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click! Rachel Lane from Sound Design: Studio


CHALLENGE: The Use of Metaphor in Sound. Create a sound design representative of visual art.

STATEMENT: For this project I will make a 2 minute audio collage to represent a still from the Feist music video, How Come You Never Go There: I see contrast in this image. For me, the contrast is not only represented by the black and white visual nature of the image, but also through the light shining down into the darkness. I see an isolated figure experiencing a moment of hope within an environment of darkness and chaos. I will create pleasant sounds using the harp and something like a children’s chorus in garage band to represent the lighter more hopeful aspects of the image. At the same time, I will create harsh, abrupt sounds by adding in the recording of radio transmissions and more electronic instruments in garage band. I hope that these sounds will help to achieve a sense of chaos. I will add a few natural sounds such as rain and soft wind, because that is what I hear when I look at the light and the environment surrounding the figure.

SOURCE MATERIAL: Various pre-recorded sound effects, original recordings, GarageBand, and Digital Performer..


click! Michelle Lee from Sound Design: Studio


CHALLENGE: The Use of Metaphor in Sound. Create a sound design representative of visual art.

STATEMENT:
For this project, I plan to engineer an auditory representation of Jasper Johns’s painting, Gray Alphabet. The things that most stand out to me about this work are its monochromatic nature, the monotony and simply ordered nature of the composition, the intentional boxiness of each unit (although the artist could have chosen to use the more organic shapes of the letters themselves), the differing values in between each unit, the remaining painterliness in such a “one thing after another,” automatic work, and the industrial feel to the work. To represent the industrial feel, I want to have a kind of grainy, gravelly tone in the background to suggest the painterly depiction of an industrial, mechanized image. On top of this, I want to have a dark, one to three note phrase that is repeated slowly in a more or less monotonous fashion to suggest the desaturated monochrome. To represent the “one thing after another” concept and the “printed” effect of the work, I want to create a kind of harsh, mechanic sound to repeat over and over again in close succession to give the impression of each unit making its own sound, which happens to be the same sound as every other unit. However, I would like to make this sound louder and quieter every once in a while, depending on the values in the part of the piece corresponding to the audio. Finally, I would like to have two drawn out tones that get higher and lower over a set duration, and then start over. These will be the lines of the grid drawing themselves and defining the units.

SOURCE MATERIAL: Various pre-recorded sound effects, original recordings, GarageBand, and Digital Performer..


click! John Anderson from Sound Design: Studio


CHALLENGE: The Use of Metaphor in Sound. Create a sound design representative of visual art.

STATEMENT:
For this project, I plan to make an audio abstraction of this photograph taken by Ansel Adams in 1942. To achieve this goal, I will “read” the photograph in thirds from top left to bottom right, as if it were a score of music. The “reading” will be an interpretation of the section of the image as well as the photograph as a whole. The abstraction of the image into a auditory work will rely on the different elements present in the photograph. The three main elements are the clouds, mountains, and river. Since the photograph is black and white, brightness will be a major factor in the quality of the sounds used. Light will mean a higher or quieter, or less dense sound. Darkness might mean either a sound lower in pitch, or the volume might be raised during the dark moments. Round shapes will have a rounder sound, and more linear shapes will be harsher sounding. The clouds come in first and are peaceful and bright. However, as the piece progresses, the mountains jut through the airy softness with their hard edges. The sound becomes more dense as the clouds become darker.Then the mountains are dominant, with trees dotting the landscape as the river comes into view. The river has a swirling element to it, an oscillating sound, denser than the clouds, but not as harsh as the mountains. Then the river is the dominant element, and the mountains and clouds provide a backdrop for the final curve of the river. the river seems to be peeking through the trees which could signify some sort of filter or dynamic adjustment during the piece at this point. The piece ends in a long fade out to signify the river continuing on out of the frame.

SOURCE MATERIAL: Various pre-recorded sound effects, original recordings, GarageBand, and Digital Performer..


click! Ruey Hu from Sound Design: Studio


CHALLENGE: The Use of Metaphor in Sound. Create a sound design representative of visual art.

STATEMENT:
For project 3, we are instructed to create a piece that would present an auditory interpretation of the visual art of our choice. I chose a piece of artwork by Erwin Redl. This abstract LED art has a wide span of visual space, allowing me to create a piece that manipulates frequency space. On top of that, the placement and color of the green LEDs will allow me to interpret Erwin Redl’s piece as having measured beats, fluidity, and a very “green” nature to it. If this piece of work had the ability to produce sound, I believe it should have a very ambient-like nature to it, maybe even intense, like The Matrix. I will be drawing some elements of the audio from the Wachowski Brother’s movie, The Matrix, and the auditory elements from that movie. That would entail learning the style of music produced by the famous band Rage Against the Machine, as well as various other artists. I will be trying to create a piece that has futuristic elements, as well as creating a great auditory representation of the visual art created by Redl.my

SOURCE MATERIAL: Various pre-recorded sound effects, original recordings, Logic, and Digital Performer..


click! Chris Devine from Sound Design: Studio


CHALLENGE: The Use of Metaphor in Sound. Create a sound design representative of visual art.

STATEMENT:
For my third project I will bring this piece of abstract art to life through sound. It is a vibrant piece, marked by a multitude of warm and varying colors and a variety of shapes. This will be reflected through sound by an uptempo beat and the introduction of many new instruments and sounds.

SOURCE MATERIAL: Various pre-recorded sound effects, original recordings, Logic, and Digital Performer..


click! Megan Bryant from Sound Design: Studio


CHALLENGE: The Use of Metaphor in Sound. Create a sound design representative of visual art.

STATEMENT:
I chose this picture because it is a print by one of my favorite designers and because although it seems simple, it actually has a lot of characteristics I can work with. First, there is a sense of chaos in this picture. The arrows are flying in different directions and the zebras are running in different directions. The fact that the animal is a zebra also adds to the chaos because a zebra’s stripes are not uniform. Despite this sense of chaos, the zebras give the picture a bit of gracefulness with their gallop pose. The arrows and red background of this picture give it a sense of boldness and danger. However, it is not actually gory. The arrows aren’t actually hitting the zebras, and there is no blood and no dead animals anywhere. The lack of goriness allows the picture to remain somewhat playful. The animals are cute and cartoon-like, and the red is a pretty red, rather than blood red. This picture is not meant to be realistic. I want my piece to embody all these characteristics of the image: chaotic yet graceful, a sense of danger, a little boldness, and somewhat playful, while still keeping it relatively simple. I might do this by having a steady, playful, higher, note playing constantly, and then by having other notes “fly” through. I could possibly have notes that start out sounding deep and dangerous, and then fade off to be lighter

SOURCE MATERIAL: Various pre-recorded sound effects, original recordings, Logic, and Digital Performer..


click! Anna Hogg from Sound Design: Studio


CHALLENGE: The Use of Metaphor in Sound. Create a sound design representative of visual art.

STATEMENT: My goal for project three is to sonically reproduce the visual experience of Barnett Newman’s “Vir Heroicus Sublimis” through the manipulation of sound. The sublime, as implied by the painting’s name as well as its historical context in the Abstract Expressionist movement, is extremely important to the visual experience of Newman’s painting. The painting itself is about 8 x17 feet long, and viewers were often instructed to stand very close to the painting so that it would engulf the viewer in its vast fields of color, overwhelming one with the sublime. It is the experience of the sublime that I ultimately wish to pursue, a tall order for the sound designer. In order to achieve the sublime, I will begin with an even tone, which will in fact be the combination of several tones combined. A variety of sounds will contribute to this tone, including but not limited to the piano, violins, and a voice. I will expand upon this initial tone by creating the impression of a pulse, which will be achieved by manipulating the Equalizer, Volume, and Reverberation. This pulse is meant to represent movement, a movement outward, the movement of expansion, of the sublime itself. Once this expansion has engulfed the listener, I will then pull in a different tone, represented by the repeated lines in different colors across the plane of the canvas. These tones will come and go however, as if they are just stars passing by in a vast universe. In order to do this, I will manipulate panning, volume, and the Equalizer. The intervals of these different tones will vary, like the painting, but they will eventually form a pattern of five tones total. In order to end the song of “Vir Heroicus Sublimis,” I will repeat the earlier buildup to expansion but in reverse, and at a much faster pace. To use the metaphor of the Universe again, if the expansion is like the Big Bang of the Universe, then the compression is like the theoretical end of the Universe—in which all the matter in the Universe eventually spins itself into a dense, tight ball. As mentioned above, the potential effects I will use include the Equalizer, Reverberation, panning, and volume. Most of the content will be recorded myself in conjunction with a vocal artist, Priscilla Goh, who has agreed to work with me.

SOURCE MATERIAL: Various pre-recorded sound effects, original recordings, GarageBand, and Digital Performer..


click! Alex Zorychta from Sound Design: Studio


CHALLENGE: The Use of Metaphor in Sound. Create a sound design representative of visual art.

STATEMENT: For this project, I will be attempting to make an audio collage to go along with what I feel is a powerful piece of modern digital art, http://www.twitterevolutions.com/bgs/flaming-guitar.jpg. This image features an acoustic guitar on fire, along with several treble clefs made of flames that float around it. This is all on a solid black background. Even though it seems a little simplistic, being that there is only really black and orange and two symbols of music, there are many small details in the forms of the symbols that I feel could really be brought to life using an audio collage. Basically, the overall theme would be a personification of an acoustic guitar’s “voice,” expressing powerful emotions of love, anger, and passion. This voice would be made of recordings of my own guitar, with effects such as distortion, modulation, equalization, and other things to adjust it as I see fit. Added to this would be the evanescent appearances of the treble symbols throughout the sequence. The solid black background would give the feeling of a limitless space, and so there would need to be some sort of massive reverberation to all sounds present. This black background may also indicate a low ominous humming in the background. The flames would not be just audio clips of flames, but rather a combination of other sounds and various bits of other sound clips to achieve parallel effects. There seems to be a lot of movement in the piece, not just due to the flickering of flames. The treble clefs would be floating around, and as such, automation of panning and volume would be necessary to achieve this effect. Yet among the blurriness that movement could cause, there is a sense of intense crispness and clarity, and this would need to be a prominent feature of any sounds I may use. As flames grow and die out, so would the audio piece I would give to it; the middle of the piece of feature a louder, more aggressive climax, and it would end by dying out to just an ember and fading away.

SOURCE MATERIAL: Various pre-recorded sound effects, original recordings, GarageBand, and Digital Performer..


click! Zhixing Luo from Sound Design: Studio


CHALLENGE: The Use of Metaphor in Sound. Create a sound design representative of visual art.

STATEMENT: My goal for this project is to create a sound environment based on my feeling on a piece of artwork. The picture I chose was a poster from the movie “Sherlock Holmes”. I like the movie so much that my mind plays music every time I see its poster. I found this image very unique in the way it was drawn. It is black and white and simply sends you a strong image of Sherlock Holmes himself- a cool and serious man. There are a couple of elements in this image that can be translated into sounds. The overall background and atmosphere are dark and mysterious. So I would start my music with deep, long and slow sound to bring the audience into the atmosphere. After the dark mood is spread out, I will add some opera singing in the background music to suggest sadness and loneliness, as I can tell from the picture. Sherlock Holmes is a legendary detective. So I will keep spreading the suspicious sound with deep beats, but this time the rhythms can be faster, as if one of the suspicions were being resolved. I would also like to put a violin sound in it to emphasize how elegant Sherlock Holmes is. This can be told by the way he dresses. As the beat is getting faster, it reaches a climax where a series of exciting sound effects come together, such as explosion, shooting sound, horse running and so on. It should sound like an adventure full of danger and fun. In the end, the music slows down and ends in a happy note, as if the case has been solved and everyone is saved. In addition, I am planning to create some funny moments in my music, like rapid jumping and high-pitched notes to relieve the audience from the tense and also show the fun side of being a detective.

SOURCE MATERIAL: Various pre-recorded sound effects, original recordings, GarageBand, and Digital Performer..




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Last Modified:
November 28, 2012