Lina Lee

https://soundcloud.com/leelina44/nightmare-before-wakeup

Nightmare Before Wakeup

When we first got the assignment I knew immediately that I wanted to do something that had to do with dreams. I started researching dreams and dream analysis. I read about Freudian vs Jungian analysis, I didn’t delve into the neo-freudian or the neo-jungian for simplicity’s sake. I found out about dream analysis, where the analyst (a step up from a therapist) would listen to the patient’s dream and let the patient work out what the dream was about. In away, they used dreams as a way to delve into the patient’s subconscious. I learned about the four stages of REM sleep; sleep onset, light sleep and stage deep sleep and deeper sleep.

Originally I wanted my audio to be about waking up from a dream. But I realized that the dream needed to be specific so I choose the audio to be about waking up from a nightmare.

I wanted the structure of the video to be; deep sleep to waking up to consciousness. To achieve that I used recordings of my step dad half asleep. I had about 12 or so voice recordings of my step dad half conscious, so I knew I had some editing to do. I listened to the 12 or so tracks I have of his voice and edited out parts that were cleaner and parts where there were prolonged talking. This condensed about 5 hours of recording to about 30 bite sized video bits. I acquired the alarm tone and the ‘heavy breathing’ from online. I spent about a week walking around and recording whatever seemed relevant to the project from that I acquired the room ton and the bed crumpling noise. For the room tone, I used a recording of a siren from my room. FOr the bed crumpling noise, I left the recorder on a couple of times while I was making the bed.

Editing was interesting. I realized that lynda has the answers, but I had to weed through a massive amount of information in order to get to a simple answer. So I used a combination of lynda and adobe forms. Mostly I used the speed tool to play with the speed and tone of the sounds. I used Channel Volume to make transitions smoother and the volumes reasonably level where it was suppose to be. I used the razor tool to make cuts where I wanted to the second, this by far was the most useful tool I learned. For example, I had gotten the ‘heavy breathing’ clip from online, I wanted to make it longer so I cut and pasted a part of the ‘heavy breathing’ to the full heavy breathing audio to make it longer and more believable. I used pan during the dream sequence the most to make it feel like the sounds were coming from different sides of the room.  

In relation to Cheon’s modes of listening I used both Reduced and Causal listening. Throughout the dream sequence, there is speech that’s slowed down, you can’t really tell if someone’s talking or if it’s noise. I would say this aspect of the audio byte involves Reduced listening, because the words in the speech isn’t what matters–it’s the mood that the drawling voice gives. I used my dad saying “Maybe it’s karma, maybe it’s…” throughout the dream sequence as well, these words don’t really have a meaning in their own. The words are used to set the mood of the piece and get information about what’s going on inside of the dreamer’s mind.

Both audio bites from online are from freeaudio.com

https://youtu.be/cAYICwlqJUY

Lina Lee

Time: Metropolis

Video+Sound

When I first got started on the video and the sound portion of the project it was a bit daunting. When I was creating the video, instead of working on top of the audio and muting, I started a new project. This is because when I was working on top of the audio, even though it was muted, I kept trying to sync the video to the audio. The format of the audio is in a dream, waking up; thus, the video followed that.

I copied and pasted the audio to the video file, and listened to it with our editing it first. I realized that even though they were created separately, when put together, it worked. Not a lot of things need to be changed. The best part of, the firstness and secondness, and the modes of listening didn’t need to be compromised as much as I feared. In the bed, neither the video nor the sound changed much when it was combined.

Of course certain parts need to be cut and re-transitioned. Such as the audio’s breathing, it was much too long for the video, and the figure in the video wasn’t trembling as much as the sound was implying. Instead of a long audio bite of breathing, I broke it up to match the figure when on the bed and when the figure first got off. I also had to sync when the person woke up in the video to the audio. It was evident that the audio had a larger emphasis on the nightmare and the video had a larger emphasis on the conscious stage. Which all in all helped the final product to feel more balanced between the waking and the dreaming states together.

https://youtu.be/h7QzIiveR90

Lina Lee

Time: Metropolis

Dream Sequence

The video without audio has two portions. The dream state and the waking state. I wanted to express those as different entities while keeping in mind theories from Deleuze and Peirce as well as well as the editing tools learned from “The Cutting Edge.”

The video is about a dream, specifically a nightmare so I wanted the setting to reflect that. When we got to the video portion I wanted to use streets, to make it feel like the person was walking for ages. But that sequences turned out to be quite dull to watch, so I decided take multiple sequences of my dorm hallway. Still going with the theme of walking, I walked several times from the elevator to the door. In editing terms, I made a montage (or gaseous shots) of someone walking several times to a door. The lights in the hallway was covered entirely by red sheets of paper to give it a red tint. I thought that this would be an appropriate setting for a nightmare. The whole hallway was decorated for halloween but the left side was a bit haggard looking, while the right side was neater. For the first to scenes walking towards the door, I used the right side of the hallway. For the last scene, I used the left side, because the right side had stickers all over their door but the left side didn’t. Originally, the left side door was opened at the end, so the aesthetics of the door mattered a bit more.

The conscious state’s setting is in my dorm room. It was a striking enough difference in terms of the color pallet, white vs red that I decided to keep it like that. I also didn’t add additional tint to the conscious state because it’s suppose to depict morning time in the real world, in real life.

In terms of composition, the dream state is incredibly symmetrical. This was so that I could editing in a set of eyes, and it wouldn’t be too jarring because eyes are also symmetrical. Also this allowed me to add split screens and play witht eh symmetry in those. The shots are mostly close up shots in tandem with long shots of the hallway juxtaposed on top of each other or next to teacher. This allows the viewer to see what the walker is looking at and what the walker is thinking through their eyes. The longshots of the hallways allowed the view to make an objective inference that the walker was in the hallway; while, the close ups of the eye let the view into what the walker was feeling. The dream sequence, in terms of Peirce’s modes, is an example of firstness. It’s what the walker sees, and just what it sees, not really thinking about computing information or an action through viewing another thing.

The composition of the waking state is balanced, but not exactly symmetrical. The scene when the dreamer wakes up is balanced between the figure and the empty space and the bedding–but it’s not symmetrical. Between the unconscious and conscious state, I wanted a transition–but I still wanted it to be abrupt. So I added a montage of scenes transitioning ontop of one another, but fading in layers to view the door handle, then a jump cut to a person waking up. There was a scene where the person is rumbling around, but it was cut to directly depict the person mid-jolting awake. This was to create a sharp contrast to the dream state and to show the viewer it is morning. Also to show a reaction to the dream from the dreamer–when the dreamer jolts up and carefully reaches for the door, this is an example of secondness. It shows the effect of the dream on the person, the fear it caused them.

Time Project 2

Washington Square Park Map

The research question of “how does texture affect mood?” was conceived on the first day my group visited Washington Square Park. From that question as my building block I decided to make Washington Square Park according to the different textures I experienced, how that affected the mood of an area, and how much of an area that texture affects. To represent such findings I decided to make a 3 dimensional psychogeographic model of the park.

To express texture I used physical representations of said texture. For the two different types of fences I used thin wooden rods. For the fences that were visibly wooden I used the rods in it’s natural form, tied down by a bit of wire to represent the actual way they are constructed, as seen in close up 2. While the fences that were made of metal, I used shorter segments of wood painted black as seen in close up 5. When you touch the wooden rod it is significantly rougher, and jaggid while the painted (metal) ones are smooth, representing their textures in real life.

For mood I used color to represent mood. Red for agitation, blue for safe, and green and orange for peaceful. Red for agitation because red is naturally an aggressive color. Blue for safe because blue is used in a lot of brands use blue to represent for safe and security. Green for peacefulness because green is a healing color, and spots of orange to represent the happiness I feel when I see greenery. Also to make the green more apparent on my green map.

For the surface area of the affected mood, I decided to use the width of the color. Some colors are wider than others, this is because mood carries as I walk. The span of the color represents the span of the mood.

The key was added so that I would be able to decode what I was trying to say.

I made the size of the individual textures smaller so that the user would have to slow down, and concentrate on feeling the textures.

My park’s story starts at the left of the arch, the numbers representing the corresponding the numbers on the map.

1. The couple of times I visited the park, to the left of the arch always had a trail of litter. When I touched and felt around, it made me feel grossed out and agitated both by the texture and by the people just leaving their cigaret butts on the ground.
2. The agitation followed until I was near the children’s playground. I felt relaxed near the well kept area, the leaves were soft and non intrusive.
3. and 4. I felt agitated by the sharp broken wooden fences, that was falling on itself. The  texture of the wood was just crisscrossed on itself, it was confusing and jarring to touch. I even got a splinter when I was feeling them blindfolded. Also the floor was also riddled with trash.
4. Although 5 also had wooden fences, this one wasn’t broken, and it wasn’t falling on itself either. I felt safer, and the texture wasn’t as jarring.
5. and 7. I felt relaxed near the nature. 6 had some overgrown plants but it wasn’t too much. It was soft and slightly cool to a touch and it wasn’t over riding my sensations.
6. This part was also riddled with trash, more than 1. It felt gross and grimy, especially the food particles. Also adding to the agitation, there was broken metal. The metal being the broken chain connecting the poles.
7. and 10. Was a well kept area, there wasn’t a lot of nature, but the chains weren’t broken and the poles didn’t have visible marks on them. The smooth metal, oddly, made me feel safer. Like the chains were going to protect me.
8. and 12. Had overgrown shrubs, unlike 6 where it was still soothing, the shrubs and tree was broken and un-kept and there were sharp pieces that made me feel agitated. The dried leaves also felt sharp.
9. Same reasons for irritation as 3 and 4. But because the mess of wooden structures took up a smaller area, the mood affected me of a smaller span of the park, so the color red takes up less surface area.
10. The area was well kept and clean, I didn’t feel any trash or spikes in the greenery.

15. This point made me feel safe because it was clean, and the poles and fences were smooth and well kept. The whole area around the kid’s play ground was well kept so it made me feel safe. I didn’t step on or touch anything foul.

Washington Square Park

Write Up

Introduction:

• Reason for park choice
• Research
• State research question
• Reason for research Q (Also explain mood & texture)
• Explain research Q (Possible interactions between mood & texture)

Body:

• Excitement/happiness
• Sadness/melancholic/Nostalgic
• Irritation/annoyance
• Calm/tranquility
• Explain uncommon texture/touch, eg water, wind, temperature

Ending:

• Summary of how texture/touch affects mood

Write up:

New York is always changing. The skyline constantly diversifies itself as do neighborhoods, people and parks throughout the city. Washington Square Park, unlike most of this continuously evolving city, has held onto its lively bohemian atmosphere. In one corner of the park, old men can be found sitting at chess tables, moving pawns across the cool marble surface. Gypsy like men strum their guitars and sing by the great white arch. Cool droplets of water travel from the fountain to our skin as we take in Washington Square. Washington Square, while quite small, offers a diversity of sensations and textures as we explore each corner of the park.

The research topic we’ve come up with is to investigate on how different sensation and texture produced by the sense of touch affect one’s mood and overall feeling. We decided on this topic when we first visited the park as a group. We walked around the park several times and noticed that due to different temperature, shades and sensations, we can sometimes feel irritated, while sometimes calm and collected depending on the surrounding environment. We decided that this was an interesting topic to research on as human beings are emotional animals, and they often do not notice how their emotions are being changed or manipulated.

In our research, texture and sensations are a stimulus to certain mood. A rough texture can generate fear and cautiousness as it creates a dangerous aura; on the other hand, when touching the smooth, damp grass, it can generate a calm and soothing aura. For example, the hard marble texture made us feel more self-aware under the direct sun, while, the smooth and wooden texture of the benches made us feel more relaxed under the shade. In contrast, the smooth wood of the shaded benches provided a very calm and settling feeling when sitting on them. The firmness of the wood complements the softness of the human body and allows one to spread out and sit firmly. There is a saying amongst Zen Buddhists that states, “all you need in life is a comfortable seat” and the comforting texture of the wooden benches serves only to reinforce that texture has a direct relationship to emotional mind states.

Unconventional textures like water, wind and temperature can also affect the texture and, therefore, our mood. We noticed that the water fountain created a welcoming feeling. But the fountain was made of marble, a hard and smooth texture that isn’t exacting soothing. It was the water that soothed the area, and created that welcoming feeling. Furthermore, when Wind is present in an environment it can intensify the feeling of a texture. When there is a breeze on damp grass, it lowers the temperature of the grass, this makes the grass feel unwelcoming can jarring. Lastly, Temperature is key in how a person experiences a texture due to the reactions of a specific material in specific temperatures. For example, the marble benches are a much more comforting texture when it’s hot out because they absorb heat. Alternatively, the wooden benches remain comforting in any temperature because wood is generally unaffected by average changes in temperature.  

In conclusion, texture affects moods because texture is felt through our sense of touch. Our emotions are products of our internal processing of our external situation, thus texture affects emotions because it is an external source of information. This was evident during our research. We observed different people feeling the same texture while experiencing different outcomes.

Research

Historical research:

Created: 1871

Location: Greenwich Village

Size: 10 acres

1. Land was once a marsh fed by Minetta Brook, located near an Indian village known as Sapokanikan.
2. 1797 the City’s Common Council bought this land for public executions (this is where the legend of the “Hangman’s Elm” in the park’s northwest corner originated)
3. Was first used as the Washington Military Parade Ground in 1826, Washington Square site became a public park in 1827.

Renovations / Design work:

1. In 1871, it came under the control of the newly formed New York City Department of Parks, and it was re-designed again, with curving rather than straight secondary paths.
2. In 1888,  a bronze statue of Italian freedom fighter Guiseppe Garibaldi is unveiled in the park, funded by a portion of the subscription fees to the Italo-Americano newspaper.
3. 1889, for Washington’s inauguration William Rhinelander Stewart was commissioned to make a White’s papier-mache and white plaster arch for the occasion. It was a success and he was later commissioned to make a permanent version.   
4. In 1930, Robert Moses launches a campaign to redesign the park. The newly renovated park consists of several benches and a playground for younger children, though this was at first strongly disagreed by the residents surrounding the area.
5. In 1970, the community members pledged to renovate the park, which opened up the central area of the park, creating a plaza.

Sources:

1. “Washington Square Park.” Wikipedia. Wikimedia Foundation. Web. 17 Sept. 2015.
2. “Washington Square Park” NYC Parks. Official Website of the New York City Department of Parks & Recreation. Web. 17 Sept. 2015
3. “History – Washington Square Park.” Washington Square Park. Web. 17 Sept. 2015.
4. “The Johns Hopkins University Press | Books | The History of Washington Square Park: A Time Line.” The Johns Hopkins University Press | Books | The History of Washington Square Park: A Time Line. Web. 17 Sept. 2015.

Observation/data collection

Day 1:

Visited the park with everyone in the group. We explored the park a bit to learn more about the different possible texture that can be found. At first we just talked about simple textiles like wood, stone, bricks… etc but soon we expanded on our textures and included temperature, airflow and different movements of objects/liquids as well.

Came up with the research topic of: How does sensation and texture affect the mood.

Day 2:

The way objects feel against skin can appeal to a range of emotions. As I stroll around Washington Square, I run my hands across the smooth, cool chess tables; they are calm and mischievous. The carvings in the arch are warmed by the sun, the carvings feel old but strong. The grass is cool and relaxing as it tickles my legs, and the fur of the dogs passing by with their owners feel like happiness and love as I pet their heads. The diverse textures found around the park can influence my mood and mindset.

Day 3:

In Washington Square Park, the textures one is experiencing largely play into the locational/subjective perspective of the park. I connected hot marble with the center chairs that provide a first hand experience of Washington Square Park because this texture signals i’m closest to the center of the park which is where all the excitement happens. In contrast, the cool shaded wood of the exterior benches offer a much more peaceful quiet view of the park without forcing the viewer to interact with whatever he/she is viewing. In between both contrasts there are scattered plots of grass that provide a very welcoming texture. I found myself experiencing this texture much differently based on which bit of the park i was in and the level of energy/movement around my area.

Day 4:

I went during mid day so it was filled with locals. I noticed that the texture of the paths varied on texture depending on how close it was to the most populated area. Most of the chains connecting the poles, that were furthest away from the fountain connected were broken and jagged. Which created an unwelcoming environment.

Day 5

I went during the night, it was cool and because it was dark I wasn’t able to see the textures before feeling them. It hindered my sight–so I was only able to depend on the other senses. The wooden benches were cooling and smooth and felt relaxing, while the marble benches near the water fountain felt more rigid. This proved our theory of texture affecting my mood–even though I was not able to see the texture of the seat before sitting down.

Day 6:

It was a very sunny day today, changing the temperature quite a bit and hence the feeling one receives when touching various textures. When I stroll around the park, everything was boiling hot. The metal railings burns through the skin, the leaves brushes across the bare legs as if it were trying to cut something. This felt irritating as it doesn’t seem very welcoming. I then walked through a shadier area and it felt much better. Benches were cool, grasses were a bit damp, giving a sense of tranquility. The whole world seems to be quieter and more peaceful all of a sudden. Sensation and touch really do change a human beings emotion drastically — it enhances what may already be felt, or it may completely change the mood and mindset of one person.

Day 7: