Janet Cardiff

Janet Cardiff's audio walk makes it seem like she is indside your head and mind, guiding your thoughts and actions. Though she says in the interview that she still wanted the listener to relate to the her thoughts and sounds and make them think of another memory. In the her audio walk, she reminds me of a good friend who is whispering into your ear, while you listen intently and relate to her thoughts yourself. I enjoyed Cardiff's idea that, sometimes there are too many choices in life. So this audio walk is nice vacation in which the listener takes a journey through another person's mind.
The three-level spatial structure in her London project worked well to take me to the same place. The footprints in the background were the guiding audio throughout the whole piece. They assured me that I was still on a walk with her and she was the guide throughout. Her voice that is pointing out places and memories is in the foreground throughout most of the piece, but is interrupted by the sounds that are specific to the area she wants to change her focus to. I like how these specific audio are sometimes referring to the present and at other points referring to the past or even a dream. The man's voice that comes into the foreground sporatically is not even acknowledged by Cardiff until the end. This almost makes the listener wonder if they are imagining this voice. The audio in the second layer, when it is not focused on in the foreground, helps to specify where Cardiff is taking the listener. The birds chirpping, child talking, water flowing, etc. place the listener in a certain area and make them imagine what is in Cardiff's vision.

audio exercise

Emily's Audio Exercise

I experimented with random voices of children that I found on the freesound project. The spanish voices sounded interesting to me and I thought the thunder crashing would be a good transition between the two voices.

audio journey project

My idea for the audio journey is to travel from here into the middle of the earth.
I want to start out with splasing sounds, like one is diving into the water and then swimming to the bottom. Then there is going to be digging sounds and metal-against metal sounds to suggest a shovel hitting a water pipe/harder pieces of rock. Also, running water sounds to suggest a pipe bursting. Digging sounds are going to be present throughout the journey. Then, there is going to be sizzling or steaming sounds to suggest that the climate is getting hotter.

Sound art links: Gregory Whitehead

The tracks by Gregory Whitehead were very creepy and made me feel uncomfortable. At the same time though, I could not stop listening to them. I could easily imagine playing some of the tracks within a haunted house. In "If a Voice Like, Then What?", the first narrator made the track begin to sound like a old, normal documentary. Then the track quickly turns offbeat and the narrator changes to a different man who sounds seductive but also strange. The random mix screeches, moans, and laughs that are to represent the "voice problems" are introduced by this strange and seductive narrator. He is trying to make these voices seem attractive to listener, even though they are frightening. After a lengthy introduction of the many "voice problems", the other narrator's voice ends with an advertisement for a cure for these voices. It is a weird contradiction that the one voice is trying to fix these strange voices, yet the main voice is asking the listener if they would take pleasure in the voices. It reminds me a horror film, but within a spoof of a commercial or advertisement for a prescription. A lot of Whiteheads early tracks gave the same creepy, but enjoyable effect. "Display Wounds" and "Eva Can I stab bats in a cave?" were especially disturbing. It seems that throughout most of the early tracks on the sound website, Whitehead likes to play the words and language in peculiar ways.

The Use of Forms

John Armleder
http://www.galerievangelder.com/artists/armleder2.html
specifically Furniture Sculpture 189 and Furniture Sculpture/Untitled Painting 1988-2000

www.wallright.com