Projection of Sound on Image and Acoustic Ecology

The first reading, Projections of Sound on Image, provides an excellent analysis of why sound is so important to cinema. It is an extremely strong yet widely overlooked component of film. The reading notes that sound has an “added value” quality, meaning it supplements the image so well that viewers perceive the experience as natural, when in fact it is quite artificial.  Syncresis, the creating of a relationship between image and sound fuels this. The reading describes the value of dialogue and how strong this aspect of sound is. We naturally are most tuned to what others are saying rather than our surroundings. This is also the case with films, and describes why they are vocosyntric. Music is also very powerful. “Empathetic music” participates in the scene by taking on its rhythm, tone, and phrasing. “Anempathetic music” intensifies emotion. The reading then discusses how sound influences the image’s temporality. This is achieved through a minimum number of conditions including: 1. image must lend itself to it 2. image must contain a minimum of structural elements with the flow of sound. The end of the reading highlights sound’s ability to produce an idea/emotion when there is no image to support it. A film may pan away from a particular image that may be too disturbing but sound will provide all that viewers need to compose the image for themselves.

The second reading, Acoustic Ecology, approaches sound relationships from a more scientific viewpoint. “Acoustic Ecology” involves many different academic fields that all examine the relationships that creatures develop through the use of sound, as well as how humans are affected by the audio of our surroundings.  This reading first notes how incredible the sound of our natural environment is. The blaring audible interruptions of television, radio, cell phones, the internet, etc. have caused us to tune out the natural world. The reading also provides examples of individuals who practice to focus more on sound. “Soundwalking” is the practice of simply walking and focusing heavily on all the sounds you encounter. Acoustic activism has led researches to examine the science behind acoustic environmental sounds and human sounds. The two achieve contrasting results. The environmental sounds are more pleasing to the ear. These activists are striving for a reduction in human noise. For example, an overhead airplane interrupts the natural sound and quietness of nature. The reading then discusses “soundscape art.” This fairly new aspect of audio selling implores the peaceful recordings of nature. The chirp of birds, sound of humpback whales, etc. are pleasing to listeners and create vivid experiences through sound alone. In conclusion, this reading urges viewers to pay more attention to the natural sounds occurring around all of us. It is relatable to the earlier reading in that they both highlight how we take for granted the power and beauty of sound.

Notes Towards a Theory of Animation

This reading basically highlights the concepts and techniques and discerns between two types of animation (orthodox animation and experimental animation) and even highlights a third (developmental animation). Orthodox and experimental animation are described as opposing and yet related to each other; whereas, developmental is described as the middle ground between the two types of animation. It borrows techniques and concepts from both fields, carefully blending a style of animation all its own. When referring to orthodox animation, Wells is referring more specifically to traditional cell animation.

The reading then goes on to define the specific terms and conditions associated with orthodox and experimental animation. For orthodox animation the reading points out such things as evolution of content, meaning it prioritizes character development, comedic moments, and the development of the narrative. Another condition of the orthodox film highlighted by the reading is the absence of the artist. It describes how the emergence of the industrial cell animation process virtually removed the artist completely. Also, the orthodox animation includes dynamics of dialogue: it strongly supports what the viewer sees.

In contrast, the reading then points out how the terms and conditions of experimental animation differ from orthodox. For example, rather than evolution of content there is evolution of materiality, meaning it highlights the materials of its own creation. Instead of there being an absence of the artist there is a presence of the artist. They reflect a very personal view that originates from their creator. Although not always clear, the presence and vision of the filmmaker is always there, drawing him/her closer to the audience and film. It also differ in that it includes dynamics of musicality. The experimental animation is said to “resist dialogue and the cliché sound effects,” rather it employs a different take on sound and music to redefine language.

Synesthesia and Art

Synesthesia in art is a very interesting concept and one that I have never really considered. I think as viewers it has become so easy for us to disregard the separateness of sound and image, instead we view them as one complete thing. Synesthetes, however, may find that certain sounds and images evoke something different than usual; numbers may have a color, and colors may have a sound. Scientifically speaking, synesthesia is defined as “the elicitation of perceptual experiences in the absence of the normal sensory stimulation.” The artistic field attempts to highlight this condition by causing the viewer to simultaneously perceive two or more stimuli as one gestalt experience (also fitting into the category of synesthetic art are films made by synesthetes). There are many conditions of synesthesia (grapheme—color synesthesia, spatial sequence synesthesia, sound—color synesthesia, number form synesthesia, and many more), each producing some different effect. Subjects of synesthesia would hardly call themselves “victims.” Rather, they view their condition as a blessing. Synesthesia has been largely explored in art for its audible possibilities. Through color organs, musical paintings, and visual music artists have attempted to capture and convey this sense of synesthesia to both synesthete audiences and non-synesthete audiences. I think the continued practice in this area of art has real potential to add an interesting dimension. While filmmakers have been working at this idea of synesthetic art for a while, I think there is still plenty of room for progress. While the audible component of synesthesia is the one most often explored in art, there are plenty of others to play with. Many synesthetes describe experiences such as: numbers having personalities, years having three dimensional form, days having height, words having taste, and many more. All of these seem very interesting and should, therefore, be further explored in art.

Entry 1

I really enjoyed the short we watched in class. Some of it reminded me of Mothlight (I don't know which one was made first), so I imagine the same technique may have been used. I liked the music that accompanied the images. I think they both complemented each other nicely. Jazz is a tasteful blend of style and improvisation, and the images reflected that in their hectic speed, chaotic motions, and vivid mesh of colors. A part that stuck out to me was when I thought I saw a bird, or at least a silhouette of one. That looked like the only recognizable image in the film. I am curious as to why the director chose to include that recognizable image amidst a jumble of unrecognizable images, but I still think it worked. I liked how the lines seemed to play off each other. It seemed like they were dancing to the music.