tag:blogger.com,1999:blog-8876906265497042129.post9160481009640572752..comments2023-08-18T01:39:29.927+10:00Comments on SLRC - Subterranean Loner Rendered Comatose: Audio Vision, Part 1Ben Abrahamhttp://www.blogger.com/profile/04146790136740709664noreply@blogger.comBlogger8125tag:blogger.com,1999:blog-8876906265497042129.post-8415144195230511652009-06-08T14:32:38.250+10:002009-06-08T14:32:38.250+10:00Here's a list of the pieces used in the videos...Here's a list of the pieces used in the videos:<br /><br />Video a) 'Courage' by The Whitest Boy Alive<br />Video b) 'Black Angels - 1. Departure' composed by George Crumb, performed by the Kronos Quarter<br />Video c) ‘So What’ by Miles Davis<br />Video d) ‘Invisble Connections’ by Vangelis<br />Video e) ‘Main Title’ (from the new series of Battlestar Galactica) by Bear McCreary<br />Video f) ‘The Prince of Parties’ by Flight of the Conchords<br />Video g) ‘We Are Rockstars’ by Does It Offend You, Yeah?<br /><br />In part 2 of this series I'm going to try and suggest how a game could make use of 'deliberate' synchronization. Now if only I could find the time to write it... =) <br /><br />Thanks for commenting, Joshua.Ben Abrahamhttps://www.blogger.com/profile/04146790136740709664noreply@blogger.comtag:blogger.com,1999:blog-8876906265497042129.post-88658034293780626222009-06-08T13:51:02.542+10:002009-06-08T13:51:02.542+10:00Mr. Abraham, do you think you could give a list of...Mr. Abraham, do you think you could give a list of those pieces you overlaid on the trailer?<br /><br />I think the idea is superb—the forced marriage phenomenon that one already intuitively knows, but rarely gets to enunciate explicitly. I do wonder how forced marriage may be applied between other concepts too—not just switching whole music or a moving image, but perhaps musical key signature (shifting keys, switching major<->minor, shifting octaves), visual color, and visual/audio tempo. This doesn't invoke the accidental synchronization idea so much as the general concept of the relationship between two senses, as well as the range of emotion or thought that may be invoked simply by changing one thing.<br /><br />How would one apply it to games? Maybe—if there's a game with gameplay governed by parameters (such as character running traction), and changing those parameters changes the "feel" of the game...no, I don't know where I'm going with this.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-8876906265497042129.post-25110568996298503812009-05-22T13:34:37.780+10:002009-05-22T13:34:37.780+10:00Oh and the reason I say Chion isn't talking about ...Oh and the reason I say Chion isn't talking about contrapuntal sound is that it was already quite old hat by the time this book was written. His ideas of audio/visual synchresis and "sound objects" are more nuanced, kind of an attempt to go back and explain why the original examples of contrapuntal sound in Surrealist and Dada film worked so well.Simon Ferrarihttp://chungking.wordpress.comnoreply@blogger.comtag:blogger.com,1999:blog-8876906265497042129.post-23650535283520389082009-05-22T13:29:14.849+10:002009-05-22T13:29:14.849+10:00Mary Ann Doane has some nice stuff about the audio...Mary Ann Doane has some nice stuff about the audio equivalent of the Kuleshov effect in her "The Body in the Cinema," about the ideological effects of sync sound.<br /><br />I definitely didn't mean genre in the way you construed it :) Change the word to "style" if you like, I simply meant that most of these examples show contrapuntal sound (mis-matching an image and sound track for a certain effect) and not necessarily the gestural sound weaving that you're talking about. Looking forward to part two, though!Simon Ferrarihttp://chungking.wordpress.comnoreply@blogger.comtag:blogger.com,1999:blog-8876906265497042129.post-28821251560895039932009-05-22T12:13:59.476+10:002009-05-22T12:13:59.476+10:00I think it's interesting that you thought the genr...I think it's interesting that you thought the genre of music was important for the effect it had, Simon.<br /><br />I am personally inclined to think that "genre" doesn't really tell us much about what the music is doing or what effect it's going to have on music (mostly because "genre" is way too broad a description to be useful).<br /><br />For example - Beethoven's Fifth is "classical" or "romantic" and so is Mahlers' First Symphony. And yet the two could not be further apart in terms of feel or the effect they would have on a piece of music. The Beethoven piece is tense and the familiar rhythmic stabs at the start (the 'ba-ba-ba-BUUM')is completely different to the first movement of Mahler's which is airly, light, non-rhythmic and starts so quietly, building up so slowly that it's hard to even pinpoint when it actually begins.<br /><br />I'm inclined to look at things like how particular musical phrases or gestures affect the image and how we can match the two up. Hopefully I'll explain this a bit better in Part Two. =)Ben Abrahamhttps://www.blogger.com/profile/04146790136740709664noreply@blogger.comtag:blogger.com,1999:blog-8876906265497042129.post-18534802031636231892009-05-22T12:07:53.940+10:002009-05-22T12:07:53.940+10:00This reminds me (though obviously a different medi...This reminds me (though obviously a different medium) of the Kuleshov Workshop in the pre-montage era of cinema. The subjectivity of images juxtaposed with other images, and the incredible degree to which all this can be manipulated, obviously connects with your subject here. <br /><br />As Simon points out, we tend to receive visual manipulations differently, though I would suggest that the average viewer remains fairly unaware or unreflective about the ways these juxtapositions affect them. I find with my students that they only really see or consider this process when it's unwrapped and isolated for them to analyze. <br /><br />Otherwise, despite the hundreds or thousands of film experiences they've had, they remain nearly as vulnerable to manipulation as Kuleshov's subjects were 90 years ago.Michael Abbotthttps://www.blogger.com/profile/14437378247420941499noreply@blogger.comtag:blogger.com,1999:blog-8876906265497042129.post-31488468502668896862009-05-19T06:46:00.000+10:002009-05-19T06:46:00.000+10:00"because I don't really know if it's useful."
Not..."because I don't really know if it's useful."<br /><br />Note: I didn't mean your analysis, I meant my valuations wouldn't be useful because I don't know jack about how to make music.Simon Ferrarihttp://chungking.wordpress.comnoreply@blogger.comtag:blogger.com,1999:blog-8876906265497042129.post-21314582084781494722009-05-19T06:43:00.000+10:002009-05-19T06:43:00.000+10:00Yay Chion! I had to read a bit of this for my 3D d...Yay Chion! I had to read a bit of this for my 3D design class last semester, which was good because our project ended up being very sound-heavy (though I didn't do that part of the work, unfortunately).<br /><br />Some of the videos wouldn't load on my crappy Internet connection, but I got in three or four. I don't really have any valuations to give, because I don't really know if it's useful. Some of the genres you used are so varying that it's hard to make a fine-tuned analysis of which one would be "better" objectively. You know, like if you wanted to scare people watching then there's a particularly genre (the second example with the heavy, high-pitch strings) you'd want to get ten clips from and then compare. Right now you're just showing the beauty of contrapuntal sound, which I don't think is what Chion is talking about exactly (though I may be remembering incorrectly).<br /><br />What it is reminding me of is how "hot" a medium music is for me and how cold and blank images really are. I know if you're a classically trained musician or critic, then the process can get very intellectual. But most music creation is emotional manipulation. The strange thing is that emotionally manipulative imagery is usually called tactless, tacky, etc (you know, explosions or dead bodies all cut up with maggots), whereas emotionally manipulative music is kind of universally accepted as something positive.Simon Ferrarihttp://chungking.wordpress.comnoreply@blogger.com