An Ear, Full

The biggest challenge for soliding up CST 02 is simply getting the voices to sit in the ambience, as if they were actually at the scene. Following the rhythm of the paragraphs seems interesting.

Bottom of Second Answer: http://earroom.wordpress.com/2011/09/04/sound-cinema-luke-fowler-in-conversation-with-christoph-cox/

Surrealist / Visible push

Interesting experiment nevertheless.

[begin] CST 02: It occurs to me, that the addition of the recording device's beeps may go a long way to setting up the listener. These sounds create a meta-narrative into which the telling of the story falls. It gives the listener a little bit more information about who is telling the story, and how the listener is coming to it are receiving it. This, I think, may answer some questions that initial listens have brought up. Who is "He"? From whose perspective are we seeing the story? The use of multiple narrators, initially a decidedly antagonistic move on my part, designed to force the listener to constantly shift perspective while trying to hold onto the narrative, gives the story a sort of 'documentary' type feel. A series of statements given by witnesses at some otherwise unremarkable event. To my mind this begins to offer up larger implications for what is really happening with the story. I immediately begin to wonder - considering that someone has gone to the effort of finding witnesses and recording their statements - what has since happened that has made this scene/event so significant as to require an official, indelible record? I'm feeling more and more that I need the sounds of the waitress moving around in the space, at least at the beginning. Same goes for the matron with the mop and bucket. The cars I've added give a bit of feeling to the space, but it needs more direct human contact. As these elements are added, the whole scene begins to flesh itself out. Feels more alive, more... human. The realism of it is not unsettling, or strange, but seems to fit with the story. At this point I have to wonder what effect the use of a single voice will have. So much of what is currently built feels as if it depends on this disjoint of perspective. Almost as if the story is stronger - more compelling maybe - because of this style of telling. Topics of thought: 1. Inclusion of "bookending" elements (recorder handling and diagetic beeps), to more strongly (starkly) delineate start and end. 2. Hyper-realist scene description vs. completely abstract dive. What effect? 3. Does the dive require abstraction? Not convinced. Styles of Treatment & ∴ Modes of analysis. 1. Spectral. 2. Temporal. 3. Amplitudinal. 4. Spatial. [end]

CST 01.01-02 Starting to pull out elements from the first version. As I do it becomes apparent that there was way too much in there. When working vococentrically, minimalism in the backgrounds seems to be the appropriate m.o. Pulling out the ambience has the effect of focusing the mind directly to the voice. Psycho-acoustic manipulation. Deliberate use of silence. Weight by way of emptiness. It almost becomes a matter of hiding the sounds, making them innocuous and transparent. CST 02.01 First impression: The bare voice, recorded in studio, feels as if it needs to be compressed (temporally). The blank gaps of empty space feel long, uncomfortable. My guess is that when a street ambience is added, this pressure will dissipate, the backgrounds justifying (explaining? supporting?) the narrative silence. With ambience added: 1. As I thought, the pace now works much better. The next trick will be to find an ambience that is sufficiently interesting and textured without being distractingly busy. 2. Part of my ear asctually wants me to slow it down a bit. Stretch the pauses, let the words percolate, steep. I'm finding it very hard not to over-design the freakout section. It really, really feels like it needs it. To put in backgrounds, spot sounds, way-back textures, and then completely skip over that bit - to abstain entirely from pointing it out - is almost impossible. This reaction is either telling, in that the text/narrative is dictating what is needed, or in that I have no self-control and just want to do what I want to do regardless of the effect. Hmmm... Not so sure about the distortion I just added, but for now, it's kinda fun.

Perhaps combine less literal sounds with the literal ones, to expand their import.

http://www.filmsound.org/chion/vococentrism.htm

Put in marker points and then pull out the narration.  Design the sound to hit those points, but move with its own sense of time and rhythm...

Luigi russolo: L'arte Di Rumori (1986).

Art on Air,pp.167-193

Schusterman, Art as Dramatization, pp. 370

Me.

Shusterman, Art as Dramatization, pp.369