A collection of my projects from the Introseminar "Music 32N". These fall into three categories, representing the respective medium each piece of work acts over: Images, Sounds, Words
When working on my first work, I quickly noticed how much artistic loss would occur in trying to transfer the visual experience I imagined in my head onto a program. This pushed me to change artistic perspective: instead of seeking to capture the closest image I could in my mind, I decided to capture the visual result of the technical struggle moment. My work encapsulate the initial stages in which an artist aquaints himself with a platform. As I sought for my work to be as raw and honest as possible, the confusion and embroilment of the piece is evident. The chaotic visuals are built upon with short but vital words adding secondary layers of meaning to the idea of amateurial confusion ("I'm still learning" and "trapped under mediocrity", written poorly and scattered, visible at irregular time lengths. These, along with the 3 time repetition of the initial image, give the piece it's "threeness". "An ode to confusion" seeks to accurately induce the same feelings of confusion and frustration in viewers as navigating unfamiliar or new mediums for expression may for artists.
My auditory experience seeks to have listeners link experiences and meanings based on the auditory combinations and sound patterns it features. The listener plays an active part in establishing meaning in the experience, as the auditory refferences to meaning made by the sounds featured will combine personally and differently for everyone.
The work features several of my favourite sounds combined together to trigger contraasting layers of meaning: sounds that invoke urgency, like footsteps or the harsh crushing of dry leaves cut the sound of a fountain trickling peacefully for example. The vocal elements are also pivotal to my experience: they are key to establishing my work's ambiguously dark tone. This in turn provides the piece's buildup and release in tension, or antecedant and consequent in intensity. These are my reactions to my own work, but most importantly, the aim of my work is to evoke a powerful personal reaction in all listeners. Please enjoy.
First and foremost, I'd prefer all viewers to first experience my audiovisual project without any backround information on my motivation, it's purpose or any other contextual notes. Viewing my work without any expectations or considerations is integral to the ideal experience I am aiming to ellicit in viewers. You have been warned! If you wish to do so anyway, please scroll slightly below.
I have not given this work a title, as I feel it is an acute enough experience for the viewer to feel the purest version emotion I am trying to convey; adding a title would dilute this effort. The general approach I had to this work was to invert the traditional horror/thriller technique of layering pleasant images with sombre sounds or scarier visuals with minimalist kid's tunes (e.g teddybear jingles). Instead, I opted to create as much uneasiness as I possibly could using an upbeat blues (ByeByeBlues), which by itself would traditionally ellicit feelings of happiness and joy. The nature of such a major blues makes the task more difficult, as it's more upbeat tempo makes it intuitively feel more positive (to me at least).
A principle technique I use to counteract the natural positivity of the blues is to time my visual changes in accordance with the piece's important downbeats, attacks and moments of tension, and moments of release/culmination. Please enjoy f4m.