Q: How was your experience with the Olympus digital camera? How did it compare with other still or video cameras you have previously used? Were you able to successfully implement your Image Capturing Strategies using the features of this camera? In an ideal world, how would your still/video camera of choice function?
A: My experience with the digital camera was overall pretty good. The camera is easy to use and records video easily. My only problem with the camera is the quality of the images and video, but I understand that this is part of the project and our ability to get past this obstacle. I was able to implement my capturing strategies with the camera. Although the camera was not super high quality, it was able to capture images as I needed it to. In an ideal world, I would use a quality video camera with good zoom and record clear video in a high resolution.
Q: Discuss your choice of video-editing software and describe your history with this software. If you used this software for the first time, explain why you chose this particular application and how you think it helped you to accomplish your creative goals (or proved detrimental). Will you use this software again for future projects?
A: At first I used windows movie maker for my editing software, but later changed to Sony Vegas movie studio platinum. I found a good deal on this software and knew it was supposed to be very good so I bought it. This software is incredibly good for the price and has a lot of options for effects and editing. Everything is easy to do and the software allows for you to do almost anything you want when it comes to editing. This software gave me many options for drift 2 editing and allowed me to implement my creative ideas within my video. I will definitely use this software again and would recommend it to anybody who is interested in quality video editing on a pc.
Wednesday, December 3, 2008
Sunday, November 9, 2008
Reading Response #2
The article that I selected was Aaron Ximm’s Sound, Art, Music?. The main reason why I chose this article was because I found out that Aaron Ximm would be visiting our class and wanted to know more about him. I also felt that this article was very prevalent to what we were doing in class right now with everything going on with drift 2. Besides those two reasons for choosing this article, I mainly was just interested in the subject matter. I had wondered myself about whether sound art was music or art or just merely sounds, and this is what Ximm contemplates. Ximm meditates on himself as a sound artist and what that means in our world.
Ximm has some main points that he puts forth in his essay. One of his main points that he puts across is that he labels himself as a sound artist. He goes into how he could be labeled as other things, but he finds that this label is most fitting for what he does. Another point Ximm puts across is that a sound artist’s work can not be classified as sound, art, or music exclusively. It is such a wide medium that the work can fit into any of those classifications and so therefore should try to be classified into those descriptions. The overall main point that Ximm makes in his essay is that he really does not know how to classify his work. He says he is a sound artist, but he does not want to be forced into a certain niche. Ximm wants to be able to work freely without having to place himself into a certain classification of artist.
Ximm’s ideas are very relevant to my practice as a media artist. I can specifically connect with his conundrums on whether sound recording and editing is music, art, or just sound. I felt that way during drift 1 and I felt that his article addressed a lot of my thoughts on sound recording. I have always felt that sound recording is hard to classify as anything, and Ximm reflects on this. I find Ximm saying that he really does not know what sound art is, to be very true and I connect with this completely.
Ximm has some main points that he puts forth in his essay. One of his main points that he puts across is that he labels himself as a sound artist. He goes into how he could be labeled as other things, but he finds that this label is most fitting for what he does. Another point Ximm puts across is that a sound artist’s work can not be classified as sound, art, or music exclusively. It is such a wide medium that the work can fit into any of those classifications and so therefore should try to be classified into those descriptions. The overall main point that Ximm makes in his essay is that he really does not know how to classify his work. He says he is a sound artist, but he does not want to be forced into a certain niche. Ximm wants to be able to work freely without having to place himself into a certain classification of artist.
Ximm’s ideas are very relevant to my practice as a media artist. I can specifically connect with his conundrums on whether sound recording and editing is music, art, or just sound. I felt that way during drift 1 and I felt that his article addressed a lot of my thoughts on sound recording. I have always felt that sound recording is hard to classify as anything, and Ximm reflects on this. I find Ximm saying that he really does not know what sound art is, to be very true and I connect with this completely.
Sunday, October 26, 2008
Audio Hardware/Software Repsonses
Q: Discuss your experiences with building your microphones. Was this process more or less what you thought it would be? How did your microphone rig work on your Drift walks? Were you able to capture both overall ambiance and extreme closeups? Describe your ideal microphone and recorder setup, with unlimited time and money.
A: I thought that the overall experience building my microphone was very frustrating. It was difficult to strip the thin wires and then weld them without having them touch each other. The process of building the microphone was more than I though it would be, in that it required more time and effort than I thought it would. My microphone rig worked perfectly on my drift walk. I had no problems with it and it recorded the sounds well. My microphone rig was able to pick up both ambient and specific noises. My ideal microphone and recorder setup would be a high quality digital microphone recorder that was all self-contained.
Q: How was your experience with operating the MiniDisc recorder? How does this recorder compare to other audio equipment you've used? In an ideal world, how would your recorder of choice function?
A: My experience with the MiniDisc recorder was fairly good. In the beginning of my walk I forgot how to start recording and that frustrated me for a while, until I remembered and got it to work. The recorder is a little more confusing than other equipment I’ve used in the past, but the MiniDisc recorder worked fine. In an ideal world my recorder would be extremely simple, doing everything automatically with just a record and stop button.
Q: Discuss the audio-editing software you chose and your history with this application. If you used this software for the first time, explain why you chose this particular application and how you think it helped you to accomplish your creative goals (or proved detrimental). Will you use this software again for future projects?
A: The audio-editing software that I used was audacity. This was the first time I had used it and I found it to be fairly easy. I chose this software because it was straightforward and it was free. It helped me accomplish all of my audio editing techniques and has a lot of different functions. I will definitely use this software again in a future project. It is a simple but very extensive audio-editing software.
A: I thought that the overall experience building my microphone was very frustrating. It was difficult to strip the thin wires and then weld them without having them touch each other. The process of building the microphone was more than I though it would be, in that it required more time and effort than I thought it would. My microphone rig worked perfectly on my drift walk. I had no problems with it and it recorded the sounds well. My microphone rig was able to pick up both ambient and specific noises. My ideal microphone and recorder setup would be a high quality digital microphone recorder that was all self-contained.
Q: How was your experience with operating the MiniDisc recorder? How does this recorder compare to other audio equipment you've used? In an ideal world, how would your recorder of choice function?
A: My experience with the MiniDisc recorder was fairly good. In the beginning of my walk I forgot how to start recording and that frustrated me for a while, until I remembered and got it to work. The recorder is a little more confusing than other equipment I’ve used in the past, but the MiniDisc recorder worked fine. In an ideal world my recorder would be extremely simple, doing everything automatically with just a record and stop button.
Q: Discuss the audio-editing software you chose and your history with this application. If you used this software for the first time, explain why you chose this particular application and how you think it helped you to accomplish your creative goals (or proved detrimental). Will you use this software again for future projects?
A: The audio-editing software that I used was audacity. This was the first time I had used it and I found it to be fairly easy. I chose this software because it was straightforward and it was free. It helped me accomplish all of my audio editing techniques and has a lot of different functions. I will definitely use this software again in a future project. It is a simple but very extensive audio-editing software.
Tuesday, October 21, 2008
Ten Important Questions
1)Where can I find more natural landscapes like the last one I went to?
2)Would I get better nature sounds in a less public place?
3)Maybe I should go to an urban environment for a contrast?
4)How do I capture urban sounds without the sound of traffic?
5)Where is the best place in Minneapolis to capture urban sounds?
6)If I record for longer amounts of time, will I come up with better sounds?
7)Which sounds are more exciting: natural or man-made?
8)Should I use different methods for sound recording for urban as opposed to natural areas?
9)Where are the best places around my neighborhood to record nature sounds?
10)Is there an area that mixes an urban environment with a natural environment?
2)Would I get better nature sounds in a less public place?
3)Maybe I should go to an urban environment for a contrast?
4)How do I capture urban sounds without the sound of traffic?
5)Where is the best place in Minneapolis to capture urban sounds?
6)If I record for longer amounts of time, will I come up with better sounds?
7)Which sounds are more exciting: natural or man-made?
8)Should I use different methods for sound recording for urban as opposed to natural areas?
9)Where are the best places around my neighborhood to record nature sounds?
10)Is there an area that mixes an urban environment with a natural environment?
My Drift One Assessment
Q: Describe two situations that aggravated, bothered, shocked or otherwise stressed you during Drift 1. (Please note that the situation CANNOT be technology-related.)
A: One situation that was very aggravating during my first drift was the amount of wind there was in my drift area. The microphones picked up the wind and it was difficult to edit this out in the editing stages of this project. Another situation that was difficult during drift one was trying to capture a specific sound with not too much background noise. I recorded in a public space and there were always people talking or other things happening during my sound recording. I just had to accept this and record to the best of my ability.
Q: Describe, with details, two situations during Drift 1 in which you felt unusually peaceful, at ease, or contemplative.
A: One situation where I felt unusually peaceful was when I was recording a cricket sound. I had gone under a large tree to get this sound at its best and felt a sense of calmness. I recorded for a prolonged amount of time and felt that this may have been my best sound recorded. Another peaceful moment was when I was recording the waterfall sound. I think that many people find the sound of water calming and that is what it did for me. I know that waterfalls are somewhat generic sounds, but this one stood out to me and I enjoyed it.
Q: Describe three surprises or unexpected situations you encountered on your Drift and in the days that followed. The surprise could stem from your expectations that conflicted with "on the ground" realities, cultural or social issues of which you were previously unaware, feelings and reactions that you did not expect to have, appearances and soundings of things you did not expect, good or bad outcomes of "on the spot" decisions you had to make, or the discovery of "deeper" realities in the materials you brought home. (Again, skip anything technology-related!)
A: One unexpected situation that I had during drift one dealt with a wedding. I had gone to a landscape arboretum expecting to capture only nature sounds, but when I got there I found that there were multiple weddings there that day. I got to record some of the sounds of the weddings being set up. This was unexpected, but it led to some good sounds that I recorded. Another unexpected situation was the recording of the geese sounds. I had almost finished capturing all of my sounds, when I came across a large field full of geese. I had to record these sounds, and they came out okay despite the loud wind sounds in the background. One more unanticipated situation during my drift one was the time and patience it took to accomplish this drift. I really had to spend time not only recording the sounds, but also really looking for good sounds to record. It requires a high level of patience to find the perfect sounds for this project.
Q: Describe your favorite experience, situation, place, or recollection from your Drift. Be specific about what happened, how you felt, how you reacted, and why you think this particular experience affected you so much.
A: My favorite experience from drift one was when I recorded the sound of geese in a field. It was a much unexpected moment as I was almost finished recording and came across this large field full of geese. I placed the microphone very close to the geese and just let it record the natural sounds of the birds. My family was with me and we watched the geese as they flew away and made loud noises. Although it was not my best quality recording, the moment was exciting and was a good end to my day of recording.
A: One situation that was very aggravating during my first drift was the amount of wind there was in my drift area. The microphones picked up the wind and it was difficult to edit this out in the editing stages of this project. Another situation that was difficult during drift one was trying to capture a specific sound with not too much background noise. I recorded in a public space and there were always people talking or other things happening during my sound recording. I just had to accept this and record to the best of my ability.
Q: Describe, with details, two situations during Drift 1 in which you felt unusually peaceful, at ease, or contemplative.
A: One situation where I felt unusually peaceful was when I was recording a cricket sound. I had gone under a large tree to get this sound at its best and felt a sense of calmness. I recorded for a prolonged amount of time and felt that this may have been my best sound recorded. Another peaceful moment was when I was recording the waterfall sound. I think that many people find the sound of water calming and that is what it did for me. I know that waterfalls are somewhat generic sounds, but this one stood out to me and I enjoyed it.
Q: Describe three surprises or unexpected situations you encountered on your Drift and in the days that followed. The surprise could stem from your expectations that conflicted with "on the ground" realities, cultural or social issues of which you were previously unaware, feelings and reactions that you did not expect to have, appearances and soundings of things you did not expect, good or bad outcomes of "on the spot" decisions you had to make, or the discovery of "deeper" realities in the materials you brought home. (Again, skip anything technology-related!)
A: One unexpected situation that I had during drift one dealt with a wedding. I had gone to a landscape arboretum expecting to capture only nature sounds, but when I got there I found that there were multiple weddings there that day. I got to record some of the sounds of the weddings being set up. This was unexpected, but it led to some good sounds that I recorded. Another unexpected situation was the recording of the geese sounds. I had almost finished capturing all of my sounds, when I came across a large field full of geese. I had to record these sounds, and they came out okay despite the loud wind sounds in the background. One more unanticipated situation during my drift one was the time and patience it took to accomplish this drift. I really had to spend time not only recording the sounds, but also really looking for good sounds to record. It requires a high level of patience to find the perfect sounds for this project.
Q: Describe your favorite experience, situation, place, or recollection from your Drift. Be specific about what happened, how you felt, how you reacted, and why you think this particular experience affected you so much.
A: My favorite experience from drift one was when I recorded the sound of geese in a field. It was a much unexpected moment as I was almost finished recording and came across this large field full of geese. I placed the microphone very close to the geese and just let it record the natural sounds of the birds. My family was with me and we watched the geese as they flew away and made loud noises. Although it was not my best quality recording, the moment was exciting and was a good end to my day of recording.
Sunday, September 28, 2008
Reading Response #1
I chose the David Toop article from The Art of Noise. The reason that I chose this article was because it has specific relevance to what we are doing in class now with the sound recording. Toop goes into detail about how sounds are now being used for art and this directly relates to our drift projects. Toop also talks about the difference between sound and music, and how these differences are now being cast aside. Now sounds are being perceived as not just sounds, but as important aspects of our surroundings and the makeup of what we perceive as music.
There are some main points that David Toop poses in his article from The Art of Noise. One of his main points is that sound is an essential sense for humans. He talks about how sound helps us to find our bearings in different environments and without sound the world becomes a “remote and dangerous place.” Another point that Toop puts across is how sound can be used as an art form. He talks about how sound can be a greater medium of art than painting, in that sound is all around you and not just in front of you. Toop describes many sound artists in his article and then poses a question to the reader as to whether new forms of sound art should be in galleries or not. This question addresses the fact that sound as an art form is still not widely accepted as a true form of art, but wants the reader to decide for themselves.
The ideas in this article are extremely relevant to my practices as a media artist. This article goes into the importance of sounds and how these sounds can be used to create art. Toop’s article opened my mind to the possibilities of different noises or sounds being used to convey a message much like a painting. I found his thoughts on how sound is all around you, while art is just in front of you, to be very insightful. Toop’s article informed me about the importance of sound and how sounds can be used in a variety of artistic ways.
Sunday, September 14, 2008
Soundwalk notes cont. 3
This is a visual map of what I was looking at as I turned around 360 degrees outside of a parking ramp. I made pictures of what I could see and took notes on the sounds I was hearing.
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