Sound
design is difficult for me to process.
When I
edit sound, art feels like accident. Perhaps it is because I view editing as a
visual task. I see the bars of video and sound on the timeline clicking into place
like a puzzle. I see the files unwinding frame by frame like a film strip. I
see color, I see rhythm and I see time. It is not so with sound.
I can
quantify loudness. I can see waveforms and levels -- where sound is and where
sound is not -- but I cannot see its texture, tone or timbre. For those I must
listen, and my sense of hearing is not nearly as discerning as my sense of
sight. I cannot visualize (auralize?) sound before it is created. I have less sound-intuition,
if you will.
When I
edit sound I do not have an idea that I make into a reality. When I edit sound
I place sound on the timeline and I listen, then I add another sound and I listen
once more. And so on. Perhaps this means I have no sense for sound. Perhaps
this means that sound editing, for me, is true experimentation – free from
gaining ideas and preconceptions of taste.
That
isn’t to say that I am not discerning about what I hear once I do hear it, of
course.
Over
the course of project 1B I learned some things about what I like in sound and
what I do not. Some of it was obvious, some of it was not.
I
learned that sometimes the least complex sound design is the most satisfying.
I
learned that “realistic” soundscapes – unlike realistic images – chase feeling
rather than resolution. When I hear sound in my everyday life I am not hearing
everything around me at once but rather I am hearing a few things very closely.
I also
learned that it is very difficult to describe to someone through words what you
see in a sound, or how to arrange a sound in editing. In this way, to
collaborate on sound is challenging.
I still
enjoy sound, perhaps now a bit more than I did before. I still have a strange
relationship with sound too. Sound is a distraction, sound is a formless mud
which slips through my fingers as I grab for it. But sound is alright by me.
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