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Week 3

Interdisciplinary 5

A third year awaits.

In the mornings I try to photograph as much as I can for this project – I have finished a roll of 35mm film today, so roughly 30 exposures. Some of these I think will be very interesting. I also recorded sounds as I went too. I think that to make these photos more interesting, film is definitely the way to go. I will develop these images in the darkroom on Friday evening. Exciting! Obviously the only thing is, I cant show my work until i developed it, so Friday will be a huge post.

Sounds cant be uploaded to due file format. Expect a round of film with the sounds at end of the week.

My preparation for today’s 2 artist choices. (Extracted from PowerPoint)

Ryuichi Sakamato

Hello and welcome to my presentation. These two slides will focus on two artists that inspire me both in their creative process and their work overall. My first artist of choice is Japanese musical composer, Ryuichi Sakamoto. Born in Tokyo in 1952, he came to start his early work whilst at university in the 1970’s as a producer, session musician and arranger. His first round of successes came with his formation as co-founder of YMO in 1978. Overall, his solo career devilled in experimental music such as the experimental electronic fusion album, Thousand Knives, in 1978.

The public will be aware of Ryuichi, through his Oscar winning soundtrack for Merry Christmas Mr. Lawarence in 1983. This release also won Ryuichi a BAFTA, Grammy and two golden globes. Its main theme was also formed into an adaptation into the hit single, Forbidden Colours. The most successful release of his career though, however, is for his composition for the film ‘The last Emperor’.

When I was growing up on music, I would hear classic FM constantly through my parent’s radio and would hear Ryuichi’s music constantly. To the point of him being one of main inspirations into learning music overall. Not long before his sad passing away, he released his work on The Revenant. If you have seen this film, you would know that the cinematography helms a lot of establishing, wide shots that really take you to where the film is set.

Ryuichi’s soundtrack for The Revenant holds quite a unique score in the sense that it’s basically a soundscape, mixed with classical elements such as violins, basses etc. This is of quite some inspiration towards my current project as I may write my own soundscape and score to accompany my own work.

Ansel Adams

The art of score 

Locative media.

  • Name two artists who use location as a material. 
  • How site specific and sound contextualise. 
  • Articulate the link. 

    Site specific art can’t live without the specific place, it loses meaning otherwise.

In my project, the art, that being a film, would not work without the sounds recorded on site.

Particular time and place is relative to the critical attention that the viewer is tuned to. Or the spacial features the site holds and how it shapes the viewers vision.

Land art – built into the land. Could be a response within a concept to the world the land art occupies. Found material can be used to create land art.  

Touch sanitation. Celebrating the hidden people of maintenance. 

Site specified art can use the elements of its location, this leads to its keys materials as a response to the location the art is held. This can also be used to reveal the invisible of the institutionalised nature of the placement. 

Take the artwork out of the location, the art is dead. But this isn’t the case for all artworks. 

Art is specific to the location.

Locative media – specific to working with the location and media, technological. These are usual merged. CHRISTIAN NOLD*

Mobile locative technology – Google maps etc direct location translated through this tech.  Listening to music. Creative projects that are thought as a technology that identifies and responds to specific location.  Definition of location – where something is. A concept that carries general significance. This helps us describes where something is, in relation to something or somewhere else.   Something to say about the place. Communication tech. Camera/sound piece/ smart map etc tech that helps understand of the impact the location has on ourselves .

Today we digested more artists and the world of site specific sound arts, as well as other definitions. *See notes on left*.

Class Exercise 1/2
At the start of the class we made our A3 mood boards based around our influences and our work, this also involved cutting work from the books around us. This was refreshing as I found a lot of work that interested me in terms of photography and some work that has influenced me before.

Class Exercise 2/2

Further on into the class, we learnt what a ‘Score’ is. A score is a task that someone may layout in the artworld for the viewer to respond too and carry out, in this moment we went outside and focused on a specific area and documented it. I ended choosing the building site for the new room. Texture and sounds were the focus. I cannot share the audio as wordpress is rejecting WMA format.


Today I am going to Hafod to carry out my project for my other module (photography 5). Whilst I am up there I will take some more film shots/recordings for this project, I’m thinking the waterfall will be a good place. But I like to try going in blind and see what I can find without pre-planning. Currently there is tree felling happening at Hafod due to disease. I thought I’d post the situation as its quite interesting:

1 thought on “Week 3”

  1. Hi Mike, well done on your regular and detailed posts. Great to read what you’ve been doing and see evidence of you playing with diagetic sound, and sounds that don’t fit the filmic frame. You’re showing very good practice based experimentation well done. Watch out for occasional typo’s / mistakes. For example, the theme is site specific sound art. In week two the second mode of listening according to Michele Chion is Semantic listening. Where you cite the ideas of others, Like Chion’s three modes of listening, be sure to cite your sources. This means taking detailed notes in lectures and when reading, so you can cite specific sources. Full info on referencing can be found here—the-basics. You are showing some good independent research, specifically into the work of Sakamto and Adams. To develop, go further with discussion and analysis of their work. How does their work inform your own? What are the strengths and weaknesses of their work? Do you have any criticisms? Sorry to hear about your camera bust up – how annoying. Great to see you documenting and reflecting on class content – as you move forwards, what is the significance of the ideas you encounter? For example, what is your understanding of a score, does this new way of working bring anything to your own creative practice? How are these ideas shaping your creative concept? This week really focus on defining and detailing your creative concept. Remember bring your final idea to class next week to discuss. Good work, well done!

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