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mikaelarobertscollective · 4 years

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Week 7

Coming back from a much needed break, week 7 turned out to be very productive week and a good step in the right direction for all projects. From previous feedback in my Tumblr marks, research was the thing letting me down the most and by taking the time to look into different projects/practitioners and techniques this week, my projects were seen in a new and helpful light.

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0_1 | RICHARD GRANT METRIC MONTAGE | collaboration with Krystal

During the holidays Krystal gave me some demos (see below), which didn’t spark much motivation. I was rather rattled by the progress of this project, so when Darrin suggested looking Ryoji Ikeda I thought that might be an interesting take on the project.

Within Ikeda’s work, more specifically Test Pattern 100m Version at Ruhrtriennale, I loved the use of sine waves and noise to created textured and rhythmic sounds that match the lighting and visuals. I thought it would be something very interesting to potentially experiment with in my collaboration with Krystal and the Richard Grant archive.

VernissageTV 2013, Ryoji Ikeda: Test Pattern 100m Version at Ruhrtriennale 2013, YouTube, viewed 7 September 2020, <https://www.youtube.com/watch?v=XwjlYpJCBgk>.

iksmedienarchiv 2013, RYOJI IKEDA: test pattern [100 m version], YouTube, viewed 7 September 2020, <https://www.youtube.com/watch?v=UcbSwbGbob8>.

Therefore I tasked Krystal with creating a visual inspired by his work.

However, when the footage came in I was rather stumped once again. This led me back to James Harris’ essay on spatialised sound, and trying to find new influence to iterate my ideas. This led me to trial a new sound demo to Krystal’s holiday demo and also her new Ikeda inspired work. For both pieces, I wanted to look at materialising the objects within the video and also playing with Mickey Mousing, and using tones that I felt represented the shape of the visual object. I also found influence in Hannah Chetwin’s work, a video artist from Melbourne. Within Hannah’s work, the experimentation between visual and sound design makes for interesting pieces. And I love how, even though here visuals can slower moving or more organic, the sound design just adds this stunning layer of interest and intrigue.

https://vimeo.com/317188053

Chetwin, H 2020, Salt trailer, Vimeo, viewed 11 September 2020, <https://vimeo.com/317188053>.

https://vimeo.com/230330005

Chetwin, H 2020, Detail - Extract, Vimeo, viewed 11 September 2020, <https://vimeo.com/230330005>.

https://vimeo.com/105201157

Chetwin, H 2020, Watercourse, Vimeo, viewed 11 September 2020, <https://vimeo.com/105201157>.

So after testing both pieces (see below), I concluded that Krystal’s holiday work would be the best to pursue. I liked how it followed a metric montage approach to 72bpm and that the slower visuals were a nice contrast to the work being down in our second project. I also thought the visuals and sound design were on a stronger level and left room for experimenting in a different way to our second project.

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0_2 | RICHARD GRANT RHYTHMIC MONTAGE | Collaboration with Krystal

I feel like this project is coming along well. I feel like Krystal and I have both started creating something very interesting.

The week saw me complete a few versions of the piece (see below), experimenting with the introduction of percussion within the piece to develop engagement and variation. Now that I know that the piece has a duration of 2min, it meant that I was able to do a visual map to explore the overall flow/arch of how I want to build and deconstruct the sound design. I feel for this piece in order to maintain engagement that we really need to use the sound to create a moment of pause at 00:01:00:00, so we can “hit” the audience even harder in the second part.

During the holidays I wanted to look further at examples of rhythmic montage, and the scene from The Good, The Bad and the Ugly, came up as an example. After a quick analyse of it I found I loved what it did on both a microstructure and macrostructural level to develop the scene and emotion.

https://www.youtube.com/watch?v=eEeSXCR83Ns

briizzo 2015, Rhythmic Montage - The Good, The Bad and the Ugly (1966), YouTube, viewed 9 September 2020, <https://www.youtube.com/watch?v=eEeSXCR83Ns>

On a microstructural level, they use different instruments and musical/sound gestures to signal the edits. Macrostucturally the clip’s music and pauses help to shape the full arch of the piece. So it starts with the guitar and as it intensifies it builds the instruments, using layering and volume to heighten the emotion. While also using the pauses to create dynamic variation to keep it interesting.

Dancyger, K. (2019). The technique of film & video editing : history, theory, and practice (Sixth edition.). Routledge, Taylor & Francis Group.

Lawton, A. (1978). Rhythmic Montage in the Films of Dziga Vertov: A Poetic Use of the Language of Cinema. Pacific Coast Philology, 13, 44–50. https://doi.org/10.2307/1316363

From looking at The Good, The Bad and The Ugly and reflecting back to Battle Potemkin and Whiplash, I feel 0_2 is working well by using synchresis to emphasise the edits and using materialisation to juxtapose the two visuals. Also using layering (and volume in the future) to enhance the overall arch of the video follows the traits of the example scenes. I do however want to look at Ryoji Ikeda more and use his work as influence in regards to dynamic changes through the us of tones and noise.

On a side note, some feed back I got from Krystal was in response to the drum hits. I’m still on the search for something that fits, and she suggested and liked the idea of using Chinese drums. I’m still on the hunt for the right sound library, to test this and will plan to do this week 8. My only concern is that the timbre from Chinese drums might not work with the static and drones in there a the moment.

Drum inspiration from Krystal:

SAMURAI MUSIC 2018, 【和風BGM】和太鼓の音が力強い壮大な曲『tsudumi-japan by SHW』（著作権フリー音楽）, YouTube, viewed 7 September 2020, <https://www.youtube.com/watch?v=14lU_5JDQk8>.

https://www.youtube.com/watch?v=14lU_5JDQk8

自得琴社 Zi De Guqin Studio 2019, 【古琴GuqinX各国乐器World music】《和鸣》Harmony「Guqin,HandPan,Didgeridoo,Chinese bamboo flute,Chinese drum」, YouTube, viewed 7 September 2020, <https://www.youtube.com/watch?v=o38x6pF4j1o>.

https://www.youtube.com/watch?v=o38x6pF4j1o

洗足学園音楽大学/SENZOKU GAKUEN college of Music 2015, 林英哲／海の豊饒（和太鼓アンサンブル） Eitetsu Hayashi // Fertility of the Sea (Taiko), YouTube, viewed 7 September 2020, <https://www.youtube.com/watch?v=ZagsLrNzg3I>.

https://www.youtube.com/watch?v=ZagsLrNzg3I

vnt77 2015, 中国鼓, YouTube, viewed 7 September 2020, <https://www.youtube.com/watch?v=pIZc1G7sdSE&t=5s>.

https://www.youtube.com/watch?v=pIZc1G7sdSE&t=5s

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“NOSTALGIA” | PRELINGER ARCHIVE COLLECTION | Collaboration with Putri

I feel like this project is coming along alright. It was so helpful getting feedback from Darrin on Wednesday and getting some direction on steps going forward.

Once pointed out in the feedback, the timbre/instrumentation of the music doesn’t quite line up with the visuals, so in attempt to fix that I attempted to play with different drum beats and instruments, and on Darrin’s recommendation add more reverb. At this current moment I still don’t think it quite fits but do feel like it’s getting better. The other advice was playing wth the structure. Coming from a song writing background it was great advise to hear that the music layers needed to line up more with the visuals and after reflecting, I couldn’t agree more. Instead of thinking of it as a song, I went back and used the visual gestures for layering and musical changes. I do think this is working really well now.

This week I also went back to ACMI to see what they were doing with remixes and really found that the feedback I received was very prevalent within ACMI’s remixes. The songs they use work really well with the visuals as they feel of the time, due to the instruments. And the structure of the songs really build or match well according to the visuals because they take cues from the material and edits. The one thing I also took from these was the us of dialogue to tell a story. Especially in White Night which talks about the youth and juvenile delinquent and I think it will be great to start experimenting with SFX in my and Putri’s video to start really selling the story of nostalgia and feeling good!

https://www.youtube.com/watch?v=CV__2ngFzho

ACMI Collection 2017, Remix: Hats, YouTube, viewed 11 September 2020, <https://www.youtube.com/watch?v=CV__2ngFzho>.

https://www.youtube.com/watch?v=vp4mLxOXEuE

ACMI Collection 2017, Remix: Strike A Pose, YouTube, viewed 11 September 2020, <https://www.youtube.com/watch?v=vp4mLxOXEuE>.

https://www.youtube.com/watch?v=dybIa6Ptizc

ACMI Collection 2017, Flash Back: ACMI Collections Remix White Night 2017, YouTube, viewed 11 September 2020, <https://www.youtube.com/watch?v=dybIa6Ptizc>.

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MTC THE TURN OF THE SCREW

As for my final project, I think the smartest decision going forward will be to put a pin in this project. I was very excited about trialing ambisonic sound and explore a retelling of literature. And to also look to Chion’s Requiem as influence for this piece, but after looking at my workload and knowing that this studio and my other classes are going to intensify, I think it will be best to pause it. I won’t give up the dream, as I would love to work on a collection in the future, but for now I do think the smartest thing will be to focus on my three projects and make those brilliant.

https://www.youtube.com/watch?v=Q4XfD3yrYHI

SeitenWall 2012, Michel Chion - Requiem, YouTube, viewed 7 September 2020, <https://www.youtube.com/watch?v=Q4XfD3yrYHI>.

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