FeedBack on Game Pitch

Group D: Gardening – Growing a tree, nurture activities – doing a good deed – being charitable.
I personally like this one very much but it’s probably the one that;s furtherest from CBT – but that is not necessarily a bad thing. I think it can be built upon with further thought into the underlying construct of e.g gratidue. Maybe the person keeps a diary of 1 (building onto 3?) things they are grateful for each day and upon completing it, they get to see a growing tree – each one is unique to the user and it changes daily according to weather (wouldn’t be great to tie it in with the weather app – blue sky thinking). Alternatively it could be something to do with gathering, growing the positive thoughts – see above – it’s a nice analogy to grow oneself, ones strengths and have them represented through a  tree that grows stronger and withstands the storms. I wonder if one wants to think about the japanese cat game when you need to tend to your cats – here you tend to your tree – but not sure about the pace of the game. As soon as I said japanese, I imagined a bonzai tree as well! Could be a plant of one’s choosing? Maybe NZ native plants to make it relevant to the local audience>? but maybe a mystical /fantastical plant that flowers if you look after it??

STUDIO IV – Serious Games SPARX

https://www.sparx.org.nz/

 

Your next project will be in partnership with SPARX, so it will be good for you to research your client properly and carefully! SPARX is an online e-therapy tool provided by the University of Auckland, as an initiative of the Prime Minister’s Youth Mental Health Project. So – an amazing opportunity for you to be involved with!

 

SO – TRY out SPARX and work though the 7 levels for next week!

 

Studio IV: Serious Games – a Game NOT for Entertainment!

The ‘Serious’ Mobile Game for Young People

 

Term 1) As a game design start-up company, create a concept around the theme of ‘Serious Games’. Set up a company (co-starters), a brand and construct one prototype, a mini-game for mobile phone based on SPARX aimed at young people who would like to feel less stressed/depressed or happier. See full brief attached.

 

Responding to: Pendulum Music Steve Reich 1968

 

Steve Reich: Pendulum Music (1968)

Created with swinging microphones over speakers which generate phasing feedback tones.

There is some sharp sounds and some deeper drones. It sounds artificial.

It reminds me of a seesaw or a swing. Or my alarm clock in the morning. the high pitch tones remind me of a kettle boiling on the stove. It is quite random.

Overall it gives me some creeped out vibes. the high pitched screeches and electronic tones are just to much for me to handle.

I wonder what other things could be done with this feedback technique. maybe if you altered the sounds produced from each speaker it could generate other types of sounds.

This work is meant to showcase an experiment by Steve Reich. It brings an understanding of a new experimental technique which could be fun to play with.

 

A response to, Come Out by Steve Reich.

 

I notice a phrase “come out to show them.” it is looped through the entire piece. the words build into an reverberated echo. I’m listening to this on headphones. So I am not sure how many channels the track has. it is at least a stereo piece. The voice track slowly gets out of sequence and splits creating a sort of reverb. eventually it merges again with two channels doing the same thing now with four channels. The tracks overlaying again and again repeating until It is barely comprehensible. and repeats this process of desyncing a stereo track into two out of sync tracks that are the same but has the effect of reverb or an echo.

This piece reminds me of the looping in songs by fatboy slim. when first listening to Come Out, I was expecting it to break into a drum loop and turn into a dance track. A song that comes to mind is Rockerfeller Skank. check it out now..

As I respond to this work I feel a bit confused and lost. It doesn’t seem to mean anything. Its just “come out to show them.” it repeats and then I cant understand it.

I wonder more about the history of this piece. After doing some reading I learned it is for a young man who has to cut open his bruise to be admitted to hospital after being beaten by police. This raises another question, How was this piece presented? or used. What purpose did it serve. Did people march down the streets playing this to get the message across or was it played in a gallery to raise awareness?

I think it is supposed to raise awareness for police brutality. It is a literal echo of a young mans chilling words let the blood come out to show them. Without knowing the context of the piece or being told what its about you would never get this message. It made an impact though.

 

ARDN606 CSDIII LESSON 1

Creative Sound Design III: Spatializing Sound.

Space and sound have a dynamic relationship. Sound performs with and through space, it reverberates acoustically and socially. This paper explores the techniques involved with crafting sound for a range of spatial situations and the technologies integral to this process. Designing sound for multiple speaker configurations is included in this investigation of the theory and practice of spatializing sound.”

What is sound?

Compression and expansion of air molecules. propagates outward from a source.

How does sound respond to space?

if we confine discussion to rooms, factors include size and shape of space, angle of walls, their surface (smooth or rough), wall material, and density. also consider sound outside of a room, ie. with no walls to reflect off. also consider sound travelling through a different medium, eg water, solids.

reflection and absorption at surfaces. These reflections are very complex. The aural results are: Reverberation and echoes. Reverberation = wash of delayed sound. Echoes = discrete repeats.

resonance: spaces have resonant frequencies, ie. certain frequencies which are reinforced and made louder. resonance acts as a set of filters which give each space a characteristic spectral response, eg. sound engineers may describe a room as “boomy” if there is a lot of low frequency resonance, or to have a “ping” if there are strong resonance in the upper range. eg. glovebox gallery on k road. gallery space is in the old k road BNZ vault. THICK concrete walls, reflect a lot of low frequencies rather than absorbing them. creates a weird low frequency reverb that we do not normally encounter.

how do we normally listen to sound works? the standard format that more music is produced for is stereo – two channels. this was not always the case – mono was common until the late 60s. music was release in “quadraphonic” ( four-channel) format in the 1970s. these are just conventions, there is no theoretical need to limit our sound works to a small number of channels. for film, 5.1 channel sound is common in theatres and at home. This consists of three front channels, two rear channels, and a low-frequency channel. works for 8 or more channels are common as sound-art installations in galleries and public spaces. Works for hundreds of speakers have been produced, eg. poeme electronique by edgard varese (1958) used over 300 speaker, and featured sound travelling up and down walls.

Some contemporary multi-channel sound works:

John Wynne ­ Untitled (i installation of 300 speakers, player piano and  vacuum cleaner)  https://youtu.be/ClTkySDBEwg
“The Forty Part Motet” (Janet Cardiff)  https://youtu.be/rZXBia5kuqY    Some important historical works:

“Dream House” by La Monte Young and Marian Zazeela  https://youtu.be/WC6bhnu5Luc

This is a composition first proposed in 1963 by La Monte Young.   Light and  sound installation conceived as a work that would be played continuously  and ultimately exist as a ‘living organism with a life and tradition of its own’,  where musicians would live and create music twenty­ four hours a day.  The  first Dream House existed continuously from 1966 to 1970, and has been  recreated at various times and places. There is currently a Dream House in  New York that is open to the public.    Continuous, fixed pitch sine tones, multiple speakers, movement in the  space changes sound, also movement of other people change the sonic  character of the room.

“Pendulum Music” by Steve Reich (1968)  https://youtu.be/5­g_s1YtaHM    “Come Out” by Steve Reich (1966)  https://youtu.be/W8vb4w7Vl3Y

Discuss how it was made, concept of phasing, perception of time in  drone and loop performances    Practice: Setting up multichannel system

Project 1:   3 ­ 8 speaker sound design work ­­ original or a remix.
Homework

Create blog or workbook etc. for this course. To contain responses to work  presented in class, also research ­ engaged research not just sharing vids.

Suggested work: Critical response to “Come Out” by Steve Reich.

Bring next time:  External hard drive or USB flash drive  Headphones

 

 

 

The Three Listening Modes …

 

T

 

From reading this excerpt from Micheal Chion i have learnt about a new concept.

The concept of the three listening nodes.

Micheal Chion has seperated our listening into three modes. Casual, Semantic and reduced listening. Casual listening is how we find the source of a sound. An example of this is a dogs bark. We logically know that this sound is from a dog therefore we have casually listened to the sound of a bark and figured the source to have come from a dog. Now semantic listening is slightly more involved. This is where we listen to sounds and try to make meaning out of it. An example would be the sound of glass shattering followed by a dogs barking. The semantic listening mode would have us listen to these two sounds and find meaning. shattering glass and a dogs bark. This might mean someone is breaking and entering. Reduced listening is the last mode of listening. In this mode the listener will be analyzing a sound purely as a sound with no source or meaning.. I found this to be quite philosophical. Micheal Chion made it clear that these modes of listening are not completely seperate and can overlap.

 

Notes on Sound

 

 

Rotary speaker

Spinning speaker device

 

Parts of a films sound

Soundscape

Sound effect

Music

 

The Mad Professor

 

DAW ( Digital Audio Workstation )

I have found different DAW’s to be good at different things. Pro tools is amazing when peicing together finished audio clips. Audition is great at editing and creating sounds to create a audio clip. FL studio is good at creating music. I have learnt this the hard way.

Noatble Daws for future reference

Reaper

Pro Tools

Logic

Audition

VL studio

 

Frequency = Deeper/Higher

Amplitude = Louder/Quieter

 

Phase shifting

+ –

180 degrees out of phase. CANCEL

 

Modulation Effects

-chorus ( nirvana )

Spacious eerie

 

-phaser ( soma

Sweet thin

-flanger ( Jimi Hendrix )

Echo flutter cone filter

-vibrato ( mac demarco )

Moving the frequency

-filter sweep (

WA peddle

-stereo

 

Amplitude Modulation & Dynamics

-Compression ( red hot chili peppers )

Everything is loud used in commercials.

-Distortion ( slayer )

White noise ahhhh so loud

-Tremolo ( the smit

Wobbley wobble volume up and down

-Gate (

80s hard attack cut the sound off

-expander ( u2e

-sustainer

-limiter

 

Space

-Delay

 

-Reverb

Long tails cavernous room

 

Parameters

 

Syntheses

 

Filtering

 

Phil Spectre

ROBERT MOOG

 

 

The Basics of Sound

Waveform ( time domain ) ( frequency domain )

Sine

 

Square

On or off. Binary like an organ

 

Triangle

 

Saw tooth

Makes really good fat baselines

Laser

Buzzy bro

alert

Sound Waves

Existence

– time

– space

Transpose

There are sounds that you don’t hear…?

 

Signwaves

Amplitude and time

1-2k is human speech

Physical waveform

Frequency

 

Complex Waves

Graphic equaliser

 

Outside the box

Atmosphere

Surrounder

 

The sound

Levels are important.

 

Sound Effects Vs Sound Track

Sound Sources Everywhere!

 

The birds ending.

 

Hans Zimmer how does he do it?

 

Manipulate the sound man

 

Timbre and memory

Associations to sounds.

 

Space Is so important

 

Physics – where is everything? things to think about when creating soundscapes.

Who/where is the point of view

Who Is there

What is the size of the space?

Interpretation

 

THE KEY

Think about every aspect of the scene….

Whats not in the scene.

 

 

4th wall going further than the screen. Reaching the audience.

Research Diary – Andrei Tarkovsky

iv. Anything else you choose to record/reference in your research process/research diary

 

Notes on Stalker and Andrei Tarkovsky’s approach to sound.

The sound goes in and out of a scene
the haunting sounds of Andrei Tarkovsky time turns back on itself and with it the sounds of the world.

impressionistically, Artistically

Emotion Over Logic

It focuses on what the character is focusing on and takes you into what their attention is on.

How they feel and what is important to them it doesn’t necessarily mean anything.

It often lingers and sometimes returns

It might come from nowhere.

It is often diegetic but not intending to create a realistic soundscape of the image but the attention of the character..

 

Those that make you lean in to hear a whisper only to be thrown back by a yell seem to be the most successful.

experience rather than concrete communication.