N8: set up tension in the space (Binod)—competing screens?
set up as if church? Something in front, with pews, and then something behind that unnerves somehow—us reading the poems?
nice to use the space somehow. use the corner? If so, and if there’s emptiness in the middle of the space, will that be active somehow?
Or two things in back, one in front
how to suggest church? 1 pew, folding chairs w/ numbers, book on each chair, altar, chalice, cross, bowl for (holy) water, stage? risers?, books on chairs are bibles/coloring books/oil texts
DG: how can we signify the emptiness/soulessness of contemporary Tulsa churches? defamiliarize this sort of architecture/design, thus calling attention to industrialization of modern churchgoing? Aluminum siding, Starbucks coffee, ugly cheap tables, carpeting, fake flower urns, altarpieces, the driller on the altar—make our own iconography?
M: chairs in diagonal toward corner?
N8: what is our true subject matter? Not so much oil and religion, but the sense of isolation/alienation that we feel, living in/leaving Tulsa.
DG: Oil vs religion—regarding fundamentalist Chr, I’m entirely antagonistic, contemptuous, must struggle w/ living in that environment; w/ oil, I’m agonistic, must register how rooted I am in an oil culture no matter what my intellectual relation to it.
GJ feels implicated in Christianity the way DG feels implicated in oil
Hanson’s debut album: The Middle of Nowhere
DG: in a sense what we’re doing is mapping the emptiness at the geographical, symbolic, economic, and spiritual center of America
Susan Howe: narrative as implied, fragmented narrative, full of fleeting details that may or may not be true, w/ sources pulled in from all over the place—kernels of information
Mojo Curio Company: rich poem for grounding some of these issues
Wakow as an artistic refinery
do we want to generate alienation in people? Brechtian…
N8: television is the opposite of alienation; comfortable. We need to do something other than recreating the feeling of watching PBS on your couch.
MS: might be interesting to have the chairs right up against the short wall, but still projecting onto it, so that your perspective is thrown off, or so that the chairs become part of the perspective
DG: I still like the idea of creating a niche within the space—dropping black curtains, having a sound inside (the oil/water sound from Tulsa, the preacher, etc)
if we do a church, we can do a bulletin using our materials, etc
if we invoke a space (church, movie house), then we can push against it in some way.
Wednesday, June 13, 2007
Notes 5/20/07
Structure:
tie altogether w/ DG reading all or several of the poems straight? Balanced out w/ other voices mixing, etc, to avoid sense of poetry reading
use filmstrip as recurring motifs—bookends? every other one?
GJ imagines using Grapes of Wrath as a model, interchapters, narration, etc.
poem as machine, form as machinery
homework due Sun
tie altogether w/ DG reading all or several of the poems straight? Balanced out w/ other voices mixing, etc, to avoid sense of poetry reading
use filmstrip as recurring motifs—bookends? every other one?
GJ imagines using Grapes of Wrath as a model, interchapters, narration, etc.
poem as machine, form as machinery
homework due Sun
Notes, 5/16/07
Wakow 5/16/07
themes in our photography:
sky—indirectly spiritual, beauty of sky as opposed to landscape
natural vs industrial
ironic harmony of industrial and evangelical
signs: words reorganized, fragmented
advertising transformed into something silly or sinister
windows: blocked-up (DG), broken, reflective, transparent
water manholes, gas meters
connectives: wires, pipes, roads, railroads
debris: detritus of the modern
journey, movement in stasis (our evangelical salesman selling holy oil)
commerce: religion and oil are both businesses. Connects back to advertising, and to writing about commodities (snake oil, holy spring water)
oil as energy dredged from the earth, used to move
vs
religion as attempt to escape earthboundness
but really two sides of the same coin
G: the threat of the downfall of modernity is what has electrified evangelicalism
first well drilled in 1859; American Theocracy: the rise of America is predicated upon the rise of oil
empire’s inability to adapt to the new energy source is the cause of their decline, the stubborn clinging to what worked
images: take bunch more pictures in Catoosa, Guts Church, Church on the Move
text: continue to develop characters, do more writing
sound: need to listen to stuff together, but we can skype it out in a conference call
one session before we leave to bang out a clearer picture of the project
G: chapters—narrative—characters—filmstrips. need more text.
M: exercise: storyboard a few chapters, using text, images, etc?
N: we need the text to emerge improvisationally from the materials we’ve got already
our initials: GDMN (god/man? goddamn?)
some narrative will come out of our current text, some will emerge from photos and sound. That’s how we’ll really integrate the media in this one.
let’s meet regularly from a distance and see how it goes
go to Living Arts again before we leave
technical issues:
M: 3 projectors, while one is going, the other two are frozen, then it switches. The soundtrack keeps going, though it may shift sonically across projectors. Similar to the installation about auctioneers we saw in Dallas.
Could do only one or two projectors, but the idea of a triptych has a long religious history
If we’re working w/ a triptych, it might be interesting to start w/ an oil derrick (maybe an old one?) that also somehow evokes religion and/or commodity (remember the oil derrick repurposed as advertisement for a hotel on the way back from Bartlesville
sound: I want the sermon to be broken down in parts until you can tell it’s a sermon but can’t make out words
our salesman is a lot like the preacher, both searching for meaning in the world
dip into my church, my washbasin—use image of sinks and tubs
Texas is a real place. Oklahoma is not a real place. It doesn’t exist, is out of joint, there’s no here here.
How is OK defined in the national imagination?
—the musical
—Grapes of Wrath
—oil
—evangelicals
the first is a Hollywood set, the second is a novel, the third has gone dry, the fourth is a story told endlessly and incompletely
We’re creating a sort of lost travel guide to OK
How does OK promote itself now? Route 66, a way to get through, a memory that does not exist.
How else?: pioneer woman, Indian pipe, oil derrick, scissortail (when our senator doesn’t believe in global warming)—all of these are myths, all are nostalgic memories of something that doesn’t and didn’t ever exist
the fact that guidebooks always leave out OK
the fact that no one in NY could remember where we were going
themes in our photography:
sky—indirectly spiritual, beauty of sky as opposed to landscape
natural vs industrial
ironic harmony of industrial and evangelical
signs: words reorganized, fragmented
advertising transformed into something silly or sinister
windows: blocked-up (DG), broken, reflective, transparent
water manholes, gas meters
connectives: wires, pipes, roads, railroads
debris: detritus of the modern
journey, movement in stasis (our evangelical salesman selling holy oil)
commerce: religion and oil are both businesses. Connects back to advertising, and to writing about commodities (snake oil, holy spring water)
oil as energy dredged from the earth, used to move
vs
religion as attempt to escape earthboundness
but really two sides of the same coin
G: the threat of the downfall of modernity is what has electrified evangelicalism
first well drilled in 1859; American Theocracy: the rise of America is predicated upon the rise of oil
empire’s inability to adapt to the new energy source is the cause of their decline, the stubborn clinging to what worked
images: take bunch more pictures in Catoosa, Guts Church, Church on the Move
text: continue to develop characters, do more writing
sound: need to listen to stuff together, but we can skype it out in a conference call
one session before we leave to bang out a clearer picture of the project
G: chapters—narrative—characters—filmstrips. need more text.
M: exercise: storyboard a few chapters, using text, images, etc?
N: we need the text to emerge improvisationally from the materials we’ve got already
our initials: GDMN (god/man? goddamn?)
some narrative will come out of our current text, some will emerge from photos and sound. That’s how we’ll really integrate the media in this one.
let’s meet regularly from a distance and see how it goes
go to Living Arts again before we leave
technical issues:
M: 3 projectors, while one is going, the other two are frozen, then it switches. The soundtrack keeps going, though it may shift sonically across projectors. Similar to the installation about auctioneers we saw in Dallas.
Could do only one or two projectors, but the idea of a triptych has a long religious history
If we’re working w/ a triptych, it might be interesting to start w/ an oil derrick (maybe an old one?) that also somehow evokes religion and/or commodity (remember the oil derrick repurposed as advertisement for a hotel on the way back from Bartlesville
sound: I want the sermon to be broken down in parts until you can tell it’s a sermon but can’t make out words
our salesman is a lot like the preacher, both searching for meaning in the world
dip into my church, my washbasin—use image of sinks and tubs
Texas is a real place. Oklahoma is not a real place. It doesn’t exist, is out of joint, there’s no here here.
How is OK defined in the national imagination?
—the musical
—Grapes of Wrath
—oil
—evangelicals
the first is a Hollywood set, the second is a novel, the third has gone dry, the fourth is a story told endlessly and incompletely
We’re creating a sort of lost travel guide to OK
How does OK promote itself now? Route 66, a way to get through, a memory that does not exist.
How else?: pioneer woman, Indian pipe, oil derrick, scissortail (when our senator doesn’t believe in global warming)—all of these are myths, all are nostalgic memories of something that doesn’t and didn’t ever exist
the fact that guidebooks always leave out OK
the fact that no one in NY could remember where we were going
Notes 4/29/07
Notes 4/29/07
W/ tulsita, text was the backbone
here, sound is the backbone. Voiceover more important.
Development of a narrative—connections between the poems that develop a story, weave a narrative
Think Cardiff, Robertson
come up w/ a loose but specific narrative structure? List of characters, etc?
Lonely Soul Oil: use as a kind of word from our sponsor?
Grapes of Wrath: vignettes that separate the parts—turtle crossing road, used car salesman
N’s problem w/ getting a sense of structure, what’s fair game for sound
M: if we come up w/ a narrative structure, it gives a jumping off point for N’s and M’s work process
G: let’s say 7 sections, each with voiceover, separated by interludes, given to N to work with
N: runs the risk of me creating soundtrack for a text
M: much looser than that. Last time, the only thing that tied it together was process. This time we’re trying to focus it by giving it a sense of travel, movement
N: my process is based around sounds I think are interesting. If I think oil pump sound is boring, do we use it, how do we use it, do we process it? Do we use only sounds that come from oil and religion? Could be boring as piss.
G: constraints are going to be productive. N: I’m questioning that.
M: constraints are a starting point, should be a factor in at least one of our modes (text)—but we should be able to open out, not have to take pictures of gas pumps all the time.
D: I’m a little mystified by this: if it becomes less interesting, switch to something else; if it doesn’t end up fitting in, we’ll use it for another project.
N: but if I’m working on something I become attached, and if someone says “this isn’t about O and R,” I’ll wanna punch them. Let’s review sounds as they get made, as we do texts and images.
M: that’s about working in isolation. We need to be more collaborative with the sound as with everything else
G: pictures sound and voices blending a lot, as they did in Tulsita
N: not that hard to soundtrack the voices; not enough. How to go beyond that and bring in a variety of sounds we’re all interested in.
M: likes idea of chapters and vignettes. Combination of soundtrack and other things involving the interludes, other stuff. The soundtrack could be a totally sonic piece. How do we incorporate image w/out competing w/ each other? What if we did do chaps w/ interludes? Have a chap that’s meant to go w/ an image, like a slide show; then the interlude w/out image, just sound.
G: or varying approaches, like one that parodies Ken Burns…
N: in favor of having text in small portions, at least on the wall, maybe quoted as if it’s someone’s philosophical sayings
D: I agree; that’s what we accomplished in Tulsita; collaboration of text and visual is part of the point of our process, and we should evolve that in the next project
G: 2 models: 1) chaps loosely related, connected by sonic interludes; 2) frame narrative into which chaps ostensibly fit—frame is intro and conclusion, and interludes
[fight and argument—blah blah blah]
then we start reading the texts:
“Here are artists”: first part of it, M and I imagine a filmstrip style, with the sound and the same border—can we photoshop this? Nathan wants one to melt. Filmstrips also usually have text—high five! Also, one of the fun things about filmstrips was that the sound and image always went out of whack.
Here are artists, yuppies, and Baptists
Here is a block in the America of heart
Here is manifest wind coursing through oil derrick park
tfos
ykcits
drah
who work for oral.
Images: Tulsa parks, Glenpool, oil parks, derricks, refineries (through oil derrick park)
flag sticking up (manifest wind)
who work for oral—janitors at ORU
get some brown recluses jumping
If I experienced a wave of oil notions, it would sound like this:
first the rusty doublewide door opening into the empty warehouse
then the skyscraper scraping steel
then the motorcycle of advance warning, the apostle
higher, then training my sights lower,
ticking off the paperthin railings as they melt by
images: ticks, melting
skyscrapers/ scrapes/ sorrel/ scapes
“then we then” trying to find sonic equivalents for Nathan’s d.j.ing
“Deep Long”:
two characters: 1) doctor in graphoilogy, “Dr. Cocktail” 2) ape-man
http://graphoilogy.blogspot.com/
contains a diagram that describes our process: cumulative production/proven reserves/future discoveries
“Resale the Copious”
Jesus is a doctor like Dr Cocktail—Cocktail as reincarnation of Jesus?
“film strip” or “filmstrip” on youtube
“DavidGrantMindyNathan”: the way G reads it, sounds exactly like a filmstrip
Maybe 2 filmstrips that comment on each other—start and end w/ filmstrips? In the first, the sound and image get out of whack; in the second, the image itself becomes deformed, transformed into a different kind of media.
use the graphoilogy graph, modifying it in various ways over time
W/ tulsita, text was the backbone
here, sound is the backbone. Voiceover more important.
Development of a narrative—connections between the poems that develop a story, weave a narrative
Think Cardiff, Robertson
come up w/ a loose but specific narrative structure? List of characters, etc?
Lonely Soul Oil: use as a kind of word from our sponsor?
Grapes of Wrath: vignettes that separate the parts—turtle crossing road, used car salesman
N’s problem w/ getting a sense of structure, what’s fair game for sound
M: if we come up w/ a narrative structure, it gives a jumping off point for N’s and M’s work process
G: let’s say 7 sections, each with voiceover, separated by interludes, given to N to work with
N: runs the risk of me creating soundtrack for a text
M: much looser than that. Last time, the only thing that tied it together was process. This time we’re trying to focus it by giving it a sense of travel, movement
N: my process is based around sounds I think are interesting. If I think oil pump sound is boring, do we use it, how do we use it, do we process it? Do we use only sounds that come from oil and religion? Could be boring as piss.
G: constraints are going to be productive. N: I’m questioning that.
M: constraints are a starting point, should be a factor in at least one of our modes (text)—but we should be able to open out, not have to take pictures of gas pumps all the time.
D: I’m a little mystified by this: if it becomes less interesting, switch to something else; if it doesn’t end up fitting in, we’ll use it for another project.
N: but if I’m working on something I become attached, and if someone says “this isn’t about O and R,” I’ll wanna punch them. Let’s review sounds as they get made, as we do texts and images.
M: that’s about working in isolation. We need to be more collaborative with the sound as with everything else
G: pictures sound and voices blending a lot, as they did in Tulsita
N: not that hard to soundtrack the voices; not enough. How to go beyond that and bring in a variety of sounds we’re all interested in.
M: likes idea of chapters and vignettes. Combination of soundtrack and other things involving the interludes, other stuff. The soundtrack could be a totally sonic piece. How do we incorporate image w/out competing w/ each other? What if we did do chaps w/ interludes? Have a chap that’s meant to go w/ an image, like a slide show; then the interlude w/out image, just sound.
G: or varying approaches, like one that parodies Ken Burns…
N: in favor of having text in small portions, at least on the wall, maybe quoted as if it’s someone’s philosophical sayings
D: I agree; that’s what we accomplished in Tulsita; collaboration of text and visual is part of the point of our process, and we should evolve that in the next project
G: 2 models: 1) chaps loosely related, connected by sonic interludes; 2) frame narrative into which chaps ostensibly fit—frame is intro and conclusion, and interludes
[fight and argument—blah blah blah]
then we start reading the texts:
“Here are artists”: first part of it, M and I imagine a filmstrip style, with the sound and the same border—can we photoshop this? Nathan wants one to melt. Filmstrips also usually have text—high five! Also, one of the fun things about filmstrips was that the sound and image always went out of whack.
Here are artists, yuppies, and Baptists
Here is a block in the America of heart
Here is manifest wind coursing through oil derrick park
tfos
ykcits
drah
who work for oral.
Images: Tulsa parks, Glenpool, oil parks, derricks, refineries (through oil derrick park)
flag sticking up (manifest wind)
who work for oral—janitors at ORU
get some brown recluses jumping
If I experienced a wave of oil notions, it would sound like this:
first the rusty doublewide door opening into the empty warehouse
then the skyscraper scraping steel
then the motorcycle of advance warning, the apostle
higher, then training my sights lower,
ticking off the paperthin railings as they melt by
images: ticks, melting
skyscrapers/ scrapes/ sorrel/ scapes
“then we then” trying to find sonic equivalents for Nathan’s d.j.ing
“Deep Long”:
two characters: 1) doctor in graphoilogy, “Dr. Cocktail” 2) ape-man
http://graphoilogy.blogspot.com/
contains a diagram that describes our process: cumulative production/proven reserves/future discoveries
“Resale the Copious”
Jesus is a doctor like Dr Cocktail—Cocktail as reincarnation of Jesus?
“film strip” or “filmstrip” on youtube
“DavidGrantMindyNathan”: the way G reads it, sounds exactly like a filmstrip
Maybe 2 filmstrips that comment on each other—start and end w/ filmstrips? In the first, the sound and image get out of whack; in the second, the image itself becomes deformed, transformed into a different kind of media.
use the graphoilogy graph, modifying it in various ways over time
Saturday, June 9, 2007
6/8/2007 Meeting notes
Nathan and I met in his studio to work on sound. I also showed him the beginnings of a chapter draft in flash.
Nathan’s idea of fourth screen in back with video of us as viewers/hecker—has a big brother, self-reflexive feel; with only occasionally saying something, sometimes just standing there, sometimes speaking without sound; in fact, sounds don’t even have to by synched.
The way LA was set up when we visted is just closed enough to suggest the box, the room, the sanctuary. Our installation is a sanctuary within the sanctuary of Living Arts.
Instead of ch, G says, we could work in modules, little riffs of time in images, motion, and sound. Then, we divide the sound modules in a kind of Chinese recipe—noodles/rice, meat, sauce, veggies—that always go together—that might solve the synch problem.
David read in most of the remaining texts, so we have lots of poetry.
Pick out certain lines and phrases and sounds from poems and have Nathan find the recordings. Use those little chunks in animations.
Reverse the process—give Nathan a flash animation and have him accompany it.
During this installation, we should have every combination of text/sound/image, including dead silence with images moving, still images with sound, etc etc.
We need to take advantage of the space and time that LA affords us without succumbing to the impulse to be too complicated. Spread sound, images, texts, and silence over the space and the time.
Without four sound systems, I’m afraid that it will just be another movie soundtrack.. Nathan says he doesn’t want this either.
We can use other sound systems, on side perhaps, to draw people’s attention to a certain event.
Check out video cameras from TU>
Nathan slowed down some video from Catoosa using Final Cut that is really great.
WE NEED A TRIPOD!
Part of an installation is recognizing the viewers perception within the space of the gallery, in addition to our perception of the material/place.
Figure out how to make a DVD run automatically.
Nathan’s idea of fourth screen in back with video of us as viewers/hecker—has a big brother, self-reflexive feel; with only occasionally saying something, sometimes just standing there, sometimes speaking without sound; in fact, sounds don’t even have to by synched.
The way LA was set up when we visted is just closed enough to suggest the box, the room, the sanctuary. Our installation is a sanctuary within the sanctuary of Living Arts.
Instead of ch, G says, we could work in modules, little riffs of time in images, motion, and sound. Then, we divide the sound modules in a kind of Chinese recipe—noodles/rice, meat, sauce, veggies—that always go together—that might solve the synch problem.
David read in most of the remaining texts, so we have lots of poetry.
Pick out certain lines and phrases and sounds from poems and have Nathan find the recordings. Use those little chunks in animations.
Reverse the process—give Nathan a flash animation and have him accompany it.
During this installation, we should have every combination of text/sound/image, including dead silence with images moving, still images with sound, etc etc.
We need to take advantage of the space and time that LA affords us without succumbing to the impulse to be too complicated. Spread sound, images, texts, and silence over the space and the time.
Without four sound systems, I’m afraid that it will just be another movie soundtrack.. Nathan says he doesn’t want this either.
We can use other sound systems, on side perhaps, to draw people’s attention to a certain event.
Check out video cameras from TU>
Nathan slowed down some video from Catoosa using Final Cut that is really great.
WE NEED A TRIPOD!
Part of an installation is recognizing the viewers perception within the space of the gallery, in addition to our perception of the material/place.
Figure out how to make a DVD run automatically.
Sunday, May 27, 2007
Notes on Nathan's sound homework
Track 1 & 2
Short clip of preacher
Track 3
David reading (The modernity of est lubricates est)
I’d like to see some of the photos from Catoosa here—sandpipers, river, etc.
Track 4
rechanneling of sexual mores
Track 5
similar to track 4—could be the same?
Track 6
Grant reading dig down deeper along with Mindy reading new text (“Deep long rolling”), rain in background.
I see how Nathan is drawing parallels between the two “deep” poems.
Track 7
sermon, Tulsa movie, rig sounds
Too much of the sermon??
marriage (reminds me of the “Interesting Facts you may already know”)
Track 8
“Dot dot dot”
Grant reading from “DavidNathanGrantMindy”. The long chords from Tulsita (taken from Tulsa movie I believe)
Mindy reading from “Deep long rolling”.
cellos?
Great use of sermon in this one, though I’d like to hear more of David’s voice reading our texts than repeats of the sermon stuff from Track 7
7:07-Indians singing Jesus song (more of this)
7:30-David reading “The modernity of est lubricates”—I think we could use other texts rather than repeating
Notes:
I’d like to hear more of the “music” you were making when we were writing
I do think we need to read more of the poetry we’ve written
More oil derrick sounds?
Short clip of preacher
Track 3
David reading (The modernity of est lubricates est)
I’d like to see some of the photos from Catoosa here—sandpipers, river, etc.
Track 4
rechanneling of sexual mores
Track 5
similar to track 4—could be the same?
Track 6
Grant reading dig down deeper along with Mindy reading new text (“Deep long rolling”), rain in background.
I see how Nathan is drawing parallels between the two “deep” poems.
Track 7
sermon, Tulsa movie, rig sounds
Too much of the sermon??
marriage (reminds me of the “Interesting Facts you may already know”)
Track 8
“Dot dot dot”
Grant reading from “DavidNathanGrantMindy”. The long chords from Tulsita (taken from Tulsa movie I believe)
Mindy reading from “Deep long rolling”.
cellos?
Great use of sermon in this one, though I’d like to hear more of David’s voice reading our texts than repeats of the sermon stuff from Track 7
7:07-Indians singing Jesus song (more of this)
7:30-David reading “The modernity of est lubricates”—I think we could use other texts rather than repeating
Notes:
I’d like to hear more of the “music” you were making when we were writing
I do think we need to read more of the poetry we’ve written
More oil derrick sounds?
Tuesday, May 15, 2007
Notes on sounds
070515 Wakow Listening Notes
New processing of some old Tulsita sounds, from Tulsa movie. Nathan feels strong about using this. (Flatlander high)
One track he played while we were writing, Nathan produced from an acoustic guitar (canal’s rending)
Nathan suggested that each chapter have a real broad conception of how we are using sound, not just as soundtrack or layers or background music.
Original key of Tulsita chords in original key (contrails)
Acoustic guitar, sounds at first like violin picsicado (Rabelais guitar); vaguely religious sounding,
Nathan suggested giving us each homework, a 3-5 min sound that we have to put image and text to.
Fluid sounds, low register morphs into high metallic sounds (overload guitars)
Sound of water (trickle)
Oil pump (oil pump)
Nathan reading and grant over embers sound (after fires)
sermon in downtown Tulsa, culled references to books ie OK divers manual (more light or not)
Tulsa clips interspersed in Presby sermon (canal rendered)
long track, beginning with metallic buzz then fading into filtered oil pump sounds (slow pump fizzy)
salt water sound with some other old Tulsita sounds and Presby sermon
“sermonicity” –Nathan
The part with David reading on several tracks is already what I imagine the sound track to this movie to be.
The tryptich is very enticing to me because of the long religious history to the form.
New processing of some old Tulsita sounds, from Tulsa movie. Nathan feels strong about using this. (Flatlander high)
One track he played while we were writing, Nathan produced from an acoustic guitar (canal’s rending)
Nathan suggested that each chapter have a real broad conception of how we are using sound, not just as soundtrack or layers or background music.
Original key of Tulsita chords in original key (contrails)
Acoustic guitar, sounds at first like violin picsicado (Rabelais guitar); vaguely religious sounding,
Nathan suggested giving us each homework, a 3-5 min sound that we have to put image and text to.
Fluid sounds, low register morphs into high metallic sounds (overload guitars)
Sound of water (trickle)
Oil pump (oil pump)
Nathan reading and grant over embers sound (after fires)
sermon in downtown Tulsa, culled references to books ie OK divers manual (more light or not)
Tulsa clips interspersed in Presby sermon (canal rendered)
long track, beginning with metallic buzz then fading into filtered oil pump sounds (slow pump fizzy)
salt water sound with some other old Tulsita sounds and Presby sermon
“sermonicity” –Nathan
The part with David reading on several tracks is already what I imagine the sound track to this movie to be.
The tryptich is very enticing to me because of the long religious history to the form.
Sunday, April 22, 2007
Notes from meeting 4/20/07
Frames juxtaposing still photos with short movies along a wall. Maybe even giving it a “stations of the cross” type effect. Other frames might have just subtly changing images. when you walk in, it feels like a normal gallery show.
We could still do this in a large scale, with projectors doing the images. Most of the gallery would be dark.
Could have a box-type situation where the projectors were on the outside and the images could be seen from the inside or outside while still retaining clarity of resolution.
maybe we could have five projectors projected into five frames along the two major walls
Next we need to:
Text from sound
Image from sound
and image from text
We could still do this in a large scale, with projectors doing the images. Most of the gallery would be dark.
Could have a box-type situation where the projectors were on the outside and the images could be seen from the inside or outside while still retaining clarity of resolution.
maybe we could have five projectors projected into five frames along the two major walls
Next we need to:
Text from sound
Image from sound
and image from text
Saturday, April 14, 2007
Wakow minutes 4/14/07
Shazzam, 'kowers:
Sound ideas:
local news and media?
church/religion sounds
oil: the physical sound, sounds and lines from movies
oil/water
lack of water—drought, landlocked (ties up to dust bowl)
relation entre oil/religion and water? Holy water, transportation
unspoken third term in a triangle
sound of the explosion at the OKC memorial: the hearing is about drilling for water, then interrupted by an explosion caused by ingredients for petroleum-based fertilizer
baptism vs transportation of goods; both industrial
2007 is the 100th birthday of the gas station
Do we know what happened between two days before the oil boom in OK and 2 weeks after? Like Saudi Arabia, in which enormous amounts of money cause a drastic rift? Or a surge in population? etc
all the churches are built in the 20s and 30s—they are literally coming out of the ground at the same time as oil
what were they using to get oil out of the ground? water?
is there a causal relationship between the oil boom and dust bowl? For instance, when did wide-scale damming begin in the state? What kind of power did it provide? I’ve heard that damming changed the climate here, making it more humid in summer—is there some correlation between the dust bowl and damming?
http://xroads.virginia.edu/~1930s/RADIO/c_w/guthrie.html
In 1926 after returning briefly to Okemah, Woody set out for Pampa, TX to join his father. There he began painting signs, but an uncle bought him a guitar and taught him to play.
"And there on the Texas plains right in the dead center of the dust bowl, with the oil boom over and the wheat blowed out and the hard-working people just stumbling about, bothered with mortgages, debts, bills, sickness, worries of every blowing kind, I seen there was plenty to make up songs about. . . . I never did make up any songs about the cow trails or the moon skipping through the sky, but at first it was funny songs or songs about what all's wrong, and how it turned out good or bad. Then I got a little braver and made up songs telling what I thought was wrong and how to make it right, songs that said what everybody in the country was thinking. And this has held me ever since."
reading: have someone w/ strong OK accent read some of our source texts? But we ourselves should read our poems.
the OK book section M read from was about missionaries
what about more testimonial, site specific, or process specific readings?
dry, technical readings that link up, perhaps drawn from TU library
write some connective sentences? write in church signs? (M says no)
deal w/ the original Oral Roberts building on Boulder and 18th?
our own sort of testimonials, specifically detailed observations of sites that we record? Photos do that well, but the voice description may add
“rooms and brains and ear canals” –description of psycho-acoustics, but a great title for something
Sound ideas:
local news and media?
church/religion sounds
oil: the physical sound, sounds and lines from movies
oil/water
lack of water—drought, landlocked (ties up to dust bowl)
relation entre oil/religion and water? Holy water, transportation
unspoken third term in a triangle
sound of the explosion at the OKC memorial: the hearing is about drilling for water, then interrupted by an explosion caused by ingredients for petroleum-based fertilizer
baptism vs transportation of goods; both industrial
2007 is the 100th birthday of the gas station
Do we know what happened between two days before the oil boom in OK and 2 weeks after? Like Saudi Arabia, in which enormous amounts of money cause a drastic rift? Or a surge in population? etc
all the churches are built in the 20s and 30s—they are literally coming out of the ground at the same time as oil
what were they using to get oil out of the ground? water?
is there a causal relationship between the oil boom and dust bowl? For instance, when did wide-scale damming begin in the state? What kind of power did it provide? I’ve heard that damming changed the climate here, making it more humid in summer—is there some correlation between the dust bowl and damming?
http://xroads.virginia.edu/~1930s/RADIO/c_w/guthrie.html
In 1926 after returning briefly to Okemah, Woody set out for Pampa, TX to join his father. There he began painting signs, but an uncle bought him a guitar and taught him to play.
"And there on the Texas plains right in the dead center of the dust bowl, with the oil boom over and the wheat blowed out and the hard-working people just stumbling about, bothered with mortgages, debts, bills, sickness, worries of every blowing kind, I seen there was plenty to make up songs about. . . . I never did make up any songs about the cow trails or the moon skipping through the sky, but at first it was funny songs or songs about what all's wrong, and how it turned out good or bad. Then I got a little braver and made up songs telling what I thought was wrong and how to make it right, songs that said what everybody in the country was thinking. And this has held me ever since."
reading: have someone w/ strong OK accent read some of our source texts? But we ourselves should read our poems.
the OK book section M read from was about missionaries
what about more testimonial, site specific, or process specific readings?
dry, technical readings that link up, perhaps drawn from TU library
write some connective sentences? write in church signs? (M says no)
deal w/ the original Oral Roberts building on Boulder and 18th?
our own sort of testimonials, specifically detailed observations of sites that we record? Photos do that well, but the voice description may add
“rooms and brains and ear canals” –description of psycho-acoustics, but a great title for something
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