Wan-JX

[wan-jx]

Seven deadly sins----sound and noise

As a result of my research on noise and sound projects, and all the points raised in the previous post about the project idea, I have created a sound piece on the theme of "The Seven Deadly Sins". The first difficulty lies in the first part of my description. I created the seven sins in order: Lust, Gluttony, Greed, Sloth, Wrath, Envy and Pride. For each part I tried to record as many sounds as I could that were relevant or representative. For example, in "Lust" I overlayed and superimposed male and female sexual sounds, as well as tongue licking very close to the microphone. In "Gluttony" I placed a plate at the bottom, the sound of silverware clinking and falling, as well as two different types of chewing and sucking sounds, the sensation of eating meat, and the sensation of eating crisp food, such as fruits, etc. In "Greed" I recorded a large number of casino sounds. For the Greed section, I recorded a lot of casino sounds, such as gaming machines, slot machines and the sounds of gamblers winning and losing, as well as sounds related to gold coins, including arcade coin-operated machines. I found it hard to pinpoint the sounds of Sloth at first, but I personally like r&b and jazz music very much, which makes me feel relaxed, so I based this section on a saxophone jazz track, with grunts and some weak moaning and sighing sounds. The part where I say. Wrath is the more elemental part of the track, featuring the sounds of arguing and fighting, along with the sounds of angry people dropping bottles and smashing computers, as well as the atmospheric aspects of thunderstorms, lightning, torrential downpours, and gusts of wind. For the Envy section I just recorded a few whispers that were a little close and distant, but mostly like whispering in the ear, to create an all-encompassing atmosphere of being surrounded by "scumbags". The Pride section is a bit more interesting, if there's one type of music that's very uptempo it's probably the symphony, with class on top of that, that's why I chose the "Emperor's Waltz" as a backdrop, and I used three Trump speeches and interviews, which I won't go into, if you can, listen carefully. It's worth mentioning that I added every crime under each soundtrack, repeating it over and over again in a whispered-in-the-ear way, like a group of religious people leading and judging over and over again. At the end of the original sin mix is the death part, after referring to the lost river song, I used pure vocals to record, after the post-equalizer, limiting and effects to embellish the sound, so as to create a kind of whispers, growls, etc. from hell (although this kind of recording is really too harmful to the voice ……I almost lost my voice), and then I added the sound to the mix to make it more interesting. I almost lost my voice). Furthermore, while working on this piece, I came up with a completely opposite sound, the sound of a chanting bowl from the Himalayan mountains of Tibet, China. These bowls are made from seven types of metals and natural ores unique to Tibet, and are chiseled by hand. Each bowl has a unique texture and frequency of sound, and through percussion or friction, the sound vibration is transmitted to the depths of the body and mind, and is used by the local people and monks as one of the religious vessels, and also used by some monks to regulate their psychological emotions, to achieve the effect of relaxation and release of stress. Because of the existence of the sound of the chanting bowl, this work plays a kind of yin and yang to harmonize and balance each other's magnetic atmosphere, because the divine attributes are containing, purifying and overcoming them.

Chanting bowl

This is the project file timeline for audio editing

Here's all the sound material from it

Overall, this has been a very interesting and rewarding journey of thematic sound exploration, and a beginning of ideas, experiments and explorations. After this, I hope to learn more about the concepts, techniques and experimental innovations related to noise and sound, and I look forward to making more meaningful sound works.

[wan-jx]

The 7 Deadly Sins

In the first assignment, I tried to trigger the keyword “sound ecology” with a simple and effective concept, and to develop and produce a sound work around the first keyword of the course, “sound”. In Assignment 2: Self Directed (Experimental Sound) I would like to experiment with, explore and produce a second keyword — noise.

The theme I wanted to experiment with was the “Seven Deadly Sins”, as these were originally written by the Greek theologian monk Pontius Pontius Pilate, who identified eight evils that harmed the spirituality of the individual, in a downward spiral. This corresponds to my definition of noise, so I wanted to use this theme to create a sound work.

The components of the work are initially divided into three parts. In the first part, I will collect live sounds (noises) from different environments that may represent each of the evils associated with it, such as crowded subways and scientific research for greed, peaceful places for laziness, etc., either through sound collages or live recordings. Or by creating music with non-traditional instruments and electronic synthesized sounds, but also by considering the possibility of creating sculptures with sound elements embedded in them. In the second part I will create chemical reactions and chaos by mixing all the “original sins” and changing the timbre or key of the sound (or music). In the third part I wanted to create a “death” sound. A minimalist approach to the creation of vocals (maybe). The first thing that came to my mind was Sainkho Namtchylak’s “lost river” from 1991.

Noise is defined as unwanted sound. Subjectively I feel noise as a sound that causes discomfort, annoyance and pain. And that brings us to a sound piece that blurs the boundaries — lost river. In the 1990s, the Soviet Union was going through an unprecedented political and economic crisis. Tuva, where she grew up, was in an even more precarious stage: unemployed people had no place to live; supermarkets were empty, there was no food, and people were faced with poverty and famine. Poor people often queue for countless hours in the cold with tiny food stamps, just to get a small piece of bread. Shanko worked hard to earn money and try to help her family get a little food and clothing, but her parents still died of hate in such a chaotic time. She returned to Berlin with a look of sadness on her face. The producer asked her if she wanted to give vent to her inner pain through music, and she couldn’t think of any melody that could express the suffering of the nation and its people, only an extreme, tearful whine. It became an outlet for her emotions and a way for her to heal herself during her long life. The purely vocal expression tries to explain that the human voice is the container of all sounds, and this is her first attempt to make a vocal experimental album after studying vocal music in Moscow, the purpose is to record all the possible methods of vocalization and tonal expression of a person, to show the most real sound of the primitive state of life of human beings, the cry of death.

On the other hand, the musical direction of the album “The 7 Deadly Sins” by Mantra Sounds. For example, on the seventh sin, “Wrath,” a melancholic melody spans a rising bass line and brings about an uninhibited descent. Vulnerable lyricism and high-energy screams fit the tone of the song, embodying the inner rage and thirst for vengeance that human beings may face at some point in their lives. Based on the musicality, experimentation and creativity of Mantra Sounds, I was able to capture more possibilities and directions for the expression of “Original Sin”.

[wan-jx]

Sound ecology

In keeping with the theme of sound ecology, I wanted to bring together the three main components that I had previously worked on separately (anthropology, geophonology and biophonology) into a single piece at the same time. Sydney's seashore is mesmerizing, so I chose to record at Coogee beach and start with the clear ground sound of the waves as the main sound. Bird calls and seagulls circling in the air fill in the bioacoustics, as well as pure vocal singing, and of course the playful sounds of some tourists. It's worth noting that the strength of the microphone's directionality directly affects the interaction between different sounds, and can be effective in circumventing some unwanted noise. Because my vocal recordings are based entirely on the side of the microphone, this creates an intuitively perceptible "wraparound" sound. During the 3-minute recording, there were also unexpected sounds, such as the roar of a flying helicopter, the wind, and so on. I fell in love with this sound journey.

[wan-jx]

Soundscape----Anthropophony

Anthropophony is defined as sound produced directly by humans or our technology. Anthropophony can be further categorized into "controlled sounds" (such as speech, music and drama) and the more general "uncontrolled sounds" (or simply "noise"). --On October 4, I saw one of the world's top four musicals, Miss Saigon, at the Sydney Opera House. It was truly a marvelous, difficult and controlled sound.

Musical theater is a unique form of theatrical entertainment that combines spoken word, singing, and dance with a coherent narrative. Miss Saigon serves as a classic example of a musical that is sung throughout, meaning that most of the dialog is sung rather than spoken. This format allows music to play a central role in storytelling and character development. Plays are primarily text-based, focusing on spoken dialog and minimal use of music. In contrast, musicals incorporate songs to advance the plot and express character emotions. Typically, musicals are performed with a live orchestra, and because of the powerful live soundtrack, there is a great deal of control over the actors' voices, timbre, size, musical sensitivity, etc. The musicals are also designed to ensure that the audience can hear the music clearly. Sound engineers and designers also play a vital role in controlling the balance and quality of the sound of a musical in order to ensure that the audience can hear the dialog clearly and that the lines and music are well matched. On the other hand, I found the noises of helicopters, gunshots and explosions to be excellent, creating a realistic and emotional atmosphere.

Overall, the experience made me realize how much control one has over the human voice, and it was a wonderful visual feast!

[wan-jx]

Soundscape----Biophony

Biosound in soundscape ecology refers to the collective biological sounds of ecosystems that reveal biodiversity and ecosystem health. It was created by Dr. Bernie Krause and includes a variety of sounds such as animal calls, leaf rustling and insect buzzing. Advances in recording technology have enabled in-depth studies of biology, contributing to biodiversity assessments and habitat quality assessments. Birds may not be able to produce their calls when their habitat is destroyed by deforestation, prompting them to move to nearby, theoretically similar environments. This brings to light the importance of biology and its destruction of animal species, suggesting that "survival may be jeopardized by the masking of territorial and/or gender-related exchanges" (Krause, 1993 ).

Visit Original Link

In order to observe the biodiversity and record the sounds of the creatures, I traveled to Blacktown to explore the Featherdale Safari Park. The zoo is home to a wide variety of creatures, including koalas, kangaroos, wombats, lizards, ostriches, pelicans, and more. Unlike other zoos, featherdale is much more interactive, which gave me more room to capture sounds.

It is worth mentioning that, according to Krause (1993), there is a strong correlation between habitat and sound. I learned that koalas are facing near functional extinction, possibly due to the Hill Fire, so the park is protecting koalas to a much greater extent than ever before.

Understanding bioacoustics is critical to effective conservation and management as it reveals the acoustic fingerprints of ecosystems and provides a unique auditory window into the complexity of the natural world.

[wan-jx]

Soundscape----Geophony

Ground sound is caused by geophysical sounds that vary from day to day and season to season, and may be influenced by factors such as climate, elevation, and topography. It can be divided into three subcategories: Continuous geophysical sounds: long-term sounds such as those from rivers or breaking waves Transient ground sound: e.g. wind, rainfall and seasonal streams Sudden geophony: sudden and transient sounds, such as thunder, volcanic eruptions and landslides.

This concept was first discovered and introduced by musician and soundscape ecologist Bernie Krause, and is derived from the Greek words "geo" (relating to the earth) and "phon" (sound).

One night near midnight, while I was shooting a film at 50 kings road in lngleburn, the wind suddenly kicked up outside and interfered with the sound, I knew a rainstorm was coming. The wind was undulating erratically through the street trees and in contact with the houses, the "whistling" sound was sharp, low and eerie. I knew this was a great opportunity to record the sounds and images of the moment, because although this is a common natural phenomenon, it is difficult to control and encounter moments that can be recorded in a controlled manner. I recorded the lightning on video (and took pictures), as well as recording the sound of the rainstorm hitting the object, the wind, and the thunder and lightning. I think it was a very rewarding moment to document and explore.

Visit Original Link

[wan-jx]

Soundscape

The term "soundscape" is derived from the combination of "sound" and "landscape." It was first coined by Finnish geographer Grance in 1929, and further developed into a comprehensive theory and practice by Canadian composer Schafer in the 1960s. As acoustic environmental pollution has escalated, various countries have initiated a wave of enthusiasm for soundscape protection. Consequently, soundscape research has experienced significant growth over the past two decades.

Different scholars have attempted to define soundscape in various ways. Some propose that it refers to sounds recognized by individuals and society (Botteldooren et al., 2006). Others view it as sounds that embody the characteristics of a region, humanity, and cultural heritage (Scarre and Lawson, 2006). Some believe it encompasses sounds perceived and interacted with by individuals and society (Payne, 2008). For some, it may be a composite sound resulting from the structure and function of the geographical landscape (Pijanowski, 2011). Others see it as sounds that influence people's preferences (Jennings and Cain, 2013), or as geographically distributed sounds that can be perceived (Farina, 2014).

Soundscape can be conceptualized as a sound imbued with regional, historical, and semantic characteristics, capable of evoking psychological responses in individuals. Therefore, any sound recognizable at any time and anywhere can be considered part of the soundscape. However, it is important to acknowledge that there are distinctions between soundscape and the sound environment in terms of subjectivity and objectivity, as well as the relationship between their production and perception. This raises questions about whether soundscape is synonymous with the acoustic environment. Undoubtedly, soundscape significantly impacts our lives and influences our physical and mental well-being.

Moving forward, I will continue to explore and delve into the concept of soundscape, advancing my research and practical understanding of this fascinating auditory realm.

The Center for Global Soundscapes developed a five-day camp program for students with visual impairments that follows an inquiry-based learn

[wan-jx]

I am sitting in a room

"I am sitting in a room", created by Alvin Lucier in 1996, explores the resonance and materiality of sound well through an iterative process of repetition and transformation. Due to the interaction of harmonic sound waves in a given space, sound gradually transforms into A texture that reveals the "tangible" nature of acoustics.

When I create work like "I'm Sitting in a Room," my voice becomes a vehicle for constant iteration, adding identity and emotion to the voice that makes me feel intimate but vulnerable. But beyond the personal experience, each iteration reveals the unique resonant frequencies of the space, transforming clear text into an aural landscape, a process that is clear, enjoyable, and blends the subjective nature of personal expression with the objective exploration of acoustics. For the inspiration of oneness.

Visit Original Link

[wan-jx]

Soundwalk

This is the first soundwalk I have recorded. The path I chose is across Victoria Park. I think this is a special place. The park is surrounded by residential, neighborhoods, school districts and shopping areas. I feel that this is a quiet place amidst the chaos, and I may be looking forward to surprises, because it may be able to capture the anthropophony, geophony and biophony in the soundscape at the same time.

On the outskirts of the park, there were the sounds of conversations, footsteps, the scraping of shoes, leaves blowing in the wind, the faint chirping of ethereal birds, and the more obvious sounds of cars passing by and strong winds.

After gradually entering, the "sound" traces caused by human activities gradually weakened. The sound of water blown by the wind in the pond, the soft sound of stepping on the grass, and animals and plants began to establish their home court.

The sound of water in the swimming pool has been interpreted in many forms, including the sound of splashing water, the sound of play, and the sound of touching, including the sound of wet people walking on the ground and being stuck by water. This is a kind of fusion.

Overall, this trip, or walking meditation under sound, deviated somewhat from my expected track, because the traces of anthropophony were overwhelmingly obvious. However, this exercised my sound sensitivity, and I would like to be more sensitive to sounds while walking. Share the changes that come from being given and taken, maybe next time I'll try walking at night again.

Visit Original Link