1. How was your experience with the Olympus digital camera? How did it compare with other still or video cameras you have previously used? Were you able to successfully implement your Image Capturing Strategies using the features of this camera? In an ideal world, how would your still/video camera of choice function?
The Olympus digital camera was surprisingly very good for the purposes of my videos. I never would have thought about using a the video function on a still camera to make movies, so the experience was very eye opening. The batterey on the camera ran out frequently, but other than that it was pretty comparable to other cameras that I have used. The camera worked for what I needed it to do, and then some. In an ideal situation, I would use this camera again for my project, but I would hope that the battery would last longer than it did.
2. Discuss your choice of video-editing software and describe your history with this software. If you used this software for the first time, explain why you chose this particular application and how you think it helped you to accomplish your creative goals (or proved detrimental). Will you use this software again for future projects?
I used Final Cut Express to edit my videos, a first for me. It worked wonders for video, but it proved even better for sound. I was actually did a good chunk of my sound editing in the program, which saved me a lot of time and worry. The only problem I had with it is that I had trouble figuring out how to make title cards with it. That said, I will be more than happy to use this again in the future.
Wednesday, December 3, 2008
Sunday, November 9, 2008
A Response to a Second Reading
1. Identify the article you have selected and why you chose it.
Will Self: On ‘Psychogeography’ and the Places That Choose You. The article entailed talked to Frank Bures, a novelist who wrote a book that dealt with drifting. He has gone on drifts as long as 100 miles, and has given talks about his lengthy treks. I chose it because, as a writer (not necessarily a drug addicted one), I felt I could relate to this particular man who walked on drifts.
2. What are the main points of the essay?
The main points of the essay are essentially to get out and see what's around you. The writer made a reference to how he never saw the mouth of the Thames River, even though he lived in the area for many years. He wants that lack of awareness to be abolished.
3. How are the ideas or arguments in this article relevant to your own practice as a media artist?
This article gives me inspiration and new ideas on how to tackle my drift. Maybe I should take the stress out of the drift, and just go on regular walks on my own sans recorder for the fun of it? What a strange thought...
Will Self: On ‘Psychogeography’ and the Places That Choose You. The article entailed talked to Frank Bures, a novelist who wrote a book that dealt with drifting. He has gone on drifts as long as 100 miles, and has given talks about his lengthy treks. I chose it because, as a writer (not necessarily a drug addicted one), I felt I could relate to this particular man who walked on drifts.
2. What are the main points of the essay?
The main points of the essay are essentially to get out and see what's around you. The writer made a reference to how he never saw the mouth of the Thames River, even though he lived in the area for many years. He wants that lack of awareness to be abolished.
3. How are the ideas or arguments in this article relevant to your own practice as a media artist?
This article gives me inspiration and new ideas on how to tackle my drift. Maybe I should take the stress out of the drift, and just go on regular walks on my own sans recorder for the fun of it? What a strange thought...
Wednesday, October 22, 2008
Audio/Technical Response
1. Discuss your experiences with building your microphones. Was this process more or less what you thought it would be? How did your microphone rig work on your Drift walks? Were you able to capture both overall ambiance and extreme closeups? Describe your ideal microphone and recorder setup, with unlimited time and money.
My experience with building the microphones was a mixed one. I was able to successfully solder my microphone together, which is much more than I had expected to accomplish. Not only that, but my recordings actually turned out well, my microphones had proved successful... though my wind masks gave me some trouble. What good is tape when it doesn't actually tape, I ask you? I think my ideal microphone would be a full on boom mic that they use to record sound in films. It's not that conspicuous, I know, but I mean, come on. I wear red Chuck Taylor's. Conspicuous is kind of out of the window at this point.
2. How was your experience with operating the MiniDisc recorder? How does this recorder compare to other audio equipment you've used? In an ideal world, how would your recorder of choice function?
My MiniDisc recorder experience was actually very ideal. Everything worked properly, everything sounded great... it just all worked. First time I've used audio equipment too. Not bad. I think my ideal recorder, though, wouldn't take ten minutes to save. That'd be kind of a nice add on.
3. Discuss the audio-editing software you chose and your history with this application. If you used this software for the first time, explain why you chose this particular application and how you think it helped you to accomplish your creative goals (or proved detrimental). Will you use this software again for future projects?
(The following question has been edited due to excessive language use)
...Audacity...not a...fan. I... shouldn't have... chosen that piece... Audacity. It was a pain... to do the simplest... thing. Audacity was the thorn in my... If I see Audacity on the street, I'd... with a mango.
My experience with building the microphones was a mixed one. I was able to successfully solder my microphone together, which is much more than I had expected to accomplish. Not only that, but my recordings actually turned out well, my microphones had proved successful... though my wind masks gave me some trouble. What good is tape when it doesn't actually tape, I ask you? I think my ideal microphone would be a full on boom mic that they use to record sound in films. It's not that conspicuous, I know, but I mean, come on. I wear red Chuck Taylor's. Conspicuous is kind of out of the window at this point.
2. How was your experience with operating the MiniDisc recorder? How does this recorder compare to other audio equipment you've used? In an ideal world, how would your recorder of choice function?
My MiniDisc recorder experience was actually very ideal. Everything worked properly, everything sounded great... it just all worked. First time I've used audio equipment too. Not bad. I think my ideal recorder, though, wouldn't take ten minutes to save. That'd be kind of a nice add on.
3. Discuss the audio-editing software you chose and your history with this application. If you used this software for the first time, explain why you chose this particular application and how you think it helped you to accomplish your creative goals (or proved detrimental). Will you use this software again for future projects?
(The following question has been edited due to excessive language use)
...Audacity...not a...fan. I... shouldn't have... chosen that piece... Audacity. It was a pain... to do the simplest... thing. Audacity was the thorn in my... If I see Audacity on the street, I'd... with a mango.
Ten Questions
Okay. I don't know everything. I'll admit it. If anyone wants to help answer these ten questions I have for my next drift, feel free to help me out.
1. How will I be able to execute the visual aspect of the same art I accomplished with sound on Drift 1?
2. Okay, so my sounds weren't that great. How can I improve them?
3. Just what the hell is cross-cutting, and how do I use that more effectively in my editing?
4. What's the most exciting strategy for the visual aspects of Drift 2?
5. Now where do I walk?
6. What should I focus on in my second drift?
7. How is a video from an Olympus camera going to look on a big screen?
8. Will the quality of my work improve with film added?
9. Am I weird enough to make an experimental film?
10. What are some possible ways I can expand upon my Drift 1 thesis in my new drift?
1. How will I be able to execute the visual aspect of the same art I accomplished with sound on Drift 1?
2. Okay, so my sounds weren't that great. How can I improve them?
3. Just what the hell is cross-cutting, and how do I use that more effectively in my editing?
4. What's the most exciting strategy for the visual aspects of Drift 2?
5. Now where do I walk?
6. What should I focus on in my second drift?
7. How is a video from an Olympus camera going to look on a big screen?
8. Will the quality of my work improve with film added?
9. Am I weird enough to make an experimental film?
10. What are some possible ways I can expand upon my Drift 1 thesis in my new drift?
Drift 1 Response
Another Q & A, only found here, on my blog. Contain your excitement!
1. Describe two situations that aggravated, bothered, shocked or otherwise stressed you during Drift 1.
During my drifts, I got a slew of absolutely strange looks as I wandered the city with my microphones. Sure, it's slightly strange to see someone with microphones dangling around their neck, but do you really need to try and ask me what I'm doing while I'm in the middle of recording something? I suppose the (lack of) kindness of strangers was a slight issue.
That was really my only real grievance (not including technology, more one THAT later). I suppose I wish that my walk would have been slightly more eventful. It's sort of frustrating to get all geared up for a soundwalk, get out there, and get only seven sounds you can use, two of which are almost unlistenable due to distracting factors.
2. Describe, with details, two situations during Drift 1 in which you felt unusually peaceful, at ease, or contemplative.
Milwaukee Bay, hands down, was the best part of the entire experience. I happened upon it by total and random chance. I could have stayed there for ages. The sound of the water brushing up against the rocks really helped put my mind at ease.
Also, my first sound recording (Appetite for Construction) was a lot of fun to do. It turned out extremely well, and that was the first time while recording that I felt that I really had some potential as a sound artist.
3. Describe three surprises or unexpected situations you encountered on your Drift and in the days that followed. The surprise could stem from your expectations that conflicted with "on the ground" realities, cultural or social issues of which you were previously unaware, feelings and reactions that you did not expect to have, appearances and soundings of things you did not expect, good or bad outcomes of "on the spot" decisions you had to make, or the discovery of "deeper" realities in the materials you brought home. (Again, skip anything technology-related!)
The biggest surprise was the first sound recording that I mentioned above. Just being able to think, "Hey, this isn't bad" was a huge relief/surprise to me.
Another surprise I had, ironically, was how terrible some of my sounds turned out. I had everything all figured out in my head, and then when I finally got everything home, I listened in horror. This COULDN'T have been what I recorded. Someone HAD to have pulled a fast one on me. But alas, I was in denial. Some of those sounds were just terrible.
And finally, my last surprise that I really loved was the other part of the question above (sorry for doing that, but it really was the best surprise). Milwaukee Bay is a place where I can see myself going on a regular basis at this point.
4. Describe your favorite experience, situation, place, or recollection from your Drift. Be specific about what happened, how you felt, how you reacted, and why you think this particular experience affected you so much.
Okay, this time I promise not to use Milwaukee Bay as my answer.
I really enjoyed recording on the bridge (Wisconsin Ave., "The Bridge on the River Milwaukee"). I cross the bridge all the time, and I think it's absolutely beautiful. To be able to appreciate on a sonic level was a new and wonderful joy.
1. Describe two situations that aggravated, bothered, shocked or otherwise stressed you during Drift 1.
During my drifts, I got a slew of absolutely strange looks as I wandered the city with my microphones. Sure, it's slightly strange to see someone with microphones dangling around their neck, but do you really need to try and ask me what I'm doing while I'm in the middle of recording something? I suppose the (lack of) kindness of strangers was a slight issue.
That was really my only real grievance (not including technology, more one THAT later). I suppose I wish that my walk would have been slightly more eventful. It's sort of frustrating to get all geared up for a soundwalk, get out there, and get only seven sounds you can use, two of which are almost unlistenable due to distracting factors.
2. Describe, with details, two situations during Drift 1 in which you felt unusually peaceful, at ease, or contemplative.
Milwaukee Bay, hands down, was the best part of the entire experience. I happened upon it by total and random chance. I could have stayed there for ages. The sound of the water brushing up against the rocks really helped put my mind at ease.
Also, my first sound recording (Appetite for Construction) was a lot of fun to do. It turned out extremely well, and that was the first time while recording that I felt that I really had some potential as a sound artist.
3. Describe three surprises or unexpected situations you encountered on your Drift and in the days that followed. The surprise could stem from your expectations that conflicted with "on the ground" realities, cultural or social issues of which you were previously unaware, feelings and reactions that you did not expect to have, appearances and soundings of things you did not expect, good or bad outcomes of "on the spot" decisions you had to make, or the discovery of "deeper" realities in the materials you brought home. (Again, skip anything technology-related!)
The biggest surprise was the first sound recording that I mentioned above. Just being able to think, "Hey, this isn't bad" was a huge relief/surprise to me.
Another surprise I had, ironically, was how terrible some of my sounds turned out. I had everything all figured out in my head, and then when I finally got everything home, I listened in horror. This COULDN'T have been what I recorded. Someone HAD to have pulled a fast one on me. But alas, I was in denial. Some of those sounds were just terrible.
And finally, my last surprise that I really loved was the other part of the question above (sorry for doing that, but it really was the best surprise). Milwaukee Bay is a place where I can see myself going on a regular basis at this point.
4. Describe your favorite experience, situation, place, or recollection from your Drift. Be specific about what happened, how you felt, how you reacted, and why you think this particular experience affected you so much.
Okay, this time I promise not to use Milwaukee Bay as my answer.
I really enjoyed recording on the bridge (Wisconsin Ave., "The Bridge on the River Milwaukee"). I cross the bridge all the time, and I think it's absolutely beautiful. To be able to appreciate on a sonic level was a new and wonderful joy.
Wednesday, October 8, 2008
Hart's A New Way of Walking
This post chronicles the reading 'A New Way of Walking'.
1. Identify the article you selected and why you chose it.
I chose to write about Joseph Hart's article entitled 'A New Way of Walking'. I really liked reading this article in it's narrative style, and so I found this the easiest and most enjoyable to read. I also liked how everything progressed in the article, and how the writer wove in his argument about soundwalking with his experience in soundwalking.
2. What are the main points of this essay?
Essentially to do soundwalking as a way of looking at your town or city in a different light. We have a set number of places we go to, as in work, school, grocery store, home, etc... and if we try something different and see where we live from a different angle, then we will grasp a different, and hopefully better, view of it. The other main point is that soundwalking is an enriching experience that everyone should participate in at least once.
3. How are these ideas or arguments relevant to your career as a media artist?
Because any information on what I am researching is absolutely vital. The only way you can get better at what you do is to study and research the hell out of it. You can never know too much about what you're studying, and so to read Hart's views and experiences on soundwalking was definetly worth the time and effort it took to read it.
1. Identify the article you selected and why you chose it.
I chose to write about Joseph Hart's article entitled 'A New Way of Walking'. I really liked reading this article in it's narrative style, and so I found this the easiest and most enjoyable to read. I also liked how everything progressed in the article, and how the writer wove in his argument about soundwalking with his experience in soundwalking.
2. What are the main points of this essay?
Essentially to do soundwalking as a way of looking at your town or city in a different light. We have a set number of places we go to, as in work, school, grocery store, home, etc... and if we try something different and see where we live from a different angle, then we will grasp a different, and hopefully better, view of it. The other main point is that soundwalking is an enriching experience that everyone should participate in at least once.
3. How are these ideas or arguments relevant to your career as a media artist?
Because any information on what I am researching is absolutely vital. The only way you can get better at what you do is to study and research the hell out of it. You can never know too much about what you're studying, and so to read Hart's views and experiences on soundwalking was definetly worth the time and effort it took to read it.
Soundwalk Response
Hello again. I recently went on a soundwalk with a few other fellow artists. Here was a brief Q & A that I answered in Soundwalking Quarterly. (Full disclosure: There is no such magazine).
More to come later.
- Were you able to find places and spaces where you could really listen?
- Was it possible to move without making a sound?
- What happened when you plugged your ears, and then unplugged them?
- In your sound log exercise, what types of sounds were you able to hear? List them.
- Were you able to differentiate between sounds that had a recognizable source and those sounds you could not place?
- Human sounds? Mechanical sounds? Natural sounds?
- Were you able to detect subtleties in the everpresent drone?
- Extremely close sounds? Sounds coming from very far away?
- What kinds of wind effects were you able to detect (for example, the leaves of trees don't make sounds until they are activated by the wind)?
- Were you able to intervene in the urban landscape and create your own sounds by knocking on a resonant piece of metal, activating wind chimes, etc.?
- Do you feel you have a new understanding or appreciation of the sounds of our contemporary landscape/cityscape?
- How do you think your soundwalk experience will affect your practice as a media artist, if at all?
More to come later.
Hello and Welcome
Hi! I am Kevin Heyer. I am a visual artist currently doing research on what is commonly referred to as "soundwalking". Essentially, I walk around with microphones and just record random stuff happening. You know when a bird chirps? I record that. And when the wind blows just right, and the leaves rustle in just the right way, as if God himself/herself is trying to communicate with you? I don't really record that. Too sentimental.
Anyhow, I will be posting much of my work as it progresses. Later foo's.
Anyhow, I will be posting much of my work as it progresses. Later foo's.
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