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
Sunday, October 26, 2014
FIELD RECORDING #2
East On North
runtime, 1 minute and 47 seconds
| mp3 | wav |
Friday October 24, 2014
5:30pm CST
North Point Water Tower, North Ave. & Lake Dr.
The drift strategy for this project was to walk as far east as possible from a fixed point with the sun to my back. The fixed point started on the corner of North Ave & Oakland Ave and led me straight to Lake Michigan with the waves at my feet on Bradford Beach. This audio selection was recorded on the east wall of the North Point Water Tower.
runtime, 1 minute and 47 seconds
| mp3 | wav |
Friday October 24, 2014
5:30pm CST
North Point Water Tower, North Ave. & Lake Dr.
The drift strategy for this project was to walk as far east as possible from a fixed point with the sun to my back. The fixed point started on the corner of North Ave & Oakland Ave and led me straight to Lake Michigan with the waves at my feet on Bradford Beach. This audio selection was recorded on the east wall of the North Point Water Tower.
Cory R Gorman | Film 116 | Fall 2014 UW-Milwaukee
Tuesday, October 14, 2014
FIELD RECORDING #1
Monday, September 29, 2014
ESSAY #1
Hi-Fi vs Lo-Fi
Murray Schafer
uses a term to define his idea of hi-fi sound vs. lo-fi sound. The term is
signal to noise ratio, which is apt for the context in which he distills this
idea. In the audio world hi fi systems pump out extreme detail and clarity of
the source material, due to a very high signal to noise ratio. A low signal to
noise ratio would yield less clarity within an audio source and abstruse any
meaning information within the source material. Schafer uses this signal to
noise ratio in the context of nature and the soundscapes within an environment.
He states in his work, The Rural
Landscape, “The quiet ambiance of the hi-fi soundscape allows the listen to
hear father into the distance just as the countryside exercises long-range
viewing” and “In a lo-fi soundscape individual signals are obscured in an over
dense population of sounds” (Schafer 43). I can recall a time when it was dead
of night and I was swimming in Lake Michigan. The ripples of water drifting
pass me were articulate and a slight breeze was easily heard. An unusual noise
came to the forefront; it was a flapping noise, like a bird, but more frantic
and decayed quicker. Once I was able to see briefly what was flying above me I
realized it was bats, zooming back and forth across the lake water. This hi-fi
soundscape was able to produce a rather quiet flap of a bat's wing into
something very detailed audibly; it was quite fascinating and completely scary
at the same time.
Later on in
Murray Schafer’s piece, The Rural
Landscape, he identifies a sound mark memory from his childhood growing up
on a farm of. He recalls listening to a hand pump churn cream into butter and
noting, “an almost imperceptible change in tone and texture occurred as the
slopping creamed gradually turned to butter” (Schafer 48). I grew up in a
suburban community, which didn't create much of a distinctive soundscape, but
what did was a sound mark of my youth growing into my teenage years of the howl
of my pure Beagle hound dog. It was a distinctive howl, not deep, but rather a
high-pitched croon, that of a young hound pup growing into its teenage years as
I grew into mine. The bark reminds me now of youth gaining responsibility and
becoming a person who is able to not just think of his self, but take care of
and tend to another creature. Her name was Pepper and she brought me immense
joy in my teenage years as a single child and gave purpose to my summer days
home alone or late afternoons coming home from school. She was a wild thing and
I would be wrong if I said I wasn’t just as wild as her and for that I am
grateful for a wonderful childhood raising a hound dog in the suburbs.
Cory R Gorman | Film 116 | Fall 2014 UW-Milwaukee
Tuesday, September 23, 2014
FOUND SOUND
If You're Feeling Sinister
Cory R Gorman | Film 116 | Fall 2014 UW-Milwaukee
runtime, 1 minute and 15 seconds
| aiff | wav |
Embarking on a journey to edit, manipulate, and make sense (somewhat) of pre sourced raw audio in an effort to create a dynamic mix as well as an engaging listening experience is no easy feat. As you can hear in the sound clip, the material is highly altered and anything but raw source recordings. At first there was an urge to create a literal soundscape within the context of the recordings, but as time progressed with the raw material, patterns emerged which I was compelled to elaborate on. Soon, time slowed down and became washed out, rhythmic patterns of breathing and ominous sounds came to the forefront. Once I found my favorite sounds it was time to build to a pulsating loud cathartic moment, then to fade out, just to be left with a final, isolated, small dying breath of a sound.
notes on the edit:
| aiff | wav |
Embarking on a journey to edit, manipulate, and make sense (somewhat) of pre sourced raw audio in an effort to create a dynamic mix as well as an engaging listening experience is no easy feat. As you can hear in the sound clip, the material is highly altered and anything but raw source recordings. At first there was an urge to create a literal soundscape within the context of the recordings, but as time progressed with the raw material, patterns emerged which I was compelled to elaborate on. Soon, time slowed down and became washed out, rhythmic patterns of breathing and ominous sounds came to the forefront. Once I found my favorite sounds it was time to build to a pulsating loud cathartic moment, then to fade out, just to be left with a final, isolated, small dying breath of a sound.
notes on the edit:
Cory R Gorman | Film 116 | Fall 2014 UW-Milwaukee
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