Capturing, storing, processing, and retrieving audio in analog and digital domains for visual media and information systems. Recording, editing, processing, and mixing sound for 2-D and 3-D artifacts. In-class tutorials and techniques taught will include the creation of numerous sound based projects for use with visual media and data for information systems. Students will learn to record, edit, process and mix sound for a variety of 2D media, 3D animation and video games.
Tuesday, September 9, 2008
eno link test
3 comments:
Anonymous
said...
"the important thing about theoretical positions is that they lead you to decisions one never would have taken or permitted. good taste would be recalcitrant from that." Brian Eno When musicians get together and begin to "jam" it always sounds good. Every jam session I have ever been in no one has ever gotten up and walked away exclaiming, "This sucks, you guys suck." There's something about intuition and being able to improvise in music that makes the usually dissonant into the harmonious. I think when "jamming" occurs it's the product of a small number of forces and constraints reconfiguring in different ways. Like Eno's organism analogy. But with this jamming I'm just talking about playing in a traditional band with guitar, bass, drums and vocals. And there are many bands that do jam sessions during concerts and it's becoming ever more popular within the culture of music. I would like to touch upon another genre of music and their "jamming." Hip- Hop and freestyles. In the video Brian Eno states and I'll try to quote as closely as possible. "When two instruments playing two melodies with each other there is a conspiracy. Those two people have agreed and talked but sometimes the nature of the melody is such you feel it wasn't a scored melody, it couldn't have been a scored melody." Well that's the way I feel about hip hop and authentic freestyles. Or even non authentic freestyles. Sometimes you don't know whether or not they're been scored or not. Usually the artist has some rhymes remembered and from those rhymes and cue words a freestyle is cultivated. When I freestyle I have a couple of keywords that I hear and then like a catalog I search within those seconds for other words to use. So my freestyle is the product of quite a small number of forces and constraints reconfiguring to make a new freestyle each time. usually in a freestyle if you mess up you just keep going and even if you flat out don't rhyme it's alright but sometimes when a freestyle is recorded you hear those recordings and it doesn't sound good because they are messing up. Some thought! I'm not that great at free styling.
Brian Eno acknowledges that to him, making music is never purely intuitive, but rather part of a larger theoretical construct that forces him to move down new paths and beyond what is acceptable. On hearing this, I automatically translate his idea into a visual realm since I am more familiar with visual artists and less with musicians. Images of Surrealist, Impressionistic and Dadaist work flash before my eyes. In each case, I see how the artists continued to delve farther and farther into their processes, opening up entirely new areas of exploration due to their underlying theoretical constructs. If a painter decides to explore the subconscious, then in holding to this idea, he is forced to expose what his subconscious reveals whether he is comfortable with what it exposes or not. In order to make progress in this journey, the artist must continually keep pushing its edge. Intuition no doubt continues to play a large part, but by being used within a theoretical construct, a road is laid down which will serve as a path into unchartered territory. Likewise, The Theatre of Eternal Music pushed boundaries that would not have been pushed had there not been an overarching theory or theme which aimed to explore unusually long music-making sessions. This construct pushed the musicians into new territory and lead to new musical styles. Eno also said, “I look at the variety of the world…and the organisms…and instead of saying each one of these is an entirely separate phenomenon, I say each one of these is the product of quite a small number of forces and constraints reconfiguring in different ways. So, that basic thought of how the universe is made can run through into how I decide to work on music”. For me, this is especially pertinent to making music with the aid of a computer. For a long time, I was not especially fond of the idea. It did not seem as pure, as natural. However, further reflection is allowing me to understand how the fusion of music and technology are, as Eno says, “the product of quite a small number of forces and constraints reconfiguring in different ways”. In setting out as artists committed to exploring the possibilities of sound aided by the computer, we are part of a theoretical construct which steers us to explore the new possibilities that the synthesis of both offers.
"The important thing about theoretical positions is that they lead you to decisions that you wouldn't have taken otherwise." This is all too true. Contrary to Eno, the music I make is mostly intuitive and I am trying to step away from that. The popular music of the day is that of 'oh my girlfriend', 'oh my boyfriend'. Music has become a slush of sappy emotions. While I believe it is good to get those emotions out through music, I am trying to step away from this style. After asking Pat about how I should do that he pointed me to Brian Eno's Oblique Strategies. I believe that those strategies are exactly what Eno is talking about. I had a moment of clarity after going through some of those strategies and was able to pull myself away from the popular curve of music and realize that the possibilities are endless. They really allowed me to think in a different manner. Eno's beginning quote holds true.
I disagree with Eno on collaboration. "As soon as you hear two instruments play a melody together you know there is a conspiracy. You know that those two people have agreed with each other; talked about it have predetermined something." I believe that through improvisation two people may eventually come about the same melody. in that case they are not conspirators; rather collaborators. An example is that when I jam with my friends we usually don't say what key we are in or what the chord progressions are. One person starts, and the rest slowly follow until eventually it comes together be it a dissident or harmonious sound.
3 comments:
"the important thing about theoretical positions is that they lead you to decisions one never would have taken or permitted. good taste would be recalcitrant from that."
Brian Eno
When musicians get together and begin to "jam" it always sounds good. Every jam session I have ever been in no one has ever gotten up and walked away exclaiming, "This sucks, you guys suck." There's something about intuition and being able to improvise in music that makes the usually dissonant into the harmonious. I think when "jamming" occurs it's the product of a small number of forces and constraints reconfiguring in different ways. Like Eno's organism analogy.
But with this jamming I'm just talking about playing in a traditional band with guitar, bass, drums and vocals. And there are many bands that do jam sessions during concerts and it's becoming ever more popular within the culture of music.
I would like to touch upon another genre of music and their "jamming."
Hip- Hop and freestyles.
In the video Brian Eno states and I'll try to quote as closely as possible. "When two instruments playing two melodies with each other there is a conspiracy. Those two people have agreed and talked but sometimes the nature of the melody is such you feel it wasn't a scored melody, it couldn't have been a scored melody."
Well that's the way I feel about hip hop and authentic freestyles. Or even non authentic freestyles. Sometimes you don't know whether or not they're been scored or not. Usually the artist has some rhymes remembered and from those rhymes and cue words a freestyle is cultivated. When I freestyle I have a couple of keywords that I hear and then like a catalog I search within those seconds for other words to use. So my freestyle is the product of quite a small number of forces and constraints reconfiguring to make a new freestyle each time.
usually in a freestyle if you mess up you just keep going and even if you flat out don't rhyme it's alright but sometimes when a freestyle is recorded you hear those recordings and it doesn't sound good because they are messing up. Some thought!
I'm not that great at free styling.
Brian Eno acknowledges that to him, making music is never purely intuitive, but rather part of a larger theoretical construct that forces him to move down new paths and beyond what is acceptable. On hearing this, I automatically translate his idea into a visual realm since I am more familiar with visual artists and less with musicians. Images of Surrealist, Impressionistic and Dadaist work flash before my eyes. In each case, I see how the artists continued to delve farther and farther into their processes, opening up entirely new areas of exploration due to their underlying theoretical constructs. If a painter decides to explore the subconscious, then in holding to this idea, he is forced to expose what his subconscious reveals whether he is comfortable with what it exposes or not. In order to make progress in this journey, the artist must continually keep pushing its edge. Intuition no doubt continues to play a large part, but by being used within a theoretical construct, a road is laid down which will serve as a path into unchartered territory.
Likewise, The Theatre of Eternal Music pushed boundaries that would not have been pushed had there not been an overarching theory or theme which aimed to explore unusually long music-making sessions. This construct pushed the musicians into new territory and lead to new musical styles.
Eno also said, “I look at the variety of the world…and the organisms…and instead of saying each one of these is an entirely separate phenomenon, I say each one of these is the product of quite a small number of forces and constraints reconfiguring in different ways. So, that basic thought of how the universe is made can run through into how I decide to work on music”. For me, this is especially pertinent to making music with the aid of a computer. For a long time, I was not especially fond of the idea. It did not seem as pure, as natural. However, further reflection is allowing me to understand how the fusion of music and technology are, as Eno says, “the product of quite a small number of forces and constraints reconfiguring in different ways”. In setting out as artists committed to exploring the possibilities of sound aided by the computer, we are part of a theoretical construct which steers us to explore the new possibilities that the synthesis of both offers.
"The important thing about theoretical positions is that they lead you to decisions that you wouldn't have taken otherwise." This is all too true. Contrary to Eno, the music I make is mostly intuitive and I am trying to step away from that. The popular music of the day is that of 'oh my girlfriend', 'oh my boyfriend'. Music has become a slush of sappy emotions. While I believe it is good to get those emotions out through music, I am trying to step away from this style. After asking Pat about how I should do that he pointed me to Brian Eno's Oblique Strategies. I believe that those strategies are exactly what Eno is talking about. I had a moment of clarity after going through some of those strategies and was able to pull myself away from the popular curve of music and realize that the possibilities are endless. They really allowed me to think in a different manner. Eno's beginning quote holds true.
I disagree with Eno on collaboration. "As soon as you hear two instruments play a melody together you know there is a conspiracy. You know that those two people have agreed with each other; talked about it have predetermined something." I believe that through improvisation two people may eventually come about the same melody. in that case they are not conspirators; rather collaborators. An example is that when I jam with my friends we usually don't say what key we are in or what the chord progressions are. One person starts, and the rest slowly follow until eventually it comes together be it a dissident or harmonious sound.
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