Following the score below for one of my sound walks, Arturo Vidich, performed the JMZ Tunnel at the Canal Street Station in the hallway of the television center at NYU.
since my project is in a way, already networked, in the contemporary sense of the word, (it is commercially distributable over the internet, it is open source, it is a user personalized experience, they can upload their recordings of the experience to a central database, chat in forums, etc, developers can download my code, and there is an open source application that can be downloaded in order to DJ, over a network, with the patch), I decided to “network” my project by broadcasting it over a radio network. It is a two way network, so direct communication can happen in real time, but it is localized to the range of transmission of my radios (40 feet radius in NY), and it helps to have line of sight to make the experience fuller
What I tried to do:
I took “projection” (even though it was not mention it was implied) too relevantly.
My first impulse was to take a projector and use the film inside it as a trope for the “reality” in my project and a transparent process of automated manipulation (including recording, manipulation and re-projection of that processed image onto the same surface with a digital projector) as instructional performance (think learning by seeing) as a way to communicate my project to a broader audience.
I spent a lot of time on the film, I was looking for it’s reality. I found scratched audio to be a good trope because it has direct correlation of form, image and sound. But this was more about film as a medium.
Next I collected a series of screen tests and began to splice them together. But this was also problematic because while it represents the politics of film in a nice way, it has nothing to do with some “reality” of film.
Last night I finally realized, naturally that the thing that makes most sense about projection was to go to my site, have its photons project onto my film, project my film onto the screen and then begin to “edit” live the footage, eating it up and spitting it out with the digitizing process in a very clear way.
The effects in my patch were all designed to have to do with working with film (ie affecting framerate, exposure, etc. ). But that is probably not the right approach again, probably the best method would have been to try to affect only the time and rhythm of the image, or the content in a way that recognizes it’s shapes.
Documentation of what I did below.
Combine Image and Sound.
My first desire and impulse is to go scream at a painting. What is a more prototypical created image than a painting, and what is more primal than a scream?
What I would have done:
Walk into the Reina Sophia, pay my ticket, go up the stairs, walk up to Guernica, and, start screaming, for just as long as the air in my lungs lasts, letting it die off naturally, and then walk away.
Various foley, and samples and an excerpt from we all scream alone, by Gregory Whitehead, and a photograph of Guernica displayed at the Reina Sophia.
The actual output: Lots of attempts at integrating video with audio as a VJ tool in PD, including a patch with a bandpass filter applied to both image and sound, long live synesthesia.
enjoy sound art from the comfort of your own home.
I went to one of my favorite places in New York, on a very cold January afternoon (with good company). Armed with a Panasonic tape recorder with a tape inside untouched since the early nineties, “Chrome”, by Catherine Wheel. I had, of course neglected to get equipment on time from the er, but the abandoned medium fit the abandoned space.
There were ducks and geese flying low in flocks, grazing the frigid water, paddling about in makeshift lagoons that cropped up inside hulls of rusted out barges. There were cinderblocks overgrown with muscles, a contaminated park nearby, closed off to humans. If Tarkovsky lived in South Brooklyn, he would have had a cow.
Hmm, that’s the second reference I make to him in this class. Odd.
Here are the words:
carcasses, shelled hulls, graveyard of muscles
seared wings, touched water
skimmed ice, we are walking on thin ice
danger, contaminated grounds
close your mouth, close your eyes
I can’t say I’m not surprised
there is a sanctuary here