Everything started in the first semester when we did the “Untitled Project #1”, where we asked ourselves: “Can we make feelings
or emotions visible through sound?”
Following the metaphor “eyes are the windows to the soul”, we filmed our eyes during a very ordinary day affected by emotions.
The work unfolds a large process of experimental sets. The filmed material was then edited in After Effects and as outcome we got XY values. This is the “fundamental sound”. We used the pulse to control the loudness/volume of our sound. We measured it during filming, and this was then the control of the volume. With this data we obtained our digital sound.
The next step comprised transferring the digital sound onto a filmstrip by drawing directly on the strip like Norman McLaren did. He said: “If a sound makes a pattern on film a pattern on film makes a sound. You can even create your own sound by drawing directly on film. But to draw sound on the filmstrip is not just guesswork. The sound of any of this pattern can be calculated.”
Size controls loudness
A roll of small marks: lower sound
Larger marks: a louder sound
The shape of the marks controls the sound quality
Thin straight lines: a sharp and rather unpleasant sound
Round dots: it sounds smoother
The distance the lines are apart controls pitch
Low pitch: lines far apart
High note/pitch: lines are very close together
A short description from the movie by Don Peters and Lorne Batchelor, 1951 Pen Point Percussion (http://www.youtube.com/watch?v=Q0vgZv_JWfM
(Transliterated by Michaela Grass)
We wanted to transfer our digital sound onto a filmstrip in accordance with this description.