WEEK 4 – Selecting Final Sounds –
[09-03-2015 Japan] Miku:
This week, we tried to finalize our selection of sounds for each location.
Going back to all the sounds we collected over the last 3 weeks was very fascinating. More thoughts, more ideas, more excitement!
However, at the same time, it was a very challenging process. Because we have so much to choose from, (we love almost all of them!!) it was hard for us to choose just a few sounds for each location.
We made our own lists of sound for each location first and compared them later. Interesting to see was that our lists of sounds were almost completely different for the first two locations, which made our process even harder!
We realized that our individual life experiences are acting very differently when it comes to perception. Some of the sound to me for example, felt very spacious, where Anne found the pressured. Very interesting!
The great part was we had a chance to really talk about WHY we chose that specific sound for each location, and HOW it could fit.
From the hours of discussion, we had more new discoveries and thoughts, which made our selection narrower, deeper, denser and meaningful.
Again, we realized how powerful the sound is when it comes to putting it together with the visual and of how it could manipulate an audience to see and perceive in different ways.
Two voices bring hundreds and thousands of possibilities. Which could be overwhelming sometimes, BUT exciting at the same time. Like a chemical reaction, two artistic voices can create a new thing, a new world, a new vision, a new reality.
[09-03-2015 UK] Anne Point:
During our sound choosing session last Friday Miku and I began to venture out into the thought of combining the different locations through sound. Individually we choose very different sounds for location 1 and 2, where location 3 gave us a moment to come together. It was very useful and inspiring to hear where our decisions came from, leading us further and more focussed into building strong pillars for our film process.
Location 1 seems to deal with an invisible force, being in or under something and having a fractured frame where one can wonder what is up or down, left or right and wonder about what the bigger picture might look like. Also the momentum of movement and stillness within one take reminded me of a sea cycle, hence I choose quite the few water sounds.
Location 2 for me personally has to break with the actual elements in the frame in order to become interesting; taking it beyond the point of first recognition. For Miku the movement has a lot to do with a constant motion; like a heart monitor showing a constant beep. That led me to the thought of a motion monitor in which the constant swelling and going of the movement is confronted with brutal opposite sounds such as the noise on a construction sight. Stretching the pressure on this visual heartstring. Making it into an abstract rather then a story of coming and going.
Location 3 led us to discuss a certain vacuum created by the visual: a momentum between two situations where time as we know it seems to come to a standstill creating its own reality and momentum. Most of the collected sounds emphasise the vertical or horizontal, the height or distance, the line or plane, the hard or soft surface and the duration of our footage, amplifying a sense of being in-between two happenings.
Here my interest for creating a triptych in the design stage of the installation gets its first ground structures. Playing with the sensations of the spectator rather then with a logic or storyline is key. Thoughts on how to bring these multiple locations together in one installation, also led us to think of how we could choose one sound to connect all locations while they each still hold their own frame.