Soundscape

my eyes. I was there simply to listen and explore the soundscape of campus without the distraction that sight posed. At first, I had gone into the exercise with many expectations of what I thought I would hear, which in turn affected what I later thought I did hear. However, I soon found that when I was able to listen to my surroundings from a detached perspective and without bias or preconceptions, it was easier to analyze the soundscape. Here, I explored my own experience with this exercise

far from over. The lack of music during this extended sequence underscores the unsettling reality unfolding on screen. It grants the scene a raw authenticity, letting the crackling fire, howling wind, and chirping birds create a troubling soundscape. This soundscape is far more unsettling than any bombastic score could be, as it emphasizes the film's central theme, the vulnerability of humanity in the face of a terrifying, natural threat. By sacrificing the traditional score, the director creates a

Calgary musician Krzysztof Sujata’s Valiska project makes music that toes the line between ambient and drone - often relying on peaceful soundscapes dotted with piano to set a framework, then occasionally building to a towering crescendo with a web of static. It’s all very naturally motivated, though - fittingly for its album art, Repetitions is sparsely organic, with plenty of room to breathe chilly and cozy breaths. It’s a record that challenges you to take much from very little - over 40 minutes

There are many different key techniques used for the film making of this movie. These include camera shots, editing, soundscape, locations and settings. The movie features many wide landscape shots with slow pans which show the viewers the type of location and how large the space the scene is set in. Wide camera angles were used to express emotions such as danger like when the boys were on the high bridge; these wide camera angles gave the viewers a sense of how high the boys actually were and how

When Neil Armfield interpreted Andrew Bovell’s adaption of The Secret River he used a range of stage craft elements to present the play with it’s intended messages and in a way that captivated the audience and left them with something to think about. Neil Armfield, in conjunction with set designer Stephen Curtis and composer Iain Grandame, has created a vast and detailed world within a minimalistic set that marks the location for the play to take place. This world is not only what is seen on the

and there to help preserve the wildlife and environment surrounding the trees. Before the deforestation took place, Krause recorded the natural sounds present at the site. The soundscape was filled with a vast and complex array of sounds. It featured birds, and frogs, and the stream which ran through the area. On the soundscape itself, the top half of the file showed various bird sounds and other animals present. After the deforestation took place, there was very little change to the site visually.

quintet, The Great Old Ones. His grotesque imagery in his vivid fictional recounting goes hand in hand with the bleak grandeur that The Great Old Ones conjures, which simultaneously takes their audience on a journey through the band’s expansive soundscapes and Lovecraft’s tangible

or rebuilding existing buildings in this area and the social use of architecture. Please see: http://www.urbanpamphleteer.org/heritage-and-renewal-in-doha for more critical discussions about the structural change in Doha. The photographs and soundscapes within the series, ‘Disappearing into Night’ aim to enhance existing architectural research and expand the study of visual urbanism in Doha. Therefore, highlighting the fluid threshold between these private and public spaces by revealing permanent

there is no reverberation off of metal or plastic when Obi Wan Kenobi is talking to Padmé in the spacious hospital room full of plastics and metal, he sounds more like he is in a closed environment, and close to the microphone. Despite this the soundscape is still used to effectively shape the environment seen on screen into a “hallucination” of a fully real world, one is able to almost sense and touch within one’s mind. Most evidently at the very end scene when Darth Vader is overcome by anguish

piano phrases. (By the way, I got to know mid night moment from the his colleague, Ryoji Ikea’s performance, “Test pattern” .) When I hold an installation of this work before, I prepared a sound program and customized speakers to replicate the soundscape in which vagrant sounds rebound as if in the summit of mountains. I and Marihiko repeatedly talked about to perform “manmade drone” with “SANSUI”. Manmade drone is a music to replay the sound that emphasizes the use of sustained or repeated sounds