Time-Based Media

In recent months I've given some thought to the idea that in our personal lives time is not measured in days but instead in significant moments, interests, or people in our lives. An integral part of my life has lied in fashion and shifting my disposition through how I choose to physically express myself. The way I  have dressed, done my makeup (or not done my makeup), cut my hair, etc. has always been a powerful way for me to converge what I  felt inside with how I  wanted to look on the outside. This video piece will take place in my studio (which is fitting considering that another symbolic continuum in my life has been art) and it will show the process of my persona changing through the clothes I  wear and the makeup I    put on. The space around me will also transform. 

I  watched Un Chien Andalou: 1) The story seems to show a relationship that the audience would at first think to be exclusive. The video goes on to show, however, that every outside influence takes effect on this relationship and how it penetrates the idea of "exclusivity" in romantic or sexual relationships. No relationship is exclusive until each member in it stays stagnant in their personhood despite the ever-changing influences around them. The strange swells of love and hate in the video also create a theme surrounding sexual desire. The chemistry in their relationship comes from perversion, anger, and obsession. The piece is somewhat chronological but overall has a stream-of-consciousness feeling that persists throughout the piece. It seems to follow a dream-like sequence, which serves as a cohesive format for the narrative of sexual dynamics. 2) A few visual themes have to do with scratching a surface (I.e. slicing open the eye, the bugs coming out of the hand, the...

My studio space is probably where I will film my video. I  want to use inspiration from Bruce Naumann's ideology that anything made in the studio is art. I'll invite my classmates from Advanced Drawing to hang out in my studio and maybe see where it goes.

I  think my project could have been more decisive and could have had a bit more movement. My goal was to create a sound piece that sustained attention while leading nowhere, and while I think it did that, the listener seemed confused. Maybe this is somewhat a good thing, but overall I think the piece could use some tweaking and fine-tuning.

My sound piece tends towards a vocal chorale warm-up with interjecting outside noises. The shifting key, notes, and human sound of the chorale-like notes bring a more institutional and academic mood to the piece while the introduction of more ambient sort of tones obscures the context of the chorale composition. I  have studied music and different instruments for the vast majority of my life. As I've taken a step away from music and focused on visual arts, I've been able to recognize significant takeaways from my study of music and the experiences I  drew from the musical communities I was involved in. This sound piece adds a different atmospheric presence / noise to familiar aspects of my musical career. The addition of the ambient noise audibly interprets my involvement with music in a retrospective manner. A lot of my artwork explores past segments of my life that I  re-analyze from the present time frame. I  am interested in using a surrealist approach to this ...

Rainforest Version 1- The main sounds are coming from the rainforest birds and crickets. Noise is coming from separate squeaks becoming audible at random tempos. It sounds like a tea kettle may be added for intentional noise as well. The noise feels like a metaphor for industrial conversions of our natural environments. Imaginary Landscape- Main sounds are a whistle tone that, with somewhat of a pattern in mind, ascends and descends in pitch. There is a battle between this tone later between light crashing noises, both working with each other to sound like noise without sound to juxtapose it. There is also plucking of strings (in a minor key) in certain areas that reign the piece back into intentional sounds. The plucking is rhythmic and light, in comparison to the dark undertones of the whistle tone that towards the end becomes increasingly more like a cautionary beep. The beep tone and crashes, along with the minor string plucking in certain areas is anxiety-inducing.

I've decided, based on feedback, that my piece will have an intro and outro of outside sounds that will fade in and persist throughout the piece at a quieter volume. It will then become more discernible towards the end and fade out.

https://soundcloud.com/hannah-kline-847212472/inclass-soundexercise My ten rules: 1) Make 3 sounds without using your fingers (besides to begin recording the sound) 2) Capture a sound that consistently is audible in natural life (I  .e. white noise, crickets, etc) 3) Have a single sound that is consistently audible as an underlying part of the piece 4) Change the tempo of your piece at least one time 5) Make 3 sounds using only your body 6) Don't use your voice at all 7) Have at least one unedited cmoponent in the composition 8) Incorporate an analog technological sound (I  .e fingers typing, mouse clicking) 9) Have a quick snappy sound 10) Change the volume at some point of the piece (I  .e. fade in, fade out)

For my project I  will be producing a constantly changing walking bass using found sounds. The rhythm will stay entirely uniform but the relationship between the pitches will have no set pattern. I  think this idea will create a soundscape that moves through time with ease and a subtle playfulness.

https://soundcloud.com/hannah-kline-847212472/20secbeats

https://soundcloud.com/hannah-kline-847212472/sets/hw-oct-1