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Mapping property millumin3/11/2023 Such environments can be described as ‘real-like’ (or ‘verisimilar’), ‘abstract’, or ‘hybrid’, depending on the level to which they suggest the real world, and to which their constituent sources can be recognized, and also depending on the relationship between sounds and spaces with regard to recognition. From a macro-perspective, and as can be concluded through the research, different ‘models’ of sound environments can be found within an acousmatic musical context. In the current research the aim was to create a rich variety of original ‘sound vocabulary’ overcoming basic problems existing in the recorded sound material (noise elimination, presence enhancement, event isolations, enhancement of tonality/sustainment) and further explore the transformational potential of the recorded and created sounds. Lately this has included an interest in projection mapping, and multi-screen projections.Other keywords: VJ / video / animation / DSLR / Melbourne, Australia / editing / cinematography / installations. I’m particularly interested in real-time video, and the relationship between sound and image, especially in a performance context. Through the application of certain processing techniques, soundscapes may be transformed into different soundscapes or they may be decomposed to their constituents. Archive pages for, web-home for ‘Jean Poole. To define these relationships through listening, one needs to consider a number of characteristics regarding sources and sound-behaviours and the manner in which these co-exist within the recorded soundscape. The soundscapes recorded in Corfu between 2006-2007 during the study of the area of lake Antinioti constitute an entity of different sound-environments often demonstrating antithetic relationships regarding the existence of sound-sources and sound-behaviours within their boundaries, as these recordings were captured in different times of day/night and in different seasons throughout the year. Soundscapes can also be an inspirational source, offering a number of sound-images and sound-behaviours to be approached mimetically, and thus to develop a certain ‘nature-oriented’ type of musical language. Soundscape recordings of nature may often provide us with a valuable sound-basis as a primary compositional material, offering a rich sound-world to transform and develop certain compositional strategies.
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