Tuesday and sound work.

November 8, 2017

 

I’ve spent the last week collecting and recording sounds to use in conduction with my films.

I want elements if my work to reflect my own experience with puberty, as this is a rapid bodily change which in many ways feels like you are metamorphosing into a new being, an  “abject transition” into something new. My personal transition was a very vulnerable one, filled with self-doubt and a shame for how I looked.  I took elements of the edgy slightly cringe mopey music I listed to when I was this age and manipulated it, slowing it down, increasing the bass. I wanted a thick bassy sounds to vibrate through whoever witnessed my work. Earthy baseness to piercing the work.

Taking the music down so it was mainly a low hum that could be picked up on speakers. I collected all sorts of other sound clips to layer in, such as short clips from shows I’d watched at the time. Pig snouts and squeals slowed and distorted until the rumble.

 

Today I focused on recording myself. I wanted to capture the vibrations on the skull when I hummed. I took out a contact mic and fastened to my skull, I hummed at a pitch that allowed the sound to reverberate around my skull and chest. I was surprised it actually worked as contact mics only tend to work on hard objects like. I was very intrigued by the clips created by vibrations on a organic part of the body. I like this idea of using the body as much as possible to generate sound. I recon if I slow it down it would make another base line in my work.

 

I also filmed some more work today. When I was previously editing my videos,  I had loads of intimate shots of my body due to the micro lens clips. But I lacked any more intimate shots of the mask. When I first filmed my pig work I purposely had the camera placed far away from the work as I believed this made it more ambiguous as to what the viewer was looking at. But as the camera is on a stable tripod and is still through out the shot, this makes the clips a little stiff, so when I cut from some of the close up (hand held) body shots to the zoomed out still performance shots, it's a little jarring (which isn't always bad, in fact I think it's really effective in some cuts). I have played around on premiere with zooms and pans to create more of a movement with the work. But of course this can only take me so far.

So I dawned the mask again, this time in a more personal setting, a bed. I filmed it at dusk, as the light was beginning to disappear, as I though soft, heavily shadowed light would benifit  my crude prosthetic. Having  my camera man film close up pans, of my body leading to my mask. I faced away from the light allowing the piece to be covered by shadow, the camera is only able to partially pick up aspects of the mask, the slight movement of the snout in the darkness. One aspect that I unexpectedly found I really liked in these shots, was the way my eye looked in the darkness, the small amount of light just glints on the  on the surface of my cornea. In the darkness they appear almost entirely black. They really do look like beady pig eyes. 

 

 I was also just playing about with my hair...just because 

 

 

 

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