LOMAA Workshop Series
Expanded Course Description
This studio course introduces the participant to a wide range of techniques and concepts associated with contemporary field recording. Some techniques and projects will require some knowledge of audio recording. Emphasis is placed on creative and exploratory methods. A brief history of field recording will also be covered. Students will also have the opportunity to log the sounds they produce to better articulate their line of inquiry in the final discussions.
Organization of the Course
The number of participants, in this course, range from 6-8. Each of the four main exercises are augmented by discussions, which will introduce the main themes. These presentations are both historical and contemporary to give the student the ability to see how recording has progressed through the last 30+ years. There will be hands-on demonstrations to show technique and there will be individual instruction provided when needed. The workshop participant must purchase materials, keep a logbook for in-class exercises and projects and construct a final audio work for critique.
Course Learning Objectives
The purpose of this course is to introduce the student to the versatility and importance of field recording today. Participants will see a wide range of sound applications and gain an understanding of the possibilities by using sound to convey a variety of subjects including: the sounds of everyday city life, natural sounds, mechanical sounds, the reception of sound as well as utilize information as a starting point for speculative ideas, projections or imaginative conjecture. All of these topics feed into contemporary audio production.
The specific learning objectives of the course will enable the participant to:
· Conceptualize the subject/object/situation and articulate this using field recording and post-production techniques.
· Explore and expand on the use of audio processing techniques including: filters, effects, and digital recording techniques.
· Arrive at creative and compositional ideas through research and use sound gathering to solve problems and widen audible vocabulary so the participant may speak articulately and critically about their work and the work of others.
· Use sound in a variety of expressive ways including: loud soft sounds, natural and anthropocentric sounds, expressive or lyrical sounds, degraded and clear sounds and use post-production methods to explore additive and reductive techniques.
· Develop compositions that address balance, point of view, positive and negative space, proportion, visuality, as well as provide points interest and/or dynamism.
· Develop an understanding of the role of sound in the contemporary art world in relation to other historical works and use traditional and experimental, non-objective approaches for the thematic final project , which may include information as a starting point for mapping out the final work.
Final Project Parameters – Speculative Audio Using Information
The real power of field recording exists in its immediacy. The recordists ability to capture sounds on the fly in an efficient manner with the right setup is paramount. In this final project the participant will create a composition over an extended time period. To get an idea of how the notation would look like for a work of this magnitude we can offer up some suggestions. Each plan of action could take on the form of a mind map, flow-chat, scribbles and doodles. Think of this a plan for something to be built or perhaps it's a philosophy of life articulated through sound bytes. It could also take the shape of data that you collect or source from something else to give the work some structure and direction. In this final work in may be possible to collaborate.
Please see the online field recording terminology to help you structure this final project.
Recommended Workshop / Readings*
Evaluation
As this is an open workshop you will always be judged by your peers - this will likely include how creative the project is, the best use of sounds to convey an idea, the technical ability and devotion to the project.
Each participant will be evaluated on their ability to explore and apply the sonic and thematic concepts of their initial concept.
Here are some questions you may want to ask regarding the work you intend to produce:
Criteria for Discipline
Workshop Exercise
Expressive Drawing to Music
In-class assignment: Demonstration of materials and mark-making with musical accompaniment
Homework Expectations/Assignments due for next class: Pick a favourite mark-making technique and explore a subject (eg. table, cup, a tree) maybe the subject of the song (sound composition) is related to the thing they are drawing. By using mark-making, appropriate to the observation and musical composition, record what music/sound was used on the back of the sheet.
Expanded Course Description
This studio course introduces the participant to a wide range of techniques and concepts associated with contemporary field recording. Some techniques and projects will require some knowledge of audio recording. Emphasis is placed on creative and exploratory methods. A brief history of field recording will also be covered. Students will also have the opportunity to log the sounds they produce to better articulate their line of inquiry in the final discussions.
Organization of the Course
The number of participants, in this course, range from 6-8. Each of the four main exercises are augmented by discussions, which will introduce the main themes. These presentations are both historical and contemporary to give the student the ability to see how recording has progressed through the last 30+ years. There will be hands-on demonstrations to show technique and there will be individual instruction provided when needed. The workshop participant must purchase materials, keep a logbook for in-class exercises and projects and construct a final audio work for critique.
Course Learning Objectives
The purpose of this course is to introduce the student to the versatility and importance of field recording today. Participants will see a wide range of sound applications and gain an understanding of the possibilities by using sound to convey a variety of subjects including: the sounds of everyday city life, natural sounds, mechanical sounds, the reception of sound as well as utilize information as a starting point for speculative ideas, projections or imaginative conjecture. All of these topics feed into contemporary audio production.
The specific learning objectives of the course will enable the participant to:
· Conceptualize the subject/object/situation and articulate this using field recording and post-production techniques.
· Explore and expand on the use of audio processing techniques including: filters, effects, and digital recording techniques.
· Arrive at creative and compositional ideas through research and use sound gathering to solve problems and widen audible vocabulary so the participant may speak articulately and critically about their work and the work of others.
· Use sound in a variety of expressive ways including: loud soft sounds, natural and anthropocentric sounds, expressive or lyrical sounds, degraded and clear sounds and use post-production methods to explore additive and reductive techniques.
· Develop compositions that address balance, point of view, positive and negative space, proportion, visuality, as well as provide points interest and/or dynamism.
· Develop an understanding of the role of sound in the contemporary art world in relation to other historical works and use traditional and experimental, non-objective approaches for the thematic final project , which may include information as a starting point for mapping out the final work.
Final Project Parameters – Speculative Audio Using Information
The real power of field recording exists in its immediacy. The recordists ability to capture sounds on the fly in an efficient manner with the right setup is paramount. In this final project the participant will create a composition over an extended time period. To get an idea of how the notation would look like for a work of this magnitude we can offer up some suggestions. Each plan of action could take on the form of a mind map, flow-chat, scribbles and doodles. Think of this a plan for something to be built or perhaps it's a philosophy of life articulated through sound bytes. It could also take the shape of data that you collect or source from something else to give the work some structure and direction. In this final work in may be possible to collaborate.
Please see the online field recording terminology to help you structure this final project.
Recommended Workshop / Readings*
- A Sound Education: 100 Exercises in Listening and Sound-making by R. Murray Schafer
- Spaces Speak, Are You Listening? Experiencing Aural Architecture by Barry Blesser and Linda-Ruth Salter
- Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds by David Toop
- Noise, Water, Meat : A History of Sound in the Arts Kahn, Douglas.
- Book review by Douglas Kahn = Capturing Sound: How Technology has Changed Music, by Mark Katz. Berkeley and Los Angeles: University of California Press, 2004.
- Pictures of Sound by Patrick Feaster
- Sound Souvenirs: Audio Technologies, Memory and Cultural Practices, Edited by Karin Bijsterveld and Jose van Dijck
Evaluation
As this is an open workshop you will always be judged by your peers - this will likely include how creative the project is, the best use of sounds to convey an idea, the technical ability and devotion to the project.
Each participant will be evaluated on their ability to explore and apply the sonic and thematic concepts of their initial concept.
Here are some questions you may want to ask regarding the work you intend to produce:
- Do the field recordings encompass the concept?
- How did I develop my critical thinking as it relates to conceptual exploration, course themes and ideas?
- How do the formal recording and production skill manifest themselves through: composition, planning, sound differentiation, process and execution come into play and emphasize the ideas?
- How surprising is the idea in terms of creativity, personal interpretation and inventiveness?
- Have I been constantly exploring audio by the consistent use of my logbook?
- Did I participate by using a focused approach to all activities?
Criteria for Discipline
- Critical thinking through doing: application of conceptual and technical ideas
- Virtuosity: development of technique
- Creativity: personal interpretation, inventiveness and ambition
- Work habits: process, persistence, prepared attendance
- Exploration: sonic investigations, uniqueness and difference
- Participation: discussion during workshop events and media presentations
Workshop Exercise
Expressive Drawing to Music
In-class assignment: Demonstration of materials and mark-making with musical accompaniment
Homework Expectations/Assignments due for next class: Pick a favourite mark-making technique and explore a subject (eg. table, cup, a tree) maybe the subject of the song (sound composition) is related to the thing they are drawing. By using mark-making, appropriate to the observation and musical composition, record what music/sound was used on the back of the sheet.
a_sound_education.pdf | |
File Size: | 7799 kb |
File Type: |