2 women
2 voices
2 countries
2 disciplines
2 intuitions
2 rhythms
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1 installation
[02-03-2015 UK] Anne Point:
Thoughts on location 3:
Japan sounds – defined place or material sounds
UK sounds – material vs. material and their momentum
This week Miku and I seem to have almost an overload of sounds. To me my sounds almost feel too much and too little at the same time. I wonder if this has to do with the awareness we have created over the last three week on how we each interpret sounds and their possibilities in usage.
For me the excitement this week lay in the recording, but I got impatient when listening back to it. A feeling of ‘everything could work, hence nothing works or is good enough’ crossed my thoughts. Agitation over too much choice took my main focus in the conversation, leaving me with a doubtful state of mind.
The fact that we are coming to our 3d location and with that our most important location, because we went back there a second time, has gotten the overhand on the ideas and flow of it. The sounds are still really particular and unique, but because this location became such a big deal to me by filming it for a second time, there seemed to be little space left in my mind to transform it into something else.
Hence my thoughts for editing have shifted into starting with this 3d location first, rather then keeping it for last, because else the pressure to make it into something ‘good’ becomes leading instead of ‘exploring’ its possibilities and boundaries.
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[02-03-2015 Japan] Miku:
Miku’s Sound – natural recordings / created sounds / softer / malleable
Anne’s Sound – created abstract sounds / metallic / hard / dense / sharp / edgy
– Both Anne and I had very different sounds this time.
My sounds were more literal / easy to guess and more ambient than Anne’s abstract sounds. Anne’s sound were very interesting and fascinating that I couldn’t guess what it was, and it attracted my attention more. Anne’s sounds weren’t an ambient sound to me. It had characters and its own voice / statement, which I though would be an interesting layer to add on to the visual.
– When I was searching for sounds to record, I reviewed the perceptions I had that time during the filming at the location 3. The feeling of a long continuous pathway, and the feeling of looking down the hole, reminds me of a manhole on the street, where I decided to record the sound of the water, for example. The object’s presence is visually absent in the frame, however, it was present in my body. I think this searching for a sound that was present in my body (but not visually), and combining it with the visual, could expand the kinaesthetic experience for the audience.
– PRESENSE of ABSENSE / playing with visually non-related elements in sound (earth elements) could be interesting. Water vs. concrete site sounds. This can create a new effect / new imagination?
– Listening to both of our sounds, like specific site’s and its elements, affected our choice of the sounds.
I am thinking of how I could put these sounds with the film…
For instance it would be interesting to play with busy on-going sounds while the movement is slow – this could create a friction between visual and audible which could be challenging and interesting. It could expand audience’s experience.
After collecting loads of sounds together for three locations, we now need to re-select and re-consider in finalizing which sounds we’ll pic. It is very tricky I found that some of the sounds could fit more than one location.
SO, in that case, what more can I consider making my decision? Maybe I could rethink my kinaesthetic experiences (5 senses experience) at each location and see if that helps. Especially, focusing on my BODY experience / memory, could be helpful.
QUESTIONS FOR MYSELF:
How does my body feel when I listen to the sounds?
Does the sound fit my kinaesthetic experience / memory or does it conflicts?
ANNE • 