Class Critique:

Video Comments:
Above is the video we presented during our final class.  As noted in the comments from the class, there is an issue with the resolution when the virus (Bloody Mary) takes over.  Technically, these shots were filmed by myself using OBS so there might have been an issue during rendering  for YouTube that was not apparent when viewed in Premiere.  Eden and I will figure this out and have the fixed  video posted below.   One classmate commented that this resolution change actually added an element of spookiness to the video.  I could see adding some resolution variations intentionally to a future version. 

Also, it was noted that the video of searching showed how intimate this action is in reality.  Why does someone chose one link over another?  Why are certain words used over others? 

It was noted that our use of the closed captioning in one of the YouTube clips was an effective preface to Bloody Mary’s use of text after she takes over.  They noted that it was a good tool to tie those moments together.

Story Comments:
One comment was regarding the transition from when the user is searching for divination information to where Bloody Mark takes.  It was suggested that there be a moment, possibility a pause, before the take over happens as it is currently a quick transition.  I  would happen to agree with this comment.  There could possibly be a moment where the user considers clicking on a link that looks suspicious.  The user would then click on it triggering the take over.   Additionally, there are a few other ways this could be done but I do agree with the need for a moment. 

Sound Comments:
Our use of ambient noise (room noise) while the user typed were effective in establishing this piece in a realistic place.  These also added to the intimacy of the user in their private space. 

Our use of the robotic voice received mixed reviews.  One classmate thought that the voice broke them out of developing a sense of fear/horror that was being developed prior.  He suggested possibly using a more human sounding voice.  Others thought the robot voices were effective.  I agree with both and would actually try out having the voice transition from robotic into a human voice as if Bloody Mary was transitioning herself from virus to something more. 

Overall Notes:

Process:
I focused on learning and creating with Open Broadcasting Software (OBS) and Eden focused on Adobe Premiere. In addition to OBS and Premier, we utilized Mac screen recordings, OBS recordings, voice renderings through the Mac terminal, and audio editing within Audition.

Final Product:
I am happy with how everything turned out and look forward to using the tools I learned to create new media that I can use within my work.

Reflection:
Working with Eden was a joy which made this project run very smoothly.  We were able to meet at my apartment to work on editing as well as creation of a few aspects of the media components.  I feel fortunate that I was able to meet with my partner face to face during this isolating time of COVD.  I wouldn’t change how we worked together at all.

In regards to our final creation, there are aspects I would change and/or develop more if we choose to work on this piece more. I would add elements that make the viewer think the computer will crash at any moment due to Bloody Mary.   This could be accomplished through Premiere by way of creating flickers.  I would also add updates from the comments above. 

In conclusion, I feel that I am now able to look at video and sound media with an more critical eye.  I have a better understanding of how to use sound and video in telling a story and am glad I took this comm. class. 

Conceptualization of Bloody Mary Tale:
Eden and I decided to take the tale of Bloody Mary out of the bathroom mirror and into a laptop.   In our adaptation, Bloody Mary is essentially a virus within your computer. The story is told from the prospective of the computer’s user.

Bloody Mary is awaken through your investigation into her story. She wants you to say her name three times but needs you to do so while she is listening and watching.  After a few popups regarding her tale, she starts open up all the apps on your computer which would allow her to see you.  Unfortunately, your camera is covered. Next, Bloody Mary begins to connect to you through various text apps in order to tell you what she wants.  In order to hear you she opens up voice recorder and lets you know she is listening.

Throughout the creation of this piece, we considered how to incorporate our research regarding divination and catoptromancy – divination by use of mirrors.  Focusing on the act of divination through a mirror became less of a focus as this piece evolved.  Choosing to tell the story from the point of view of the user really informed what we were able to portray.  This perspective brings the experience personal for the viewer and our hope is that it elicits a feeling of fear and curiosity.  Curiosity into the security of their personal devices.  Is anyone watching when we think the camera is off?  Who is watching and listening to us when we use our technology?  Are we actually alone?  It is interesting that Apple’s latest OS update for the iPhone includes a feature that notifies you when an app is using the microphone and/or the camera. Clearly this is a concern for people.  We wanted to play with that feeling in order to create a little creepiness during Halloween.

Medium: Recorded video using screen capture and OBS
If we were technically capable, I would propose this project as an interactive installation where you, the user, would search for information about Bloody Mary on a laptop.  This would then trigger a takeover by the virus of the computer where you would be asked questions, recorded both in video and in audio and eventually be coerced into saying Bloody Mary’s name three times.  I imagine this being in a dark room with only the light from the screen.  With the guidelines for this project being to create a video piece, we needed to find a way to simulate that experience for the viewer.

Before working with the screen recordings and OBS, Eden and I synced our laptop setups so that we could both work on various parts of the project.  Our initial recordings were able to capture the mouse moving which showed that the user was still in control of their actions.  Once Bloody Mary took over, however, we needed the mouse to disappear.  To create this effect, we used OBS. 

Within OBS, we created a simulation of the desktop.  Each window was layered so that it mirrored how the apps would open on our desktop.  Below is a clip of running through the scenes within OBS. For each new popup, I created a new scene with

 

Challenges:
The main challenge we ran into was saving work within OBS.  As avid tech users, we are accustomed/trained to save our work many times just in case something happens.  As a streaming software, this is less of a concern.  You are able to record, which we utilized.  OBS does allow you to save the profile and the scene setups in the even, for example, that you need to use a different computer for broadcasting.  Related to this is the ability to close out apps when you are finished.  OBS saves the layout and the location of the linked item.   When restarting OBS, you have to open up the linked items in order for everything to appear as designed.  If you are opening up a saved scene or profile, reestablishing links can take some time, depending on the number of scenes and items. 

Outside of challenges inherent in learning new software, I didn’t run into any other difficulties with this project. 

For our final project, Eden Chinn and I took inspiration from the Bloody Mary legend, in which a phantom is conjured to appear in a mirror when her name is chanted 13 times. Legend has it that people would seek out Bloody Mary in times of uncertainty in order to have their futures revealed to them. In our adaptation, we want to translate the concept of “caroptromancy” (divination using a mirror) to the computer, in which the computer is used as a parallel form of oracle. In contemporary times, Bloody Mary has left the mirror and entered our screens, as the new medium that reflects who we are. She tries to get the user to open one of many software programs that capture our image and allow us to see ourselves, such as Zoom. We watch as the user comes to terms with the possession of their computer after a series of attempts to thwart Bloody Mary’s control of the device and the user’s digital reflection. Through the use of Terminal, Bloody Mary finally gets what she wants from the user and acts on her new freedom.

The aim of this piece is for the viewer to forget they are watching a video and to start believing that their computer is the one that has been taken over.

Production:
All the shots will be done using screen capture on our laptops. We will, first, have to sync our layouts on our individual laptops so that we can work independently on the effects. Secondly, we will need to figure out how to run the computer without having the mouse move. Our goal is to have the Bloody Mary virus take the viewer into her world. With her world being the computer, she would use the terminal to open the apps.  We will have to test out using the terminal ourselves in order get the shots we require (without the mouse).

Things to consider:

• As a POV experience, what sounds do we want to have?
• How can we make this interactive? This piece could be an actual virus or website that allows for the interaction with the viewer. Could we use OBS and what would that look like?
• Theoretically, if we were able to create a site or an app to play an interactive version of this tale, the app would be able to use the viewers own data to mimic the take over by a sentient virus.
  Is there a place for traditional videography within this piece? As we will solely be using screen capture to create this experience, do we need to have another element/camera view?

 

View the piece here in full screen.
Controls: Use the mouse to look around  and the arrow or the W, A, S, D, keys to move around the space

Ideation:

I began the project of building a sound walk by considering (1) what is a sound walk exactly and (2) what experience or adventure would I want to explore.  Jumping right to the second consideration, I imagined the following: a mediation, a journey through anxiety, an escape through Prospect Park; and an adventure that challenged the user’s perception of their reality.  All of which did not quiet fit what I thought to be a valid sound walk.  Having never created a sound walk before, I was unsure of the parameters that encapsulate a creating a sound walk.  I did, however, find clarification through the blogs of current and former ITP students.

This exploration into past projects provided me with an understanding of what a sound walk could be when kept in our physical reality.  I was having trouble imagining what a sound walk would being like when the world it takes place in is open.   Since we were given the freedom to create any world within Unity, I needed to rethink what my sound walk would look like.  I was a bit overwhelmed by both the scope of the project and by the rush of possibilities that were pouring into my head.  I sat  with pen and paper to start physically mapping out the desired experience I wanted in this undefined 3D environment.  Ultimately, it was time to commit to just one idea and get the project into production. 

I decided to create an exploration into memories, a kind of memory garden.  The goal of this experience is for the user to stumble upon areas that would bring up some form of memory and to have them sit with what comes up.  Each area would have a physical object that correlates with the experience to come once the sound is triggered.  These sounds would be based off of those tied to my own experiences.  The areas/memory/emotions would be kept to less triggering ones to start with.  In future builds, I would design a space called the Briar Patch where more challenging emotions and memories could be confronted.  I’d also create a retreat or safe-space within the Briar Patch where the user would have access to  comfort and emotion support.  The safe-space could potentially have a connection to someone who would be able to provide mental an emotional support for the user.  This project could be paired with work currently being done within VR focused around mental health.  The primary focus of this preliminary build is to create an interesting and thought provoking exploration into how sounds and memory are connected. 

The concept or this project is inspired by my own experiences of memory loss or repression.  This project presented an opportunity to explore a way I could both memorialize my experiences and work to bring some memories back. 

 Build Process:

I  started the project build by learning to use a zoom recorder which I took on a long walk through Prospect Park.  I was on the hunt for sounds to ill m y sound walk, which I had yet to clearly define.  It was, however, a lovely experience to be recording in the park at 7am. 

While compiling the recordings, I realized that I needed to get more clear on the concept of this piece.  I was luck to have the chance to talk my ideas through with my best friend who helped me to focus in on what I wanted to say.  The act of verbalizing the idea provided a lot of clarity.  I now had a more focused path, one which took into account my very limited knowledge of and experience with both Adobe Audition and Unity.   Next I further mapped out areas within the world as well as any thoughts on their sounds.  This part of the  build process kept me from going into unnecessary detours for which I am grateful for.

Draft Location Map:

• Welcome with introduction to the space
  • Explains: What this is.  What to look for.  What to beware of.
    • Production: Once user starts moving, the background sound will on loop then switch off when the user enters the specific areas.
      
  • Areas:
    • Calming (Beach day/pond day)
    • Playful (Dogs playing in the park)
    • Family (Wind chimes)
    • Everyday (Grocery Shopping (Large items))
    • Invigorating/night out with friends (Sports event/bar/club)
    • Optional/For future build
      • Briar Patch (Fox NEWS/Trump, Baby Crying, Metronome/Lessons/Music, Being being asked too many questions all at once)
      • Fountain within the Briar Patch (Containing sounds of a stream, connection to support).

Unity:

After mapping out the general layout of where I would want the area to be located, I spent some time getting a refresher on Unity through the recordings from our class session as well as the resident’s help session (thank you Lydia Jessup and August Luhrs!).  Once I was in Unity, I created a new project then began figuring everything out. The first challenge I faced was understanding how to look navigate the space.  Unfortunately, I was having a much harder time than I expected so it was YouTube to the rescue.  Now that I was able to move through the space with some ease, I started to play with creating a floor. 

During class we were shown how to create a Terrain, which looked fun and interesting.  I wanted to play having the ability to buildup an environment with the swipe of my mouse. Terrain was, however,  a bit more challenging.  I watched a few videos but each presenter either (a) used a different version of Unity or (b) were trying to do something way too advanced for where I was at.  In the end, I experimented with the tools, downloaded lots of terrain assets and I was able to create something that worked.  Now that I had the space set and a basic understanding of the tools and presets, I was off to further create my world.

Since I was so interested in the terrain feature, I built a grand mountainous landscape where I could carve out an adventure for my audience.  I first created an entry scene where the user would be invited to step down and towards a character thereby triggering the audio.  The character, a gargoyle, would then great the user and layout a brief introduction to the space.  I was able to use several free assets throughout the walk which will be credited in the final documentation.  At one point I considered changing the entire scene as I wasn’t sure this environment was reading as I had hoped for in this experience, but I went with what I had in order to  save time.  I had to realize that this was the first draft for a piece that I might pursue after this semester was over.  For now, the deadline was fast approaching.

Now that I had fully committed to this design, I went for it. I was happy with all that I had created. I decided to get the space setup with all the audio triggers and speakers placed in the world before adding the tracks.  This allowed me the ability to fully focus on the to the sound component.  All final tweaks would then be done once all the elements were in place and working.  

Audition:

I started by seeing what I could use from my trip to Prospect Park with the zoom recorder.  Subsequently, I was only able to use a handful of the tracks as my idea had morphed into something completely different since originally recording.  I ended up utilizing freesounds.org for most of the tracks (sound credits will be added to the readme file asap as well). 

I am grateful to ITP resident Billy Bennet for his sound mixing workshop as it came in handy while editing all the tracks.  I particularly found the parametric equalizer effect to be a savior as it was so very helpful in isolating the frequencies that I wanted minimized.

Below is a breakdown in more detail of what went into each area of the sound walk:

Grocery:
Sam Smith’s song, Stay with Me, just happen to have been playing while I was recording in my local grocery store.  While editing the track, I realized the mood I was setting as I thought about the lyrics and the design of the physical location within my sound walk.  Having ended a relationship recently as well as having just returning to NYC from quarantine with family,  buying food for just yourself can seem lonely and invoke a lot of  emotion.  That sense of loneliness in tandem with Smith’s song created an emotional recording session in the store as well.

The location I created to house the grocery store sounds aims to invoke an overwhelming sense of  emotion.   The shear size of the grocery items is overpowering.  The steep cliff walls are intimating.  Overall, there is a sense of being alone and isolated.  In another build, I would create this space as a passage way.  One where the user could spend time in the loneliness  knowing it would pass once choosing to move forward.  

Bar/Pool Table:
This area consists of a pool table, two balls and a queue stick which is aligned to hit the ball. Here, the sounds of a subdued tavern play.   Listening to the track, I imagine myself sitting in a small town, having a glass of whiskey on a cold day and enjoying my solitude amongst others.

Pond:
Originally I wanted this to be a respite, a place of calm, of undisturbed reflection, featuring the water fall recordings from my trip to Prospect Park.  Now that I have the space created and a few of the other tracks analyzed, I had a better idea of the overall theme.  I decided to imagine sitting on a dock at a pond, listening to the sounds of a camp on the other side.  Is there a longing for the past or one of not having been to a summer camp like that  at all or is it a current longing for the chance to be with friends at a pond, being playful and carefree. 

Cliff/Wind Chimes:
This area features the sounds of wind chimes and of a creaky porch swing.  Both remind me of family.  I wanted a space to overlook the water and listen to those sounds over-top of those of the wind.  Personally, I would spend time in this particular location of the sound walk.   It’s calming and brings up a lot of memories. 

Intro/Welcome:
These tracks I recorded and added effects to.  I really enjoyed playing around with my voice, which I usually don’t enjoy having recorded.  The text runs for about 30 seconds but it hopefully helps to clarify the objective of the piece. 

Overall Background Sounds:
I wanted something a little eerie to match the visuals while also being meditative and calming.  The background consists of multiple wind tracks under a track containing peaceful repetitive tones.  

Name (Anamnesis):
As part of the final recordings, I needed to create a place in which to welcome users to.  What was I to call this place I had just created?  I played around with various synonyms for memory and came to anamnesis, defined by Webster’s as “a recalling to mind.”  This felt right with the grandiose landscape as to which Anamnesis resided.

Reflections:

Thoughts to consider for a future iteration of this piece:

• Test out a variety of worlds.  Maybe one that is simpler and less distracting so the focus can be on the memory/emotional work. 
  
  • Something more sterile so that the focus can be on the sound.
  • A world with more visual queues that relate to the audio and less landscape.
  • Possibly a world that looked more like Burning Man. One of mystery and endless possibilities.
• Having a partner to work with would have taken some of the load off as well as opened up more possibilities for what could have been accomplished.  I originally had 1 partner then another,  both dropped the class.  I was also offered the option to join another group but I had already started on the project and chose to go at it alone.  This process has been interesting and a struggle on but I do feel grateful for what I’ve accomplished.  I look forward to working in a group on the next project. 
• Add separate tracks with triggers for footsteps both entering and exiting the various rooms would be interesting.  Maybe add footsteps throughout. 
• Start the terrain at 0,0,0 so as not to create something on the edge of the world unintentionally.  I chose to go with white as the solid color for the sky since I couldn’t move all my items into the center of the terrain at that point.
• Simplify/level out the terrain and use clouds as a way to create space and intimacy (visually I think about all the 90’s movies I remember growing up with that had an “entrance into the pearly gates” scene which would be used as inspiration.)
• Personally, is this piece a memoriam for the places and interactions we’ve lost during COVID?  Is this piece possibly a time capsule?   This idea could morphed into a way of creating 3D memory boxes. 
  

Questions Regarding the Current Build:

• Throughout the walk, the terrain is bouncing/shacking.  What is causing that?
• How do I set the audio triggers/sources to stop playing once the user steps out of the space?  Possibly even have the sound fade out as the user moves away.
• Is there a way to have the overall audio (started at the beginning as a loop) to cut out (Fade out) when the sounds are triggered in each room, then have it fade back in once the user leaves?
• What is the proper way to credit your sources in this medium?  (Unity free assets and freesounds.org).  I can easily pull up the list of tracks/assets used and their corresponding creators but want to place then in line with standard practices. 

In conclusion, this is far from perfect but it is a project I put a lot of work into and am happy with the direction it is going. 

**There was even a funny outcome; after working in Unity for two and half days straight, I now keep trying to move about the screen using the 3D controls.  I end up trying to peer behind the window on my screen.

Unity Assets Attribution:

“Swing” by Nekcom Entertainment

“Food & Grocery Items – Low Poly” by OneCoinGames

“Free Barcade Asset Pack” by Ferocious Industries

“Terrain Textures Pack Free” by ALP8310

“Stylize Water Texture” by LowlyPoly

“Feline Gargoyle” by Sergi Nicolás

“Low Poly Tree Pack” by Broken Vector

Music/Sounds Attribution:

Background Mix:
“Slow Sad Tones.wav” by TJ Mothy  is licensed under CC BY 3.0

“Soft Tonal Wind_01” by Jan Bezouska  is licensed under CC0 1.0

“Soft Tonal Wind_02” by Jan Bezouska  is licensed under CC0 1.0

Pond Mix:
“Canada geese Squawk on a Pod with a Fountain” by Brian W. Smith  is licensed under CC BY-NC 3.0.

“Water in a pond” by Jean Thomspon is licensed under CC BY 3.0.

“kid’s summer camp across the pond” by denalwa  is licensed under CC0 1.0.

“ile0306_pond_frog_bird_3” by map hill  is licensed under CC0 1.0.

Grocery Store Mix:
Recorded sounds at Wholesome Market in Brooklyn, NY by Daniel Ryan Johnston, 2020.   Includes incidental music by:

Lynne, Jeff; Napier, James John; Petty, Thomas Earl; Phillips, William Edward; Smith, Samuel Frederick. “Stay with Me”. Copyright. 2014, 1989; EMI April Music INC, Gone Gator Music, Salli Isaak Music Publishing Limited.

“Shopping cart 01.wav” by Sonicorchestra is licensed under CC0 1.0.

Swing Mix:
“Squeak_6.aif” by tim.kahn is licensed under CC BY-NC 3.0.

“Wind-Chimes” by sky dawn a.k.a. Lavender Fields is licensed under CC BY-NC 3.0.

Pool Table/Tavern Mix:
“tavern_Interior_01.wav” by OP-Archive is licensed under CC BY-NC 3.0.

“pool break.wav” by Alastair Cameron CameronMusic is licensed under CC BY 3.0.

A Response to The Danger of a Single Story by Chimamanda Ngozi Adichie

Adichie’s discussion on the dangers of a single story truly resonated with me. To begin with, it brought up a conversation I had many years back with a good friend in Chicago. This friend once told me,  “you never know what’s going on in someone else’s life.”  This, being a seemingly simple and universal understanding, struck me deeply.  I realized I’d been inventing narratives for those I interacted with which were not based on reality but on stereotypes and assumption.  These  assumptions – being derived from the single stories I was taught –  were creating conflict and anxiety instead of compassion and connection.  To this day, I carry my friend’s words with me whenever I struggle  to find compassion and understanding, and even forgiveness, in the world around me.

Adichie’s words reminded me of another friend’s advice given to me shortly after the 2016 presidential election.  This friend told me that we all, including my family whom I was in conflict with, were making the best decisions we could  with the information that we had.  This, also simplistic understanding, is one that rings true at the same time infuriates.  I was not initially sold on his statement.  I wanted to hold on to the divisive narratives I was being feed.  I didn’t want to let go of that single story in order to see the complexities within, not only the highly charged political environment, but within my family.  This doesn’t absolve anyone ignorance or harmful views, but it does create a starting point.  A place to find compassion and, hopefully, the willingness to let go in order to find a way forward. 

This, in turn, led me to thinking about where we learn these stories – the media,  our institutions, our family and friends –  and how we choose to hold on to narrows view of the other.  Is it fear that keeps our heads in the ground or is it just laziness, or maybe even fatigue that prevents us from doing the work to challenge our own beliefs?  I do not know the answer.  I can say for sure that it is not as simplistic as one single, overarching idea or narrative.  Humans are complex creatures, surviving in an increasingly complex system. 

Lastly, I leave you with some questions that came up for me while listening to the words of Cimamanda Ngozi Adichie:

• What narratives do I have only a single story?
• Where can I find compassion and the courage to open up my view to new and different narratives?
• What stories have I held onto and not have the courage or compassion to delve deeper into?
• Is it worth finding the origin of these single stories so as not to perpetuate them or would it be more productive to inundate my world with additional stories instead?   Or both?
• What single story-line do others have about me?  Am I okay with having a single story? 
• Where do I perpetuate stories about others told by those in power?
• Why is the hold of some singular stories so strong?
• What is my investment in certain story lines and how can I divest?

 

Listening to A History of Sound Art

For this assignment I had originally chosen to analyze Louis & Bebe Barron’s Forbidden Planet (interview and sounds) (1956), roughly 16:30 into the video.  I connected first with Barron’s use of circuit sounds to convey emotion (mostly fear) and dying as well as their view of the circuit as a living creature.  The interview didn’t offer me much outside of a narrative around their work with Hollywood, so  I decided I would select a different section.  Arbitrarily, I decided to start the track at 37:04.

Upon pressing play, I was greeted with the soothing sounds of someone or something wading through water.  This serene soundscape was interrupted, only slightly though, by a male voice.  This voice is part of R. Murray Schafer’s World Soundscape Project which I had just entered the middle of.  

The voice had a calming tone and an ease to it that was also bright and engaging.   The speaker started with“…no one studied the changes in the acoustic environment…” which led into sounds that demonstrated an of array pitches and, less so, amplitudes. These were short and active sounds which rolled one into the other.

Next the voice stated, “you don’t notice the sounds you’ve grown accustomed to are disappearing.”  This was followed by sounds that touched on the speaker’s comment.  These were
commentary between two speakers reminiscing on sounds of sleigh bells, presumably sounds that had disappeared from their own lives. 

The voice then declared, “disappearing sounds become romances.”  There is a longing for a past in that statement, one which is connected to the human heart.  The subsequent sounds – a twangy guitar riff, dialogue asking “Where did they go,” followed by a very round operatic passage – all three embodied a sense of loneliness and longing.  They also included a release at the end of their moment in the form of decrescendos.

Lastly, the voice proclaimed, “new sounds are almost always phobias.”  This was followed by a shriek for which I then chose to end the track and my aural analysis. 

From what I can surmise, the artist who created the overall track, used sounds from Trevor Wishart’s Red Bird (1978) to illustrate the points R. Murray Schafer was making in his piece World Soundscape Project.  

 

Creating a Sound Collage:
Sitting at Desk: Brooklyn

This soundscape aims to show what it is like to sit at my desk on any given day.  7 different prerecorded tracks from freesounds.org were used to compose this soundscape. 

In the end, I was able to get a basic understanding of the program through this exercise and how to proceed learning Adobe Audition.