Specialising and Exhibiting

Week1-Sound for Spatialisation

MONO is your best friend;(the kitchen sink speaker)

STEREO Spatialisation

The pan law–the panning law determines the relationship between the sound’s apparent image position and the pan knob control.

ambisonics–Ambisonics is a method of recording, mixing and playing back tree-dimensional 360-degree audio and while it can be used without, …

Ambisonics is described by David Malham and Anthony Myatt as “essentially a two-part technological solution to the problems of encoding sound directions (and amplitudes) and reproducing them over practical loudspeaker systems so that listeners can perceive sounds located in three-dimensional space.”

schallgeber

Quadrophonics/4.0 surround sound

Quadraphonic surround format （we do need a flexible seat that listens to different spaces) Wendy Carlos

LCRS surround format

Diamond surround Quad

Natasha Barrett

Abemolpas-duration 10.16

Analysis of Stockhausen’s Gruppen score

gruppen at tate

Daphne Oram

Opus infinity

Zimoun–510 prepared dc-motors, 2142m rope, wooden sticks 20cm, 2019

Zimoun is best known for his installation, generally site-specific, immersive works. He employs mechanical principles of rotation and oscillation to put materials into motion and thus produce sounds.

I liked Zimoun’s sound installation, it made me think of we are all humans spinning around from nothing, chasing for nothing. So…What is the sense of being a human?

https://www.instagram.com/reel/CjPtPw3uk-r/?igshid=YmMyMTA2M2Y%3D

Marionette (Previous work I’ve developed in 5.1)

Here, take the strings, would you like to move me over? Yes, that is my will, You can have it if you want,
I don’t need it anymore. Feed me with your lies,
I thrive on them,
Drown me in little stings,
I am just a puppet,
In your hand.

‘Welcome to my world that’s painted with trepidation. There’s no light of sun there you can’t feel any at all.” Feel free to watch the video first, from my perspective, it is everything I would like to show in my original sound piece and it is everything getting settled in my mind. Sound art is a four-dimensional society to me, I can not just limit itself to the audio, that is very stupid. So I keep on trying and handling every job about getting self-satisfied with the lack of time, but it was worth it. I keep the relationship with my friends close when I have done this collaborative work: the male performer( the controller) who is a BA second-year student in performance art; Nora the LCF photographer; Unique female voices gather from people around me. And learning new software like Davinci, Ableton, and Protools. I made it into three versions and stuck them together, from the natural noice distortion (learning from Jose’s class) to the Acapella version with some fake choirs made with the Kontakt Players to the fake orchestra with the same loop. I made the first version play backward that was the reason it was like something else. Field recordings were most recorded by contact microphones and dryly twisted. My favorite part is me crying along with my friend’s voice singing the opera which has written by me, that was something as a ‘stimulus’ that I want to show off.

I developed my piece into 5.1 because there were 70 audio tracks at the moment and it was crowded. I considered it would be better if I got more space for it and it would sound better if in 5.1 with a video on it. I found it would be better if I put the opera part into the lowest speaker.

In the lesson, I was writing a spatialisation score on hidden voice. I was always thinking about how to make a piece in “silence” in the sound art field because silence didn’t physically exist in the world. So I was thinking of how to describe and demonstrate hidden voice, and how people gonna whisper with a cover on their mouth. My idea was also related to the pandemic, cause we were are wearing masks and it was really uncomfortable and ineffective to communicate with masks. The element of the spiral in the space would be a tread of my piece in the end.