week 7

Materializing and de-materialzing sound can be done in so many different ways. A film score can materialize different aspects of the movie for instance. Miguel Mera investigates this subject in the article ‘Materialising film music’. He gives the example of how the oil in the movie ‘There will be blood’ is being materialised through the use of film music. Though de-materialising often is achieved through the use of music, the use of scoring to materialise some element in the movie is something I haven’t thought of before.

In this scene from ‘There will be blood’ the fire is being materialized through the music.

 

We can hear sounds that is very similar to the sound of flames. They are continuous through the scene as the flames keeps growing. There is also a rhythmic pulse that can be interpreted as materialising the heartbeats of the people in the scene. Although the scene contains foley that is materialising the flames, the music enhances this and further plays the role as an materalising component.

When researching about synchresis I came across this example which is similar to the one we saw in class from Robin Fox.

The one we saw in class by Robin Fox made sense to me in some way. I bought the concept of that dot making a sound like that. Although in this video I don’t really buy it. I wouldn’t expect those cubes to make that kind of sound. Since we are wired to connect what we see with what we hear, at first I really tried to apply the sound in this clip to the cubes. The biggest issue, and why it is not working I would reckon, is that it is not realistic nor logical that the cubes would make noises like this. In the Robin Fox clip, somehow it did feel logical and realistic that the laser light would have that kind of sound. The cubes on the other hand, would need a sound with more density, less high frequency sounds and a ‘cleaner’ sound to actually feel realistic.

In the article ‘Motion as the connection’ by Nial Moody, the author discuss how what we expect to hear must correspond in some way to what we see to make sense. It is therefore interesting that when we see an object or space, which we don’t know how it would sound, like the video above, we would still interpreted and evaluate it as being real. And as I watched the video with the cubes the first thing I did was to evaluate the sound and image as if they were real. But since there’re not, it is quite interesting that I would still be able to make the judgement of weather or not it’s a realistic sound.

In regards to materialization of sound, I came across a recording of a piece of music where you hear the piano chair squeak during the recording. It really places me in the room where that recording was made and makes the experience closer and more real. I actually did not know the setting around the song until I looked it up on youtube, I only listened to it on Spotify which has the same recording. But it is interesting because I do not feel that it is common today to include sounds from the surrounding that “gives away” the actual setting and mechanics behind it, to materialize the instruments. It brings me closer to the little music session he had while recording it.

 

Resources

Miguel Mera (http://openaccess.city.ac.uk/13647/1/Materialising%20Film%20Music.pdf)

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