"Full Ride" is a satirical video projection piece about the many costs of attending a university for students and athletes. The only barrier to entry is the high price tag for students anxious to learn while athletes only need physique and embarrassingly low grade point averages. Public universities are no longer institutions whose purpose is academia but are now businesses that capitalize on the "college experience."
This video contains no audio and was projected on the exterior of the University of Nevada, Reno's Lawlor Events Center on December 7th, 2015 as the final project for Art 345: Sound & Image.
On October 16th, the Fleischmann Planetarium had a video showing called "60x60" that showcased 60 pieces by different artists that were 60 seconds long. The compilation featured works that had been shown in a similar format before.
The videos were created by a handful of artists who didn't work with the sound artists beforehand so the two never really worked in tandem with each other. The sound pieces were really interesting when I closed my eyes but when I looked at the videos on the big screen, they just did not work. The videos were awful. They honestly looked very crude and were worse than the videos our class made. That doesn't mean that they are bad artists because they are talented in what they do, but their videos were just simply atrocious.
I'm curious what the sound artists think of the videos that were tacked on to their pieces. There was also a weird narrative in the middle with a creepy guy and it didn't work with the sound at all. I feel like the animations existed prior to 60x60 as the sound pieces did and someone decided to merge the two in a random chance operation.
Closing my eyes was the only way I could enjoy 60x60. The sound pieces played with panning, dynamics, and effects so well that my emotional state was poly-polar the entire time and I felt on edge. The sound artists has a real grasp on the effect that they were trying to evoke and they inspired me to get better on my own work.
My guided tour will take people to hidden gems downtown that have unique histories. These histories are so strange that there's no way that they could possibly exist, and they don't! I will be making up historical events at specific sites. Throughout the tour, I will talk about Reno, the monuments, our culture, and infuse some light music with added interactivity and commentary as the participants tour the town.
This map highlights the route and specific areas of focus.
I've never been a fan of the requirement to take MUS100 (Concert Class) but on October 6th, 2015, a change in the schedule was made and Walter Thompson came to give a lecture on soundpainting. Soundpainting is an art form Thompson created as a response to traditional composing and conducting. The conductor composes on the spot and the orchestra performs based on the gestures of the conductor. There are over 1,200 gestures in soundpainting and while that may seem overwhelming, they are simple and intuitive enough that memorizing them is easy.
I'm glad that a music lecture tied in so well with our Sound and Image class because it really ties class together. The improvisation of conducting and the orchestra and audience getting involved made it more of performance art than traditional music. It may also be considered avant-garde because of how unconventional it is.
Thompson spoke about how there are numerous countries all over the world that have adapted soundpainting into their repertoire. There also aren't any language barriers in soundpainting because the gestures are universal and it is similar to basic sign language. Thompson asked the audience to come up on stage if they had an instrument and he gave a demonstration on how soundpainting worked. I was surprised that the orchestra remembered 20 different signs and paid enough attention to be synchronized.
Soundpainting breaks down the walls of traditional music because nothing is written down and everyone has their attention on the conductor. The conductor and orchestra are also really the only ones who understand the signs so an uninitiated audience may think the conductor is overly expressive and the music is just bizarre. Walter Thompson also stresses the importance of fun over accuracy. If one laughs or plays the wrong part, keep going and don't stifle any outbursts. It's spontaneity that Thompson finds most fascinating.
Thompson also got the audience involved with some signs and the fourth wall was broken when the audience and orchestra battled back and forth, playing off each other and creating some really interesting sound experiences. I found the lecture and demonstration absolutely enthralling and really enjoyed how different the whole thing was. My ideas of music performance were shattered and this new improvised way of composing and playing really opened my eyes to a new world of sound art.
This video provides a look into what my two independent videos look like together in a diptych format. In a real exhibition setting, each video plays on its own projector for maximum 16:9 quality.
My clips were chosen from random moments in my daily life. I used Max MSP and various Vizzie settings for the effects. Adobe Premiere was used to compile everything and I picked my favorite clips, chopped them up, and put them in completely random orders. I chose a random order because of the excitement of seeing what could come up when I blindly move things around. The Vizzie settings were intentional and chosen for the unique blends that each made when layered on top of each other.
Clicks & Pops features sound art by Clint Sleeper, Tohm Judson, Jean-Paul Perrotte & Robert Morrison, and student works such as my own. It is in the Student Galleries South location in the Jot Travis building.
What grabbed my attention walking in was seeing Clint's "We are Singing As Softly As We are Able" video projected on the wall and throwing dirt at musical instruments. Clint plugged in a guitar and bass and manipulated the settings while smearing and chucking dirt at them. Since the dirt sort of scattered when it left his hands, the impact on the electric instruments didn't make as jarring of a noise as I would've expected. They were pretty subtle but it's when he smeared the dirt along the necks was when it could really be heard. The dirt was also pretty muted when it was thrown at the floor tom and snare. It could be heard in the beginning because they were the first things that Clint threw dirt at. The electric feedback drowned out the drums after that point.
I found the performance piece interesting and view it from a perspective of his annoyance with music. There may be some frustration with music in general and instead of smashing instruments like a rockstar, he's throwing the dirt at it. It could possibly stem from growing up in the Gardnerville area where you're surrounded by dirt and the possible futility of coming from such an agricultural place. I'd really like to see the piece on it's own in a big space because the dome speakers that hung down made it difficult to hear the piece but I understand that it needed to be isolated from the rest of the exhibit. I just wish it were louder or maybe went in its own area like Judson's had. I also liked the installation of the dirt piles, snare, and small amps that replicated his video. Nice touch.
Jean-Paul Perrotte and Robert Morrison's "Structures In Microtonal Harmony" were the next main focus of the exhibit. Morrison cast bronze bowls with minute tuning differences and Perrotte used Arduino technology to get metal to strike the bowls at random times through Max MSP. Both artists were interested in how the bowls' soundwaves combined in space and how interesting they sounded because of their distinction. The random bowl strikes meant that there were thousands of combinations of soundwaves that could coexist and the way they lingered in the space made each sound unique.
On the opposite wall, Perrotte and Morrison made manual strikers that the audience could interact with. The idea of play and interaction interested both artists and having something tangible that could produce so many varieties of sound was instrumental in making the piece successful. I really liked standing in the middle of the bowls and hearing people play around. The high pitches would make my ears perk up and my eardrums would vibrate and it seemed like I could hear the blood rushing in my ears. It was a weird sensation for sure.
The student pieces were things I've seen before and my work was included. That was pretty neat seeing my own project in there and having my name on the wall. Perrotte's "Composition for EEG and Two Computers" video was interesting because his partner, Caplovitz, would play the brain effects and manipulate them live based on the EEG and through Max MSP while Perrotte would control the audio portions. The original performance was done live and was too long to put in Clicks & Pops so he edited it down to a few essential parts and it was really neat. Definitely one of the most interesting sound/video projects I've ever seen and I got to take a class from this guy; how cool!
The final piece in the exhibition was a video and sound installation by Carol Burch-Brown and Tohm Judson called, "Salt Marsh Suite." The audio was mixed with intensive detail and each channel originally had its own speaker. In this exhibit, they cut the massive number of speakers down to seven. The video contained overlays of animals, scenery, and rowing down salt marches in North Carolina. The effects were pretty interesting and the way each video interacted with one another had a unique sense of play going on.
I originally thought that the "clicking" sounds were obnoxious and wondered why those were included but Perrotte explained that they were actually recordings inside the marshes and that they were crabs fighting and moving around. That made the sounds cool but sort of removed the "reality" from the piece because the video's perspective of being above water means that you wouldn't hear the crabs below the raft. Regardless, the crab audio added to the record of things that existed in the salt marsh environment before it drys up within the next few decade.
The gallery spaces on campus are pretty small and my only desire would've been to see more. I guess that makes the exhibition effective in instilling in me the desire to seek out more sound art. The pieces were really inspirational and gave me some new outlooks on where I could take my own art and expand my realm of capabilities. I'm honored to be included in this gallery, no matter how small, and even more honored to have had the faith put in me to produce work that is worthy of inclusion with these brilliant minds.
Our fourth assignment required the class to make a one-minute piece of music based on our previous assignments and including our voice. We were free to use any editing software so I used ProTools. I cut, spliced, panned, and manipulated the audio in a variety of ways to make a unique piece of music.
The title of the piece is a play on words. I thought of "Barry On Cosby" like when artists cover each other's songs and I changed it to "Bury On, Cosby." because of the recent scandals surrounding Bill Cosby and how he has buried his past for his entire life and continues to do so.
I used a Sci-Fi effect, reverb, pitch shift, and reversing effects for Manilow's Lap. The opening is solely reverb and is like the beginning to any old rockabilly song coming out of an old radio.
The Care Bears Christmas album had reversing effects that made the record even scarier than it is in its original state. It sounds like an alien or something. Some of the parts I recorded were so funny forwards and backwards that it was hard to choose which version I should include.
I pitch shifted some of Barry Manilow's lines and took out all of the pops from the recording and put the reverb on it. I solo'd it in the middle because the reverb buried the other records that were combined with it so it almost sounded like the regular record. It made for a cool effect like hearing "Even Now" from down a long hallway. I used a large church reverb.
I cut out all of Bill Cosby's lines and put them together and there are some phrases that are audible and kind of funny. I took out all the pops as well.
My looping song has a small part in this piece because it was difficult to fit it in. It's tough to tell the six sources in it and the humming is what really sticks out.
My voice part came from a funny Snapchat that I sent to Al and decided I could do some fun things with it. I pitch shifted my voice to an augmented fourth above and made the mix at 60% so the original could also be heard. I made "One minute" audible and repeated it because it was constantly running in my head to do as many interesting but coherent things within the time limit. I reversed a portion of the voice because it sounded good with the alien theme from the Care Bears.
The ending finale came from the 3-way record cut where Beethoven's symphony ended and they played the last note. I thought it would be fitting to put it at the end of mine and I'm also glad that that got recorded and that I could pull it out amongst all the other crazy audio.
Our third assignment was based on some of Christian Marclay's work with cutting vinyl records and putting them together with others. I used a band saw and hot knife to cut mine and super glued them together.
I drilled new holes and made a Care Bears Christmas record play off-center. It didn't sound any weirder than the record normally does. I combined Barry Manilow, Bill Cosby, and Beethoven record together as well and made a few variations with those. I chose Barry Manilow to keep up with the theme of my handmade instrument project, "Manilow's Lap." Bill Cosby is a topical figure in the news lately as well and I thought it'd be interesting what spoken word would sound like with the two. Beethoven is also my favorite composer and his work also sounded interesting to combine with Manilow and Cosby.
The most difficult part of the project was getting the record cuts to line up perfectly and keep them glued together. The pops on the recording are due to some gaps between the cuts and from the glue residue. The recordings remind me of someone changing the radio constantly or switching between songs on an iPod.
& Pops – Sound Art: New Only In Name” 9/10/15 Lecture Response
lecture panel began with Brett Van Hoesen discussing a bit of sound art history
and talked about Kurt Schwitters, Hannah Hoch, Dada, and the Fluxus movements.
Many people in the audience seemed to have little knowledge of such topics and
I was glad to finally attend a lecture where I understood what was going on.
Jean-Paul Perrotte came up with the exhibition name “Clicks & Pops” from an
experience in Germany trying to describe to a friend what his electronic sound
Perrotte’s “Composition for EEG and Two Computers” from 2014 was the most
interesting original composition that the panel talked about. I found it
fascinating that he and Caplovitz were able to have brain activity trigger
various sound and video effects. I was also amazed that they were able to
perform it live on stage. Perrotte refers to it as a performance piece because
it is meant to be seen and manipulated live in front of people; it’s not
something you can record and listen to.
Morrison has been teaching at UNR for 40+ years and his work is
sculpture-based. I liked how he talked about the objectivity involved with
vision, space, and minimalism. Morrison’s brother was a performance artist and
he was a big influence on Morrison’s own work. Morrison’s ideas on space were
intriguing and really opened my mind a bit on thinking about reverberation and
how to utilize it to make people experience different sounds based on where
taken many classes from Louis Niebur so I had already heard about the BBC
Radiophonic Workshop and how Delia Derbyshire pioneered sound design in the
1960s. Niebur is more of a musicologist and historian rather than a composer.
Regardless of having heard it before; I still enjoyed his small crash-course
lesson in sound art and how it was a woman who took the reins.
Judson is an ex-music professor from Colorado who is now a freelance artist. I
was thoroughly bored with the discussion of his work due to his interest in
music and video as time-based art. Judson must’ve said “time” no less than 200
times and his theoretical insight on time was something I had already heard
plenty of times before and he added nothing new to the topic. I also disagree
with his remark that, “Sit absorption is dying because it takes too long to
appreciate anything.” This is from a guy who makes games and wants to encourage
people to interact and experience the art.
Sit absorption may
be dying in the gallery space where people are confused about how to interact
with digital art but it certainly isn’t anywhere near dying in the household.
Maybe Judson just needed to be more specific but many of his comments were so
generalizing that I’m sure he meant to come off exactly how he had. Judson’s
talk was the least engaging of the four and was certainly the most absurd.
For the assignment, we are supposed to use found objects to make a playable instrument. I didn't want to make something percussive since that's the easiest thing to do so I decided to try my hand at making a banjo.
I'm going to use an old tennis racket for the frame and neck, a basket for the resonating chamber, Barry Manilow & Johnny Mathis records to seal the chamber, and a Homeward Bound VHS tape as the drum head. I'll have to buy strings as well.
As of today, I've finished the instrument. I call it "Manilow's Lap." It has evolved a bit from my original idea. The VHS tape drumhead didn't work out so I used the Johnny Mathis record sleeve for the head and put Barry Manilow's face on top. I used a combination of old acoustic bronze and nylon strings. The tennis racket stayed out of shape so I used a bunch of zip ties to hold the resonating basket in place and to keep the racket's handle a specific size to attach the guitar neck.
I had to take off a guitar neck from my existing guitar in order to tune the strings and have a real neck. Miscellaneous wood pieces I cut on the band saw act as the bridge and holds the neck up. The bottom of a Pepsi cup keeps the instrument laying relatively flat on a table but it's easier to hold in your lap.
It's very delicate and seems like a one-and-done instrument. Using a Corona beer bottle neck as a slide is optional. It is tuned to open-G with a D in unison.
I'd like to say that it sounds good but I think the strings are too far away from Barry to have any real resonance so it sounds like an electric guitar without amplification. It's fun to play though and I'm glad I was at least able to make any sound with it at all after two weeks of work on it.
For our first assignment, we were asked to record natural sounds we experience in our daily lives. These sounds were then combined through various looping mobile applications and played for the class and throughout the University of Nevada, Reno campus through handmade cardboard tubing.
The sounds that I recorded were walking up and down stairs, walking down a hallway, someone talking on a phone (unbeknownst to him), humming the "Doug" theme song, a clicking pen, and outdoor sounds. They were all combined in the Looper application at varying volumes.
The recording sounded better when they were played through real speakers. The differences in panning and the clarity made the sounds quite distinct and "loopable." When the recording was played in the cardboard tubing, the sounds were mashed together and lost the aspects that made it listenable. It sounded like a metal singer growling the entire time when it was in the tube.
When we walked around campus, I could really only hear my own recording since it was a deafening growl. The looks that people gave us were pretty funny and as a whole when we circled up, there was really a cacophony of sound.