https://itstoohardicant.com/Lost-in-Translation

It is about the loss and deviation of meaning in the transmission and repetition of language—the meticulous fixation on the exactness of grammatical phrasing and language correctness.

I used cassette tapes and a tape recorder, for which I physically modified its appearance and structure, redesigned its circuit layout so that it works in a way that approaches to the ideal effect. The cassette tapes are self-recorded with lectures I took in recent times. For the surroundings, the“English wall” wall is a delicately decorated space with posters indoctrinating good standard language put up by the English teachers. The second space is the living space of the floor management person, only few steps away from “the wall”.

As the tape blends in with its surroundings while it plays, it also gradually wears away with the knobs until the sound distorts and completely deforms eventually.

John Cage, Fontana Mix (1958)

Toru Takemitsu, Study for Vibration (1962)

Cathy Berberian, Stripsody (1966)

Wadada Leo Smith, Symphony No. 1: Fall (2008)

This opern is purely constructed by abstract visual patterns, which means when you play it you will be in a state of improvisation. You play according to what you see, and the feelings you have for the visual patterns. This inspires me because I find it difficult while improvising to a film and to be concious of whether I am doing the correct thing. I have learned to just treat the film as if it is a visual opern, and improvise accordingly.

Improvising to film has both advantages and disadvantages. You can link the most direct feelings from film to music but it is very easy to create unharmonic sounds. Therefore I have recorded what I have worked in VR as a template and then try to redo and polish what I have did in the improvisation.

Animoog Z.

I will be using it for some of the sound effect design.

Improvising to a visual content is like doing meditation. You only focus on the moment, of how you are feeling, and nothing else. Forsaking the convenience and precision of digital signals in music-making software, it has opted for more cumbersome ways of using sound, relying on the ear for feedback without expectations. This way I can feel the original impulse, uncertainty, chaos, and order in the sound when it combines with the picture.