Chamber Music/Video: Fall 2010: Archive

STEPS TO WORKING IN JITTER

NOTE: SEE POST BELOW IF YOU WANT TO CONVERT FOOTAGE FOR USE IN FINAL CUT PRO CONVERTING FOOTAGE TO PHOTO-JPEG 1. Acquire video: shoot your own, or download MPEG2s or MP4s from archive.org, or use www.keepvid.com to save MP4s to your hard drive, or use Yade X to convert from DVD to .vob (File —> Open DVD, then File —> Save as VOB. 2. Use MPEG Streamclip to convert your footage....

Nov 8th

STEPS TO WORKING IN FINAL CUT

NOTE: SEE POST ABOVE IF YOU WANT TO CONVERT FOOTAGE FOR USE IN JITTER - IT REQUIRES A DIFFERENT CODEC CREATING AN FCP PROJECT 1. Open Final Cut Pro (if you are prompted for a sequence preset, go with DV NTSC 48 kHz, and if you get an error message telling you a certain device is not connected, click continue). 2. Go to Final Cut Pro —> System Settings. Under “Scratch Disks” at the...

Nov 8th

Week 5: Chion's Audio-Vision Terms, Ch. 3

CHAPTER THREE Audiovisual counterpoint (pp 35-37): the horizontal dimension of two tracks (sound and image) in relation to one another, free of redundancy, where sound and image constitute two parallel and loosely connected tracks, neither dependent on the other. Chion argues that audiovisual counterpoint will be noticed only “if it sets up an opposition between sound and image on a precise point...

Oct 4th

Watch

I fused an excerpt from movement 1 of Ligeti’s first string quartet with the film Rhythmus 21. At many points, the movement of the shapes definitely outlines the movement of certain phrases in the pieces.

Oct 4th

Watch

rough version for assignment due… today — caroline

Oct 4th

Watch

DISCLAIMERS: Shoot, this is Rhythm 23, not Fragment as I credited poorly at the end (? or maybe it’s the same thing). Also, I realize this is “Chamber Music”/Video and not “Music”/Video… but I had a lot of difficulty trying to put original sound to this Richter piece! :[ My first instinct was to do a sort of sharp-cut collage (Ryoji Ikeda-ish), but the pacing...

Oct 3rd

5 tags

Week 4: KeepVid/MPEG Streamclip Instructions

Steps to Making Your Audiovisual Collage Video http://mvs2010.tumblr.com/post/419300227/week-5-tips

Sep 28th

Week 4: Chion's Audio-Vision, Chapter 2 Terms

Causal Listening (pp 25-28): the first of three ways of listening: listening for the cause of a sound (what individual or object made that sound? that is a dog’s bark/the wind in the trees/Mom’s voice). It’s not at all always accurate. Causal listening is not always accurate, and is not only the most common but also the most easily influenced and deceptive mode of listening. It’s important to...

Sep 27th

Week 4: Chion's Audio-Vision Terms, Ch. 1

Added Value (p 5): the expressive and informative value with which a sound enriches a given image so as to create the definite impression, in the immediate or remembered experience one has of it, that this information or expression ‘naturally’ comes from what is seen, and is already contained in the image itself. Synchresis (p 5): the forging of an immediate and necessary relationship between...

Sep 27th

2 tags

Week 3: Christian Marclay: Festival

I saw the Christian Marclay show this past weekend at the Whitney Museum of American Art this weekend. Some of you are no doubt familiar with Marclay’s work, and I wanted to let you know that even if you weren’t able to make it to New York to see the exhibit, there is plenty of inspiring documentation on the Whitney’s website. If you don’t know his work, the exhibition...

Sep 27th

Week 3: SYNAESTHESIA IN VISUAL MUSIC: COLOR AND...

This week we looked at and listened to several abstract visual music pieces - mostly films - which linked visuals and music together in an abstract way. We noticed that many of these were overtly, almost embarrassingly, narrative, and that the music almost completely drove the way we interpreted the films.

Sep 23rd

Week 3: Link: Oskar Fischinger, An Optical Poem... →

Sep 23rd

6 tags

Sep 23rd

6 tags

Sep 23rd

5 tags

Sep 23rd

5 tags

Sep 23rd

5 tags

Sep 23rd

4 tags

Sep 23rd

6 tags

Sep 23rd

5 tags

WEEK 2: Early Visual Music and Synaesthesia

In many ways, multimedia chamber music was bigger in the late 19th and early 20th centuries than at any other time. There was an obsession with color organs and synaesthesia, as outlined in Olivia Mattis’s essay, “Scriabin to Gershwin: Color Music from a VIsual Perspective,” which is in Brougher, et al, Visual Music. Though I must say I don’t buy the Gershwin reading at...

Sep 23rd

7 tags