I performed a short A/V experience for my class yesterday using the Max patch referenced here.
I am so sorry (in advance) to everyone for my off-pitch ad-lib singing.
Music: ‘Put me thru’ by Anderson. Paak
Over the past few weeks I have been working on my first ‘patch’ – an interface for controlling an audio-visual performance. Here is a still-shot of something made by the patch:
As the last digital film scraps are swept away from the metaphorical cutting room floor, I am happy to announce the completion of the following instructional video on how to laser cut an acrylic box. Enjoy!
This week, the A/V squad took our raw footage and transformed them into rough cuts of our final video. This was my first experience with Adobe products including Premiere and Photoshop.
We are recording voice-over material and the final video is on the way; check in next week for it.
Utilizing our storyboarding from last week, our A/V team collected the raw footage we will use to make our informational video on how to make an Acrylic box.
This was a two-pronged learning experience, doing fabrication for the first time and also using this fancy camera.
Our goal is to create a video on how to make an Acrylic Box – one of these:
We performed the storyboarding process this week and this and agreed upon the structure. The current storyboarding is as follows:
Note: This post is in response to Soundwalk 9:09 by John Luther Adams; which “takes its title from the time it takes to walk between The Met Fifth Avenue and The Met Breuer: nine minutes and nine seconds. The composition, in two parts ‘Uptown’ and ‘Downtown’.”
- Because of its emphasis on mixing the sound in the walk with the sound in real-life: I mostly use headphones to block out the sound around me, not partially take it in. So this was a unique opportunity to experience the mix.
- Because of the deliberate timing of the walk. I wanted to see if I could walk faster or slower than the soundwalk would assume. (Spoiler: it ended up taking 9 minutes both ways)
Note: This post is based on responses to material from The Ecstasy of Influence by Jonathan Lethem, On the Rights of the Moltov Man by Joy Garnett and Susan Meiselas, Allegory to Originality by Drew Christie, and Embrace the Remix by Kirby Ferguson
Turn the clocks back to 2011, and people are engaged in debates about whether Super Mash Bros., the pinnacle of mashup artistry, are really making their own music or not.
It was clear the end-result songs produced by the Bros were ‘unique’ and original from either of the pieces they used. They had entirely different genres, vibes, tempos, etc. But for some it still wasn’t clear whether it was ‘original’ work just because it was unique.