava pure emotional Rava's. From there we also extended the discussion to look at the 4 Temperaments which I am already familiar with.


The idea's presented to us and the related assignment was devised to bring us back to what we are communicating. So that the emotional level of communication is re connected to the technical expertise we have.

I feel that we are on a majority pursuing this anyway in our work, but must first reach a point in our expertise before we can use the tools and skills we develope to successfully achieve this.

hasya (happiness/joy/comic)

Laughing monkeys

adbhuta (wonder/reverence)

Indian Vedic Chant

veera (courage/heroic)

beating rhythmic drums (like a march)

karuna (compassion/love/erotic)

Mass of harmony and sweet melody

krodha (anger/furious),

Distorted Sounds – Particularly Screams

bhibasta (disgust/loathing),

dischordant sounds with no rhythmic pattern, contrast between high treble and a downward sweeping low bassy sound. Maybe a shepard tone?

bhayanaka (fear/terror),

some sort of loud, drawn out scream that turns into a whimper.

shoka (sorrow)

Sounds that emulate sighing. Breath noises. Barely audible crying.

Reference:

Whittington, Stephen. “Forum – Week 4 – Semester 2, 2008: Composition Workshop.” Workshop presented at EMU Space, level 5 Schultz building, University of Adelaide, 21st of August 2008.

AA3B Wk4

I have begun integrating sounds with the Nusfuratu film. I have mostly been focusing on the first half of the film and there is still much more I want to do with it. One element which is missing that I shall record over the next week is the sounds of dripping to act as a 'sound motif' for the castle. This I feel will add an extra layer of ambiance and suspense.

I also have a working plan for the parts of the film revolving around the sleep walking woman. By bringing in some more 'musical' elements and then combining her motif with that of Hutter and the castle at the end it shall bring in a nice climax I feel.

AA3B wk4.mov

Reference:

Harrald, Luke. “Audio Arts – Week 4 – Semester 2, 2008: Foley Part 2.” Lecture presented at EMU space and Studio 1, level 5 Schultz building, University of Adelaide, 19th of August 2008.

CC3B Wk3

I found I made some serious progress this week. I tried to over complicate things last week so when I stripped it back I was able to integrate the granular synthesis element very successfully and I now look forward to extending and working on the GUI as well as the functionality of the synth. I would like to incorporate it into a pbind so I can sequence the notes in an interesting way whilst granulating it.

rtf code

Reference:

Haines, Christian. “Creative Computing – Week 3 – Semester 2, 2008: Granular Synthesis (1).” Lecture presented at tutorial room 408, level 4 Schultz building, University of Adelaide, 14th of August, 2008.

AA3B Wk3

There are two sounds which I could record in the studio as Foley for the classic black and white silent film Nusfuratu. They are Diegetic and Non Diegetic in nature.

The first is quite obvious. It is Diegetic in nature and the sound directly corresponds to the the on screen action. When the character Hutter opens the book I could record the sound of pages flipping.

The second is a non Diegetic sound to add an eerie ambiance to the castle. Using the grand piano, holding down the keys of dissonant chords (with out actually playing them) and then pressing the sustain pedal the ambiance would create and eerie mood which could act as a 'motif' like sound for the castle.

Reference:

Harrald, Luke. “Audio Arts – Week 3 – Semester 2, 2008: Foley Creation Part 1.” Lecture presented at EMU space, level 5 Schultz building, University of Adelaide,
12th of August 2008.

MTF3B Wk3

It is evident that some 1st years took little creative interest in their projects, but the ones that took some interest stood out. I really enjoyed Mile's piece. He created some complex and interesting textures whilst also incorporating the use of rhythm in elements to add some accessibility. Stephens piece had some cool use of texture and panning with some asymmetric rhythms which fell in and out of sync, which were obviously quite accidental but cool.

The Animated film, the game project piece and The two Audio arts projects were also enjoyable and I am glad that they presented works which they were actually interested in rather than what they felt obliged to do. The game and animation pieces clearly showed once more the level of compromise and frustration people encounter when trying to get started in this field.

Reference:

Whittington, Stephen. “Forum – Week 3 – Semester 2, 2008: 1st Year Presentations.” Workshop presented at EMU space, Level 5 Schultz building, University of Adelaide, 14th of August 2008.

CC3B wk2

This week proved quite the unexpected challenge. No matter what I did I couldn't seem to integrate my GUI with my synth. Once more my GUI is fairly basic, but this was due to the time spent trying to integrate it. I am hoping I can discover where I went wrong in the next class.

Sound mp3
Code rtf

Reference:

Haines, Christian. “Creative Computing IIIB – Week 2 – Semester 2, 2008: Graphical User Interfaces (2).” Lecture presented at tutorial room 408, level 4 Schultz building, University of Adelaide, 7th of August 2008.

AA3B Wk2

Matrix Lobby Scene Brief Sound analysis

Due to the Large extent of sound elements in this scene I will not analyse it in a linear fashion, but focus on some of the major aspects of the sound to keep my word count down.

Foley
Firstly They are moslty 'hyper real' elements. Such as the footseps and the placing of the bag on the carousel coming up loud against the intense 'jackhammer sound. And of course the sound of Neo opening his coat. This naturally follows on to Neo Punching the security guard. The loud in your face character of the foley for these actions emphasise the action and thus make it 'hyper real' and more entertaining.

Sound FX
The most prominent of these is the swooshing sound when 'Neo' flips. This extends the hyper real element created by the foley.

Music
The music is very loud and in your face for the majority of the piece. Although at certain elements the natural drop back of the music allows space for certain foley sound such as when Neo picks up the gun and certain sound effects such as when Neo flips to be especially prominent to the ears and thus much more powerful. The music also accents the on screen action, such as the drum roll over the movement of the guards feet and the end of the song coinciding with 'Neo' landing from his final jump/kick.

Reference:

Harrald, Luke. “Audio Arts IIIB – Week 2 – Sonic Analysis of Matrix Lobby Scene.” Lecture presented at EMU Space, Level 5 Schultz building, University of Adelaide, 5th of August 2008.

MTF3B wk2

David Harris presented us with his piece "Terra Rapta." As stated in the program note, the piece as written as a recognition of Terra Nallius proclamation of Australia and the resulting taking of the land from the Aboriginal inhabitants. Although I didn't really enjoy the style of the piece, I enjoyed the use of rhythm in areas such as section F. I also liked the use of sliding portamento in the violin parts. It was quite evident that David was expression an emotional idea rather than exploring a structural idea which he has quite often done in other works he has played us. I appreciated this as I get bored when structure is paramount to emotion in music.

The Schubert quartet was brilliant. The constant change between major and minor was very clever and emotionally invoking. Special thanks to Ben for closing the book.

Reference:

Whittington, Stephen. "Forum – Week 2 – Semester 2, 2008: My Favourite Things I.” Workshop presented in room 1107, level 11 Schultz building, University of Adelaide, 7th of August 2008.

CC3B wk1

This week I have learnt a lot about GUI. My overall outcome is rather simplistic, but I feel this is due to lack of time rather than understanding. I am confident I can improve on the graphical element of my GUI and have a much more visually appealing interface. I am also confident I could do the same amount with less code by going over a certain area of the help files. But this is what I have achieved thus far.


Code rtf file

Reference:

Haines, Christian. "Creative Computing - Week 1 - Semester 2, 2008: Graphical User Interface (1)." Lecture presented at Tutorial room 408, level 4, Schultz building, University of Adelaide, 31st of July 2008.

AA3A wk1

Although not the most challenging of tasks, dividing up the Nusforatu clip into segments and annalysing Foley and brain storming music ideas is a necessary element to sound design in a movie. I am glad we are able to get started on this strait away.

My Analysis (word doc)

Reference:

Harrald, Luke. “Audio Arts – Week 1 – Semester 2, 2008.” Lecture presented at the Audio Lab, Level 4, Schultz building, University of Adelaide, 29th of July 2008.