‘ONES’ @ Deptford X festival

On October 1 – 4 (6 – 9PM), 1/3 of our Project ‘ONES’ will be shown at Deptford X Festival in London UK. Unfortunately, I can not be there, but my amazing collaborator, Anne, will be running a show at one of the beautiful cafe (Deli X) in Deptford.

I am so happy and excited that we got this wonderful opportunity to share bits of our project with the community, and also I am very thankful to Anne, who worked so hard to made this happen! THANK YOU ANNE!

If you are interested, please come and join our borderless joinery of art making!

‘ONES’

2 women
2 voices
2 countries
2 disciplines
2 intuitions
2 rhythms
————–
1 installation

ONES is a  collaboration between Dutch visual artist Anne Verheij and Japanese choreographer Miku Tsuchiya, in which film and dance are explored across various urban sites in London. ONES engages the spectator through juxtaposing two films created out of the same footage, capturing the individual’s rhythm amidst the pulse of the restless city.

Concept | film | montage: Anne Verheij
Performance | montage: Miku Tsuchiya
Sound design: Jack Goodwin

ONESdeptfordX©ANNE•2015

 Photo by © ANNE• 2015
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‘ONES’ WEEK 6 – Editing

‘ONES’

2 women
2 voices
2 countries
2 disciplines
2 intuitions
2 rhythms
————–
1 installation

Miku_falling©ANNE•_2014 

 

WEEK 6 – Editing –

At this point in the project we have reached the editing phase. Before starting our individual editing process, we have decided to clean the chosen footage per location of the parts we don’t need.

Although we had planned to use exactly the same cleaned up films for final editing, we started to notice that too vigorous cleaning is actually the same as editing the movie itself. Therefore, we decided not to clean cut our pre-selected footage together and limit our options, by bringing it back to removing only camera shakes and information / decision making moments while performing.

From here onward we will directly jump into each our individual editing process, to express our individual voice freely.

I think that without this more vigorous clean cutting process, we might end up having two very different films. For the audience, it might cause confusion by giving too much different information at the same time. However, we won’t know until we try.

From the very beginning of this project Anne and I have said that it would be a experiment, thus we decided to dive in and see what will come out. One of the important points is that we want to see how different the film will be, when we edit the film from individual’s perspectives without communicating about it while editing.

As a choreographer, I’m a mover, who explores the space with my whole body by emerging my self in to the environment. Anne is a visual artist, who explores the space through camera lens and frame, putting her body outside of the environment and let her eyes make a composition of the different elements in it.

Therefore, how we explore those locations will be different and the way it affects our editing process will be different.

I found that’s the fascinating and exciting part of this project. I’m very excited to see how different and similar we see, we think, and we explore.

‘ONES’ Week 5 – Start Editing

‘ONES’

2 women
2 voices
2 countries
2 disciplines
2 intuitions
2 rhythms
————–
1 installation

Miku_falling©ANNE•_2014

 

 

[16-05-2015 Japan] Miku:

For the last couple of weeks, we were communicating with the musicians, Cassie Kinoshi and Jack Goodwin, about the music for the final film. In the beginning of April, they sent us the demo scores, and we gave them feedbacks: what we like, what we thought, and what we want to hear more. Then, they’ve further developed the demo scores by adding more rich layers of sounds.

They both created such a beautiful, fascinating, exciting score, which I’m looking forward to the final scores we will get soon!

***Huge Thanks to Anne for communicating to the musicians directly in London!!***

Besides music, we started our next step of selecting the clips from all the footages we have. Honestly, we loved all of the footages, which was hard for us to pick and choose.

It was very nice to come back and look at it again, after a long break. It was fresh in my eyes, and found some interesting things happening, which we didn’t recognize back then.

Our next step is to use the same clips we chose and edit the film individually, without communicating the details of how. We are interested in how each of our perspectives as a visual artist and as a dance artist, will affect how we edit the. It will be very exciting to see how the out come will change, since my background and Anne’s back ground is so different!

We were supposed to start editing process earlier, however, unexpectedly, both of our computers (mine and Anne’s) broke down. Therefore, we decided to post pone our process in coming June.

Now, I’m back on the Track! My computer is fixed, and ready to edit!

We will keep you posted on our process of editing, and on up coming work in-progress showing, which we are planning in July (in London).

‘ONES’ Week 4 – Final Sounds –

‘ONES’

2 women
2 voices
2 countries
2 disciplines
2 intuitions
2 rhythms
————–
1 installation

Miku_falling©ANNE•_2014 

 

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.

Thoughts…

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.

Design

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.

‘ONES’ Week 3 – sound for location 3 –

‘ONES’

2 women
2 voices
2 countries
2 disciplines
2 intuitions
2 rhythms
————–
1 installation

Miku_falling©ANNE•_2014

 

 

Week 3 

[02-03-2015 Japan] Miku:

Miku’s Sound – natural recordings / created sounds / softer / malleable

Anne’s Sound – created abstract sounds / metallic / hard / dense / sharp / edgy

– Both Anne and I had very different sounds this time.

My sounds were more literal / easy to guess and more ambient than Anne’s abstract sounds. Anne’s sound were very interesting and fascinating that I couldn’t guess what it was, and it attracted my attention more. Anne’s sounds weren’t an ambient sound to me. It had characters and its own voice / statement, which I though would be an interesting layer to add on to the visual.

– When I was searching for sounds to record, I reviewed the perceptions I had that time during the filming at the location 3. The feeling of a long continuous pathway, and the feeling of looking down the hole, reminds me of a manhole on the street, where I decided to record the sound of the water, for example. The object’s presence is visually absent in the frame, however, it was present in my body. I think this searching for a sound that was present in my body(but not visually), and combining it with the visual, could expand the kinaesthetic experience for the audience.

– PRESENSE of ABSENSE / playing with visually non-related elements in sound (earth elements) could be interesting. Water vs. concrete site sounds. This can create a new effect / new imagination?

– Listening to both of our sounds, like specific site’s and its elements, affected our choice of the sounds.

I am thinking of how I could put these sounds with the film…

For instance it would be interesting to play with busy on-going sounds while the movement is slow – this could create a friction between visual and audible which could be challenging and interesting. It could expand audience’s experience.

After collecting loads of sounds together for three locations, we now need to re-select and re-consider in finalizing which sounds we’ll pic. It is very tricky I found that some of the sounds could fit more than one location.

SO, in that case, what more can I consider making my decision? Maybe I could rethink my kinaesthetic experiences (5 senses experience) at each location and see if that helps. Especially, focusing on my BODY experience / memory, could be helpful.

QUESTIONS FOR MYSELF:

How does my body feel when I listen to the sounds?

Does the sound fit my kinaesthetic experience / memory or does it conflicts?

[02-03-2015 UK] Anne Point:

Thoughts on location 3:

Japan sounds – defined place or material sounds

UK sounds – material vs. material and their momentum

This week Miku and I seem to have almost an overload of sounds. To me my sounds almost feel too much and too little at the same time. I wonder if this has to do with the awareness we have created over the last three week on how we each interpret sounds and their possibilities in usage.

For me the excitement this week lay in the recording, but I got impatient when listening back to it. A feeling of ‘everything could work, hence nothing works or is good enough’ crossed my thoughts. Agitation over too much choice took my main focus in the conversation, leaving me with a doubtful state of mind.

The fact that we are coming to our 3d location and with that our most important location, because we went back there a second time, has gotten the overhand on the ideas and flow of it. The sounds are still really particular and unique, but because this location became such a big deal to me by filming it for a second time, there seemed to be little space left in my mind to transform it into something else.

Hence my thoughts for editing have shifted into starting with this 3d location first, rather then keeping it for the last, because else the pressure to make it into something ‘good’ becomes leading instead of ‘exploring’ its possibilities and boundaries.

‘ONES’ WEEK 2 -sound for location 2-

‘ONES’

2 women
2 countries
2 voices
2 disciplines
2 intuitions
2 rhythms
————–
1 installation

Miku_falling©ANNE•_2014

 

 

WEEK 2

[16-02-15 Japan] Miku:

Anne’s sounds = many of them have material / object / man made kind of edgy, sharp and hard sounds. Nature vs man made objects. Characteristics of the city. However, some of the sounds have both qualities of hard and soft, which reminds me of my body (soft) vs buildings / objects (hard) during the shooting.
Miku’s sound = softer, blur, abstract, round sounds. Many of them are water related sounds. Although, the second location was by the seaside, I was interested in using the sound of different forms of water to create a friction between visual and audible.

Questions
– Using the sound that is related to the object in the frame… Is this too literal? Does it pull away the audience, or does it emphasize the idea / theme?
– Do we always need to use the sound that is not literal? How much friction do we need between visual and audible?
– Am I choosing sounds according to my visual memories or kinaesthetic memories of the location?  What would be the difference if I chose visually or kinaesthetically?

More Thoughts
– Mix of natural sounds and man made sounds can be an interesting mix of quality. It causes friction. It creates the elastic world (non-fixed, ever-changing imaginational world)
– Choosing sounds according to the location’s quality, such as the quality of the objects/materials, spaces, lightings, density, colours, and more…
– Unexpected non-related sound has a possibility to re-shape the location differently. Visual effect could emphasize OR it could ruin the whole picture.

[16-02-15 UK] Anne Point:

Thoughts on location 2:

Japan sounds – precise and rhythmic ‘submerging with the body of dancers into the world created on the digital canvas.’

UK sounds – echoing rhythms ‘following the lines in a hard vs soft distance’

This week Miku and I both had a longer list of sounds. It almost seemed that location 2, being at the sea sight, directed us automatically towards water sounds. It is funny however, that the both of us collected mechanic water sounds or water that seems to have been contained rather than being natural water sounds.

The question if we want to emphasize either the body or the space with the sounds, led our conversation into interesting paths of how we watch and remember our footage. Example: ‘If we have a hard surface within the location on the canvas, would we rather use echoing sharp sounds or muffled sounds as to give a juxtaposition of what you see and hear?’

A lot of the sounds were open to interpretation, thus helicopters and frying pans made their appearance in our minds eye were there were non. This made me very aware of the potential to manipulate the expectations and the perception of our footage by future spectators. Here my fascination for playing with what we know and what we think we know in order to come to a new experience is getting another major impulse.

‘ONES’ Process1: Collecting Sounds

 

‘ONES’

2 women
2 countries
2 voices
2 disciplines
2 intuitions
2 rhythms
————–
1 installation

miku1

 

 

 

PROCESS 1: Collecting Sounds

WEEK1: Location 1 (Feb 9, 2015)

[09-02-15 UK] Miku Tsuchiya:

Some of my thoughts after the 1st feedback / review session with Anne.

– Sound creates different environments, feelings, emotions, and imagination of each individual person. Depending on your background, one simple sound can transform into a million things.

– The human voice has such a strong presence. It connects with us right away. As soon as we recognize it, it’s challenging for us to imagine more than just a voice.

– When the pitch of the sound is really high, to me it becomes un-grounded, this way my body on the film can’t really connect to the sound itself. It doesn’t evoke my imagination much. This feels out of the body.

– Two intuitions create such an interesting mix of two different worlds.

==============

[09-02-15 UK] Anne Point:
Thoughts on Location 1
UK – 3 sounds recorded: ‘Echoing city’
Japan – 4 sounds recorded: ‘Clear rhythms’

We both think that the sounds of the other person are clearer. This ‘clearness’ may stem from the fact that we were not there in person recording it, so we don’t have the other inputs from the space like colour, size or usage (original/traditional use of public space).
Human voices have a tendency to create stereotypical ‘drama’, where machines produce more of a rhythm. In my opinion it would be interesting to separate the body on film from too recognizable sounds, so it gets the possibility to create its own sound and rhythm.
Distortion of sounds by isolating parts of it and slowing these parts down, speeding them up, muffle them or increase their higher or lower tones.