runtime, 51 seconds
| mp3 | wav |
project screenshot
Cory R Gorman | Film 116 | Fall 2014 UW-Milwaukee
Monday, December 8, 2014
Tuesday, December 2, 2014
Monday, December 1, 2014
EXTRA CREDIT RECORDING
Sunday, November 30, 2014
ESSAY #3
The Aural Experience
“To use food as a metaphor, sonic events are the raw ingredients, aural architecture is the cooking style, and, as a inseparable blend, the soundscape is the resulting dish” (Blesser, Salter 15). Blesser and Salter use this simple, yet effective metaphor to explain their concept of aural architecture. An aural experience of an environment is not just the sum of its parts; it is the shape of the environment that surrounds the sums that creates the aural architecture. Sound waves travel at a finite speed and reflect off certain objects differently; further more sound waves have different reflective properties based on their frequency and dB level. Imagine a jazz band playing in a typical environment, such as a dark small club. The sum of its’ parts are the band, trumpet, standup bass, piano, drums, and the audience. In the typical setting of a small club with lots of people the sound is mellow, reflection are short and dampened by the shape of the room and the people occupying the room. The sound and feel of the music lends itself to the environment and creates a certain mood that is shaped by the architecture of the room, thus creating an aural experience. Now, make the entire environment, room, bar, tables, chairs and the audience disappear, leaving only the jazz band playing their tunes. In a vacuum you would hear nothing, the sound waves would not have air to ripple through creating sound for our ears to interrupt, much like being in outer space. Now put the band in an empty orchestral theater and imagine how washed out all the instruments would appear, long reflections and echoes would saturate the space and create a different, most likely less desirable, experience of the jazz band. The aural architecture of an environment not only shapes how we as humans experience sound in a space, but also how we feel in relation to the sound.
works cited:
Barry Blesser, Linda-Ruth Salter. Spaces Speak, Are You Listening?
“To use food as a metaphor, sonic events are the raw ingredients, aural architecture is the cooking style, and, as a inseparable blend, the soundscape is the resulting dish” (Blesser, Salter 15). Blesser and Salter use this simple, yet effective metaphor to explain their concept of aural architecture. An aural experience of an environment is not just the sum of its parts; it is the shape of the environment that surrounds the sums that creates the aural architecture. Sound waves travel at a finite speed and reflect off certain objects differently; further more sound waves have different reflective properties based on their frequency and dB level. Imagine a jazz band playing in a typical environment, such as a dark small club. The sum of its’ parts are the band, trumpet, standup bass, piano, drums, and the audience. In the typical setting of a small club with lots of people the sound is mellow, reflection are short and dampened by the shape of the room and the people occupying the room. The sound and feel of the music lends itself to the environment and creates a certain mood that is shaped by the architecture of the room, thus creating an aural experience. Now, make the entire environment, room, bar, tables, chairs and the audience disappear, leaving only the jazz band playing their tunes. In a vacuum you would hear nothing, the sound waves would not have air to ripple through creating sound for our ears to interrupt, much like being in outer space. Now put the band in an empty orchestral theater and imagine how washed out all the instruments would appear, long reflections and echoes would saturate the space and create a different, most likely less desirable, experience of the jazz band. The aural architecture of an environment not only shapes how we as humans experience sound in a space, but also how we feel in relation to the sound.
works cited:
Barry Blesser, Linda-Ruth Salter. Spaces Speak, Are You Listening?
Cory R Gorman | Film 116 | Fall 2014 UW-Milwaukee
Monday, November 10, 2014
RANT
Artistic Choice
runtime, 2 minutes and 20 seconds
Cory R Gorman | Film 116 | Fall 2014 UW-Milwaukee
Sunday, November 2, 2014
FIELD RECORDING #3 UNNAMED SOUND
Unnamed Indoor Sound
runtime, 1 minute
| mp3 | wav |
Unnamed Outdoor Sound
runtime, 53 seconds
| mp3 | wav |
I took a lengthy ride on the GREEN LINE bus from North Ave & Oakland Ave, traveled south on Oakland Ave, then west on Brady St which curved south and turned into Water St/1st St/KK and finally got off at the border of the Bayview neighborhood on KK & Becher St.
The unnamed indoor sound was recorded inside a building on the corner of KK & Becher St.
(yellow marker)
The unnamed outdoor sound was recorded at the dead end of S Marina Dr.
(green marker)
see map below for details of route and locations
runtime, 1 minute
| mp3 | wav |
Unnamed Outdoor Sound
runtime, 53 seconds
| mp3 | wav |
I took a lengthy ride on the GREEN LINE bus from North Ave & Oakland Ave, traveled south on Oakland Ave, then west on Brady St which curved south and turned into Water St/1st St/KK and finally got off at the border of the Bayview neighborhood on KK & Becher St.
The unnamed indoor sound was recorded inside a building on the corner of KK & Becher St.
(yellow marker)
The unnamed outdoor sound was recorded at the dead end of S Marina Dr.
(green marker)
see map below for details of route and locations
bus adventure selfie!
Cory R Gorman | Film 116 | Fall 2014 UW-Milwaukee
Friday, October 31, 2014
ESSAY #2
The Anti-Tourist
Daniel Kalder gives a broad meaning of
what he considers anti-tourism by stating, “For me, anti-tourism is to reject
this common path and to pursue your own trajectories, to step into the wastelands
and forgotten zones that are usually neglected in the standard form of tourism”
(Kalder). By common path Kalder refers to more traditional tourism destination,
whether it be a big city or a national park, and suggests these places come
with a sort of subjectivity. These common destinations have been so well
documented culturally that to get a fresh perspective of them seems difficult. Of
course this view also brings to mind the famous Robert Frost poem “The Road Not
Taken”, which eloquently lays out an individuals choice to go down two paths
and decides to take the one less traveled. Anti-tourism is the road less
traveled and Kalder most certainly takes these roads throughout his travels in
Russia, where he had been living for about 10 years or so (Kalder). The
anti-tourist demands the unknown and in turn takes away much more from those experiences.
In a much broader sense of the meaning I think anti-tourism promotes an individual
to think for them selves and reject the common path, whether that common path be
a landmark or a belief system or a way of life. In modern society ideas,
culture, politics, and everything in between saturates the air and comes at us
from every angle, how do we know what’s up and what’s down? Anti-tourism is
such a great term for defining someone who wants to build anew experiences,
perspectives and discover them on their own terms. It’s important to explore
the unknown; this is what our civilization is built upon and I hope we continue
to explore the unknown. So cheers to the anti-tourist!
works cited:
Kalder, Daniel. Interview. To the Best of Our Knowledge. WPR, Madison. 17 August. 2011.
Cory R Gorman | Film 116 | Fall 2014 UW-Milwaukee
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