I pronounced my name phonetically backwards, and then reversed the track in Audacity. Et voila! This is wonderfully strange.
Monthly Archives: September 2009
Assignment 50: Reading analysis I – The Studio as Compositional Tool
In this article, the author, Brian Eno, talks about the effect of evolution in sound recording technology and its influence on the nature of music. What was interesting to me was his idea of the transition of music from time to space. The process is somewhat similar to what happened for storytelling after the advent of the printing press. Suddenly, from word of mouth transmission of knowledge it was possible to document, to supplement, to give footnotes, to index, to cross-reference and so on. The idea of painting a sonic landscape from scratch in the studio is an interesting approach to composition of music, and makes a really strong association of music with the studio as opposed to music being sound of a culture or people.
I looked up Brian Eno on Wikipedia, and strangely enough, he is mostly well known for his ambient music, which is somewhat the opposite of studio composition.
Assignment 51: Reading analysis II. The Liberation of Sound.
I was initially skeptical about the viewpoint of Varèse in this article because of his pure mechanical approach to music creation and his view of music being a permutation of physical possibilities. In some way, he dehumanizes the process of music making by introducing “the machine”. However, I think he does a good job of being his own best critic and addressing some of the concerns about distance between the composer and the music. He brings up an important argument in the last paragraph – “Good music and bad music will be composed by electronic means, just as good and bad music have been composed for instruments.” This goes to show that compositional strength is, as always, a thing to be treasured, whatever be the medium.
Trust falls are a common activity at leadership camps, and can be nerve wrecking. They are especially nerve wrecking when you’re falling into the hands of someone you JUST met at leadership camp. Here’s three simple steps to being a good faller and a good catcher.
Disclaimer: No trust or bones were broken in the making of this illustration.
Here’s the post-critique version –
This would be a useful instructional at a leadership retreat or a playground, if little kids want to try the exercise with their friends.
The following is a work of fiction.
My biggest challenge was to make the river/waterfall seem like it was a part of the natural gradient of the land, and make it fit the perspective of the shot. I worked with four original images – the river, the surface, the spaceship, and the alien kid.
Read Christiane Paul’s “Digital Technologies as a Tool” (See the Readings page) and browse the digital artworks listed above. From these materials, identify an artwork (image) which was clearly produced through digital manipulations of photographic source materials. Work to find one that you admire. In a blog post, write a response to the question: In your opinion, what makes that image effective as an artwork?
The pictures are Charles Cohen’s archival digital inkjet prints 12b(2001) and Andie 04(2001). Cohen’s photographic manipulations present an intriguing concept through the use of negative space. Most of his works remove pornographic content from the original images, and in doing so, he creatively draws your attention to it. I also think it creates a role reversal between the subject and the object. Instead of visually overwhelming you with explicit images, it plays with your imagination and thus makes you an active observer of the image, as opposed to a passive one, simply taking in the information in the photo. On a side note, I think it turns pornography to erotica. Maybe, that’s because I find the image more tasteful than what may have otherwise been. That’s what makes this piece an effective artwork for me.