Contact mics:
https://www.instructables.com/id/Make-a-Contact-Microphone/
In case you are interested after using the ones I brought in today!
he wasn't even looking at me and he found me
PUT YOUR BEARD IN MY MOUTH

⣠Chile in a Photography ā£
DEAR READER
almost home
dirt enthusiast

Love Begins

romaā
Peter Solarz
Acquired Stardust

oozey mess
TVSTRANGERTHINGS
Claire Keane

Product Placement
Jules of Nature
Show & Tell
Aqua Utopiaļ½ęµ·ć®åŗć§čØę¶ćē“”ć

Kiana Khansmith

JBB: An Artblog!
NASA

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@annajohnadad2018
Contact mics:
https://www.instructables.com/id/Make-a-Contact-Microphone/
In case you are interested after using the ones I brought in today!

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WEEK 10 Studio Exercise - Static, Noise, Interference, Glitch
The āwhiteboard artworkā was created as a result of a class experiment where the whiteboard was dragged across several markers held out, unmoving, by students. The artwork is now interfering with the class sides Anna is trying to present.
^TheĀ āsound wavesā experiment in action.
Classic Daito Manabe face dancing
Assessment 2: Final Work Washed Out
Incredible photographs of Josephās mother in his distressed, processed rag wares - on rebellion.Ā
https://studio-dwyer.tumblr.com/post/178276509932/assessment-2-final-work-purple
https://studio-dwyer.tumblr.com/post/178276508972/assessment-2-final-work-boilersuit-note-i-have
And statement here:
https://studio-dwyer.tumblr.com/post/178276505057/assessment-2-final-statement
ASSESSMENT 2 DOCUMENTATIONĀ
https://mollyadad2018.tumblr.com/post/178276686755/assessment-2-statement
Really considered installation Molly - well done.Ā

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FINAL WORK
The video is split into 2 halves. The first half is quite fast and silly; the main character, along with most of society, is obsessed with ārebellingā, although what they are rebelling against seems unclear even to the people themselves. I tried to convey this through the lack of emotion in the facial expressions, and the timing of the animation (pauses in motion representing hesitation etc). The rebellious acts also seem quite silly, the key example being the main character eating the breakfast food raw, causing them to throw up every morning.
The second half begins when the main character receives a gift from a stranger: Anti-Rebellion Headphones. With the constant oversaturation of rebellious messages shut out, the main characterās life becomes calm and pleasant. They even go to work! The Anti-Rebellion Headphones are a play on the true meaning and value of rebellion, and connects back to the core idea of my earlier work, the idea of individual struggle and rebellion. Although they are labelledĀ āanti-rebellionā, what the headphones really do is spark an individual rebellion and gives the person the opportunity to look at their life and decide for themselves what they want to change. In this case, it is represented through the quality of life improvement and increased happiness.
The sounds and music were mostly done by me. I used the alarm beeping and the glass breaking sound from: [alarm]Ā https://freesound.org/people/zanox/sounds/233645/ [glass]Ā https://freesound.org/people/RoganDerrick/sounds/260434/
With the music, I tried to make simple tunes that would complement the animation without being at the forefront too much.
another great work for assessment 2 - on rebellion - nice one Christopher!
Assessment 2 Final Work + Concept Statement
My final work is based on the constructed binary of Sound versus Music (which is slightly altered from my last assessments focus which was Sound versus Silence. Through the process of creating this work, I wanted to explore whether ārandomā, āeverydayā sounds are inherently musical or not and also to find the delineation between sound and song. I did this through recording a multitude of everyday sounds, manipulating them in different ways (explored below) and remixing them together to create a track of music. Alongside this, I videoed myself creating and recording the sounds and created a video collage as a kind of music video to examine this idea more.
The manipulation of the recorded samples was an interesting and learning process as I have not really done a lot of it before (In my sound works, I mainly work with MIDI rather than audio samples). It involved first taking the recorded stems out of Cubase, into Ableton Live, then cutting it to the point in each sample I was going to use. I then laid these out in a row (kind of like a sound bank) so I could figure out which sounds to use where and have them quickly accessible, visible and playable.Ā
(The recording setup)
(Recorded Stems in Cubase)Ā
(Samples laid out in Ableton Live)
Next, I started off with the squeaky sound - which was me rubbing a vinyl case against the table - as I pretty much already heard a rhythm out of the sound. After this, I warped the transients of the sample (the high amplitude, short-duration sounds at the beginning of a waveform) to get it in time and launched the rest of the song off that.Ā
(Warping the waveforms of the vinyl squeak)
I altered each sample differently. For the more percussion based sounds (this ended up being the majority of the samples) I put filters on them and increased the resonance of a certain frequency within them. For example, for the sample which involved me flicking a tin was put into a drum rack and turned it into both a hi-hat and snare by using different filters and transposing two of the same sample in different ways.Ā
(Drum rack and both a Midi arrangement and audio sample in Ableton Live)
For the more melodic-sounding samples, I pulled a singular hit from the recorded rhythm and pulled that sample into a sampler. What a sampler allows me to do is basically record midi data and play the sample in different keys and lengths, depending on what values I enter. However, within this process, I am still editing the frequencies and envelope as well; it just adds an extra element to the mix.
(The advanced sampler in Ableton Live with changes to frequency, resonance, and envelopeĀ along with the Midi Arrangement for the melodic lid drop)
The video element was a little bit tricky as I am not as versed in video editing as I am in sound editing. The process for each individual video was: first finding the corresponding sample in Ableton Live, finding which part of the sample I used, and then cutting the video down to a little bit before the hit (So you can see me create the sound/impact in the video rather than just the impact itself) and a little bit after. I then marked out where in the video the sound was created and then pressed the āmā key in time with that particular sample to create markers to mark out where it would go within the timeline. In addition to this, for some clips I lined up the audio that was captured on my camera (as the audio I used in the music track was captured by a different mic), to the audio from my track to make the process a little bit easier. After this, I cropped at positioned all the recordings to create the collage.Ā
(Markers and edits in Adobe Premiere Pro)
This process took a lot longer than I first anticipated purely due to the number of layers I ended up using. Even after finishing this task, I didnāt end up getting to include every recording I used in the video element as I just ran out of space and by the endĀ of the video it was already a bit too cluttered.
(Editing in the DB07 Video Suite)
So after going through the process of researching what defines a sound and what defines music as well as creating a piece of music and video from said sounds, I have come to the conclusion that an everyday sound is not usually inherently musical. However, by changing the context of these noises and combining them in a rhythmic and melodic way, they can easily be considered music.
References
ā3.1.3 Music vs. Noise - Digital Sound & Musicā. in , , 2014, <http://digitalsoundandmusic.com/3-1-3-music-vs-noise/> [accessed 15 September 2018].
āANDREW HUANGā. in , <https://www.youtube.com/channel/UCdcemy56JtVTrsFIOoqvV8g> [accessed 14 September 2018].
Anna, P, Silence in the forest. in , , 2017, <https://freesound.org/people/13F_Panska_Petruzelova_Anna/sounds/379210/> [accessed 8 September 2018].
Ball, P, āWhy dissonant music strikes the wrong chord in the brain.ā. in nature, , 2012, <https://www.nature.com/news/why-dissonant-music-strikes-the-wrong-chord-in-the-brain-1.11791> [accessed 15 September 2018].
āConsonance and Dissonanceā. in , <http://www.avatar.com.au/courses/PPofM/consonance/con1.html> [accessed 16 September 2018].
Darman, N, āNoise vs. Music: Itās All in the Physics! | Fiat Physica Blog.ā. in Fiatphysica, , 2015, <https://www.fiatphysica.com/blog/everyday-physics/physics-of-music-vs-noise/> [accessed 14 September 2018].
Elert, G, āMusic & Noise ā The Physics Hypertextbook.ā. in Physics.info, <https://physics.info/music/> [accessed 16 September 2018].
M., E, āDifference Between Noise and Music | Difference Between.ā. in Differencebetween.net, , 2011, <http://www.differencebetween.net/science/nature/difference-between-noise-and-music/> [accessed 15 September 2018].
Metcalfe-Davies, S, āThe Reality and Truth of Existence ā by Stephen Metcalfe-Davies | The Magic Happens (TMH).ā. in Themagichappensnow.com, , 2016, <http://themagichappensnow.com/the-reality-and-truth-of-existence/> [accessed 16 September 2018].
āSound and Music : Overview : How Music Worksā. in , <http://www.howmusicworks.org/100/Sound-and-Music> [accessed 13 September 2018].
Stanford, N, āCymatics.ā. in Nigelstanford.com, , 2014, <http://nigelstanford.com/Cymatics/Behind_the_Scenes.aspx> [accessed 16 September 2018].
Stanford, N, Cymatics: Chladni Plate - Sound, Vibration and Sand. in , , 2014, <https://www.youtube.com/watch?v=tFAcYruShow> [accessed 16 September 2018].
Stanford, N, CYMATICS: Science Vs. Music. in , , 2014, <https://www.youtube.com/watch?v=Q3oItpVa9fs> [accessed 16 September 2018].
awesome work Felix! Well edited and executed :)
ADAD1002: Week 6 - Class Activity
In pairs - discuss your research so far and what it is you are taking from assessment 1 to assessment 2.
1. Assess your project from a variety of different time scales and design an experiment to test a different temporality⦠turning an image we understand as historical and of a still, painting practice into a moving image
OR
2. Re-stage/re-enact a creative work that you have researched for your assessment. Document the piece in its new temporal and spatial context. What has changed? What has stayed the same?
We chose to look at the activity concerningĀ ātemporalityā.Ā āTemporalityā is defined asĀ āthe state of existing within or having some relationship with time.ā -Ā https://www.google.com.au/search?q=temporality+definition&oq=temporality+&aqs=chrome.1.69i57j0l5.3852j1j7&sourceid=chrome&ie=UTF-8
By slowing down the original footage, we warped the relationship between the individual and the activity being engaged with, and thus, the way the individual passes through time. The speed in which the individual engages with the activity is changed, which gives a more intimate and detailed depiction of the act.Ā
a nice work for the week context and time - would have been interesting to see some close up shots or different shots of the work happening too, maybe to focus on the labour being undertaken to perform the task?
ADAD1002 ASSIGNMENT TWO / EXPERIMENT FOUR
Some intriguing objects coming out of experimentation here - but please (!) add some notes and reflections on your posts as without any context - none of your audience will ever know what is going on! :)Ā
Assessment 1- Final Poster
Amazing work from the poster assessment, very witty and great design! I giant pill packet! Looking forwards to assessment 2. Please watch the documentation tho - this work was great but could have been documented a bit better! :)Ā
statement can be found here:
https://xanthemuston.tumblr.com/post/177057425129/assessment-1-statement

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Restaging Marina Abramovicās- a minute of silence
Restricted by the time it takes to actually eat the mandarin, we recreated Abramovixs work with a food twist. This enhances the intimacy and vulnerability.
nice work from context and time a few weeks back! would have been good to watch the entirety of the performance tho = not just this wee gif loop! :P
Experiment 1
In my series of experiments, I want to explore binary through the 3 notions of to have and not to have/to access and not to access. In this first experiment,Ā Iāll be focusing onĀ the notion of to have and not to have. In order to start experimenting, I have to firstly understand the meaning of to have and not to have. Due to the societyās inequality and heavily classified society, there are many things, values or thoughts that people can and cannot have.Ā It can be rights that people can or cannot have, it can be wealth that people can or cannot have, It can be thoughts that people can or cannot have, it can also be resources that people can or cannot have. But more eventually, it is the happiness that people cannot have due to this phenomenon. Those who tend toĀ āhaveā are more happier that those who cannot and doesn'tĀ āhaveā, therefore my experiment is to target this issue, and conduct a work that provoke a sense of thinking and respond from the audience.Ā
Therefore, the actionĀ Iāve taken to convey the idea of to have and not to have, is through the usage of photography. Iāve transform the idea ofĀ āhavingā by symbolizing it with an object, and that object is lock. The reason why I chose lock as the symbol to manifest the idea is because there are two things with a lock. One is the key, and one is the lock itself. Once the lock is being locked onto certain object, then it requires the key in order to unlock and have the object. Therefore, I think it represents the idea of to have and not to have. Where not to have refers to it is being locked, and to have means it is being opened. Iāve then incorporate this idea on things that I think are relevant to this binary. Taken photos on objects like water faucet, car key and doors. Each represents one different idea, where the faucet represents resources that people can or cannot have. The car means materialistic things in our life, like car, houses, money etc. Lastly the door means freedom, the choice of being free or not being free.Ā
interesting research Stanley and great reflective writing!!
Another goody from assessment 1 - just reflecting on a few works that were really resolved and communicative. Well done Cody, looking forwards to the next assessments outcome!
Demonstration of how my poster works in a very interactive manner, I like that it is also not āmountableā in the literal meaning of the word.Ā
Another interesting work - looking at transience and movement to talk about the way we can shift between poles/binaries to find overlap and intersection. Statement here:Ā https://amy-blades-adad-2018.tumblr.com/post/177023160676/rationale
FINAL WORK
Thinking back to Assessment 1 - this was a great work by Kaarina. Simple yet very effective - shifitng between representational and abstract through interaction with the work. Statement can be found here:Ā
https://kaarina2018.tumblr.com/post/176986680644/final-work-statement

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Waterproof Dollar
This week in class we looked at value. As part of an exercise we had to create something in 15mins worth $5, and I made a waterproof wax dollar by melting a candle I found into a dollar sign.
This gave me a cool idea to do with one of my concepts, with a solution to underwater housing. In this way, what we value is held safely underwater even though we would not normally put things we value in this situation.
Also, I got 11 monies which I thought was pretty good.
great work in class today - and great that it has kicked off some ideas for assessment two :D obviously popular with the bidders as well
WEEK 7 ExperimentĀ
3Ā How does collaboration create communities in art and design? What challenges do collaborative approaches face and what are some of the solutions?
With the major project Iāve decided to take a different approach to create communities through collaboration. Whereas my first assessment (the poster) can be seen as a rather controlled and closely monitored process of collaboration, Iām hoping that my second assessment will mostly focus on natural and possibly unintentional forms of collaboration. Since human beings are a naturally social species, collaboration is able to become an inherent quality of our everyday lives. Artists are often alone, trapped within their own scopes of intricate ideas that can only be expressed by themselves and themselves alone. However, how can one be trulyĀ āaloneā when everything one does is so closely to their responses to other people and the environment around them?Ā
obsessed with this - such an interesting way to approach collaboration and collective experience through something so everyday!