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POLOLOGY
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This piece was difficult one to make. Although making the sound was greatly enjoyable for me, the context was challenging. I was limited for some equipment and with grace getting ill i had to take on a large amount of set up and prep for the show. The idea finally conceptualised into a piece based upon the deconstruction and rearrangement of association with the final aim of allowing the audience to practice deconstruction of association through sound and visuals in order for them to use this practice in their lives. Association often dictates our lives making decisions for us before we even consciously recognise them. I kept in my mind throughout the whole piece the idea of sensory deprivation; through creating an audio and visual experience the audience becomes immersed and the space between the viewer and the screen becomes blurred. The fact the room would ideally be blackout means the viewer looses a sense of depth as the images pop up around the room and the sound pans between their ears behind them. All of this aims to pull the audience in to a space that becomes a somewhat new territory for them, in which they can allow their associations to be deconstructed and then rearranged.
I struggled to maintain constant research on my blog, instead i started creating files for my research and also used my notebook for almost all my ideas i wrote down. I also struggled with the set up. Due to Covid i had to change the initial idea of the installation, we will not be able to use a black out space so the impact of the piece may be damaged however i feel the sound will still draw people into the piece enough for them to abandon their preconceived ideas and associations.
I put most of my time into making the sound. The importance of it being all live was essential in the process for me as it meant i also abandoned all my associations and created a piece with authentic improvisations that evoke certain reactions and allow for the visuals to follow a natural flow. I played all the instruments my self i wanted them to sound as if they had been pulled form various places in the world. I also built various industrial instruments to achieve a large industrial John Cage and Einstürzende Neubauten style of crescendo.
In retrospect i should have given myself more time for the visuals however with grace being ill this wasn't really an option as i had taken on the sound side to start with. The piece will be presented on here as a single screen piece however keep in mind it is is an installation. The sound can only be heard fully and properly through speakers or some headphones.
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during the editing process i took the approach of consistently using the music to create each part of the visual it felt like quite a natural process having spent so much time making and mixing the sound.
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our idea for the projection is too project onto three wooden plinths in a black out room with the surround sound of the sound piece. The visuals will pop around the room creating a immersive experience.
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with grace being ill i set up the installation in the moving image studio. I sized up various shots with the wooden plinths using a mapping technique. then once done i began editing.
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this was the initial sketch for the layout of the projections
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my approach to editing and filming was to use a combination of found footage and my own footage. i wanted to maintain the simplicity and effectiveness of Derek Barman's blue but also use the chopped ups and changing of pace that Stan Brakhage uses in his woks.
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Derek Jarmans blue provided a certain stimulus and inspiration for me as the piece is so focused on the sound that the sound becomes the experience and the visual of blue becomes the texture of the piece. I want to take this idea and combine it with also the visuals leading the sound to create a medium between the two in which it feels like the two are intertwined leading the viewer on a journey.
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i Mixed the sound for my speakers, focusing on ping the sound around and bridging out certain frequencies. I want the audience to feel entirely immersed in the sound The fact that i will be placing the speakers behind the viewer around the area of the back of their heads means th panned sounds and noises will become incredibly immersive and feel as if one was in a dream.
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the work of glenn branch was also very important n my process making the sound. He pioneered the no wave scene and began working with making symphonic arrangements with only guitars. He used them in unconventional ways to create sound pieces sometimes reminiscent on Schoenberg.
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The work of La Monte Young has inspired me greatly in this piece as he layers his sounds in such a way they create another layer of almost textured frequency and overtones, that create a different key and vibration.
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Visually this film provides inspiration for the piece as the quick cuts between water and his wife's body are similar to what we have in mind when resetting the water and the body in film. Our piece works well with simple imagery either staying on one subject for a while or flittering about between the various Plinths they projected onto.
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i Read various excerpt from thus book: film sound theory and practice and in this book in a statement S.M Eisenstein and V.I Pudovkin and G.V Alexandrov touch upon association in sound and cinema and how important it is. They discuss how it bring the visuals into the space breaking the confines of the screen and also ca e used as a vessel for discussing important issues and destroying stigma.
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I wanted to use real life objects also to make sound. This sound simply comes from ice in a glass of water recorded with a dynamic microphones through a delay pedal. I felt this sound would draw attention to the water element and symbology that would be in the piece
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after these two main parts of the body of sound i constructed the rest around this using one more sampled field recording of a mother singing to her child in Nigeria, which i tuned my guitar to match her key and played over it, with some added experimental sounds and high frequency feedback from a microphone as an ending.
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