All posts by Henry Brewer

Research – “Hollywood Babylon”

In my most recent tutorial with José we discussed further the themes I may want to feature in my piece – he suggested that as I am interested in making something to do with fame and celebrity I may want to explore the work of Kenneth Anger, and in particular his book ‘Hollywood Babylon’ which chronicles the “darkest and best kept secrets” of Hollywood from the 1910’s to the 1960’s.

Anger was a filmmaker born in 1927, who grew up as a child actor in Hollywood and went on to direct a series of surrealist and erotic films known as the “Magick Lantern Cycle”, made between 1947 and 1981. These films, such as “Fireworks” were pioneering in their representation of queer culture, at a time when homosexuality was illegal in the US.

‘Fireworks’ – 1947

‘Hollywood Babylon’ details, in a mostly chronological order, many stories of the seedy, darker underbelly of Hollywood during the first half of the 20th century, at a time when celebrity scandal was still a novelty and stars were a lot more idealised than they are today. It allows for an interesting insight into the lives of celebrities whose careers were ruined, and sometimes lives ended, by the city they chose to inhabit, the adulation they chased, and the hedonistic habits they formed – as Anger about said Hollywood in a retrospective documentary in 1991, “it’s provided me with… wonderful little insights into the human condition”. The book highlights the murky nature of humanity that inhabits all of us in different forms – after reading through, it is easy to see how David Lynch has cited Kenneth Anger as one his main influences, with similar themes of the darker side of humanity running rampant under a beautiful surface being portrayed in works such as ‘Blue Velvet’ and ‘Twin Peaks’.

There are definitely themes from this book I could use to inspire my own piece of work for the portfolio project. The idea of exploring the darker side of fame and Hollywood in particular may be more of a strong idea than the topics I had thought of before; para-social relationships and conspiracy theories – although there may still be ways I can link these themes in. I could potentially use more modern examples for my piece – such as the Harvey Weinstein ‘casting couch scandal’ from a few years ago. In this way I would be sonifying some of the themes presented in ‘Hollywood Babylon’, which would be an interesting exercise.

However, there is also a lot of falsity in ‘Hollywood Babylon’ – certain aspects of stories that Anger either overdramatised or completely made up. For instance, there is the story of Lupe Velez, an actress who committed suicide by overdosing on Seconal tablets. In the book, Anger claims that the tablets did not fully kill Velez as a result of the large amount of alcohol she had consumed earlier that evening, and that she ending up sprawling across her bedroom into the bathroom and accidentally drowned with her head in the toilet. This has been proven as untrue, when a police photograph of Velez’s body, as it was found, was released in 2013 – she had died in her bedroom as a result of the tablets, and did not drown in the toilet. Anger’s story, therefore, either came about as a result of rumour or deliberate mistruth.

Perhaps though, there could be ways of incorporating themes of falsehood and rumour into my piece as well. People are inevitably drawn to gossip and salacious stories – this is why tabloid culture is still so popular amongst us. We want to hear these stories and believe them to be true, and sometimes lies and rumour can be a big part of this – there are tons of examples of this online. Maybe there would be a way of me being able to touch on these topics in the work that I make.

Cover of InTouch magazine claiming Kim Kardashian is in tears about not being able to fit into her wedding dress – except the picture of her crying is old and the picture of the woman trying to fit into a dress is not of Kim Kardashian. This story was proven to be false.

Overall, ‘Hollywood Babylon’ was a very engaging read that I finished in two days and it almost felt addictive to read. This probably speaks to the human condition’s love for dirt – when it comes to gossip, no one is completely infallible.

Visiting Pracititioner – Amy Cutler

One of the most engaging talks from a visiting practitioner we’ve had recently was from Amy Cutler, a filmmaker and sound artist who explores themes of “geography and nonhuman others”. Whilst these themes are not directly related to the piece I aim to make for my portfolio, I found the methods in which she tells stories through sound very captivating and there is definitely some inspiration to be taken. In this blog post I will look at two of her works – Black Hole Cinema and Leave Me On a Rainy Afternoon.

Black Hole Cinema

https://amycutler.net/black-hole-cinema

Black Hole Cinema was a gallery installation project made in 2022 exploring the idea of representing black holes using film and sound, and incorporating the research carried out by Dr. Adam Brown on black hole ‘fishing’ – a hypothetical future process of extracting energy from a black hole once Earth runs out. Cutler was interested in exploring the desire to “exploit the least exploitable thing in the known and unknown universe” and to reflect this through cinema, as black holes seem to be fundamentally the opposite of this medium; cinema can be said to be a science of light, whereas black holes are dark anti-spaces where no data can enter or leave. In making the piece, Cutler decided against going for any kind of voiceover narration, and instead used samples that fade in and out of silence/darkness to tell the story – personally, I find this to be a much more engaging way of storytelling through sound in this instance. Having narration would feel a little on the nose, and allowing the texture of the sound to speak for itself is effective as the fading in and out of the background creates an atmosphere that works well with the dark atmosphere that is presented in the visual accompaniment. Pitched down samples that weave in and out throughout the piece make the film feel as though it is slowing down and fading away, sort of like a movie soundtrack that is disintegrating. As I am interested in using samples to tell the stories of various Hollywood celebrities in my own piece, this was a particularly interesting example as to how it can be done effectively.

Leave Me On A Rainy Afternoon

‘Leave Me On A Rainy Afternoon’ is a film made by Cutler in 2018 – it is, as she puts it, “a love letter to the dazed atmospherics of cloud systems, 1970s geography trips, the observation/notation of clouds, and their links to emotion and pathetic fallacy”. The film is a compilation of shots of the sky from various sources from early meteorological archives to U.S. databases and many more – the accompanying soundtrack to the film is particularly of note to me here. It is a mix of slowed-down and washed-out samples of songs to do with the rain, mixed in with other elements of soundscape and also AI. I find this particularly useful to look at as whilst I want to use some samples for my installation, and I am also thinking of using AI technology to recreate celebrities’ voices to give them an uncanny effect. For part of this piece, Cutler asked an AI to generate rain sounds which she then used as part of the soundtrack for the film – it was interesting to learn this only after hearing the piece for the first time, as I hadn’t been able to tell some of these rain sounds were AI-generated.

When the film was played to us in the lecture the washy nature of the piece really connected with me, it felt like looking at heavy rain through a window in a cosy house on a winter’s day. This has definitely been a good example to see of tying sound up with aesthetics. Something else Cutler also mentioned about the piece which I found interesting was the idea of medley. This film is a medley of a variety of media, both in the sonic and visual elements, however Cutler also mentioned the etymology of the world medley, and how it is related to act of meddling – i.e. changing around the order of something that is not necessarily yours to change the order of, which in a way is what has happened in this piece. Listening to it I felt as though this is a particularly good example of world-building and storytelling through sound without narration.

First Meeting with Jose

Yesterday I had my first meeting with Jose, my tutor for the portfolio unit. I found this meeting to be incredibly useful as he helped me think about themes I could aim to tackle with my work, including ones I hadn’t considered before. I need to consider how my work fits into the wider context around which it is produced, and to do this I should consider themes and subjects that are being used by other sound artists so I can do some academic reading that helps me think about the message I want to convey with my work. Although I am interested in creating a piece either about para-social relationships or conspiracy theories, these aren’t commonly talked about topics within sound arts discourse and I should do some more research into other areas of interested to help enhance my piece overall.

Jose suggested I may want to do some research into storytelling through sound art based on what I told him about my “hall of fame”. I have found an article online called ‘The sound machine: a study in storytelling through sound design’ by Mariana J. Lopez and Sandra Pauletto from the University of York (https://dl.acm.org/doi/abs/10.1145/1859799.1859808) which I will read over the coming days to see if I can find any examples of work I could take inspiration from and also just to further my knowledge around the subject in general. It may also be useful to see if I could link the theme of memory through sound to my piece, as this is also a subject there has been quite a large amount of writing around.

In the meeting, Jose also went through the brief with me and explained what I need to do for each element of the hand-in. It was useful to go through this in more detail, especially in terms of the presentation I am going to have to give about my prototype portfolio project – I know now more about what I will be assessed on, and what I should mention and prepare for in my presentation. These are things like the visiting practitioner lecture series, and the academic reading I have been doing around my chosen areas of interest. I’m happy we went through this, as academic reading is something I have always found challenging due to my ADHD – now I know I do have to place some focus on it and I have a large enough amount of time to do it.

Further Development on Ideas for Portfolio Project

After having further thoughts on what I would like my portfolio piece to become, I have settled on the idea of a “hall of fame” of sorts. If resources and time allow it, I would like to make a small corridor with gold streamers lining the walls and paper-mache caricatures of celebrities dotted along the corridor. This would be supplemented with a sound work utilising multi-channel technology to disperse different sounds along the corridor in order to tell a story as the viewer walks through the hall of fame. The charicatures would have bizarre and distorted features but would still aim to replicate the essence of the celebrities, as in my drawings I mentioned in the last blog. Having full-body replicas of the celebrities would allow me to dive into further detail when making them.

This will probably be too much to make just for the prototype – for this I think I may just make one celebrity and focus more on experimenting with the multi-channel technology as I have never used it before and it will be a big learning curve for me.

I still need to spend more time considering the themes I want to address with this project – whether to go down the route of conspiracy theories or para-social relationships. Both are interesting to me but in order for the piece to remain focused I should choose just one.

Preliminary Ideas & Inspiration for my Portfolio Project

In the past two years of the course the creative process I enjoyed the most was working on a mixed-media gallery installation, and going into 3rd year this is a practice I want to expand further on. For my prototype portfolio piece I will be documenting and handing in at the end of this unit, I will aim to make an installation that challenges me to build further on the skills I picked up last year whilst also making sure it is relevant to wider discourse around sound arts.

Topics that have particularly inspired me to create over the summer are fame, conspiracy and para-social relationships between celebrities and fans. I’ve never thought of myself as particularly talented at drawing, however this summer I decided I would draw as a kind of therapy and way of feeling at peace with myself, and wouldn’t try to hold myself to any standards. I started drawing mildly grotesque alien-style characters, who I would then give the names of celebrities I thought they resembled afterwards. I was doing this for fun and I realised there was something in it I really enjoyed – even though the drawings may look slightly child-like, I found pleasure in giving these celebrities strange ‘caricatures’. I suppose subconsciously this tapped into a perverse obsession I’ve always had with bizarre conspiracy theories and fringe cultures – think David Icke claiming that the royals and various celebrities are actually shape-shifting lizards(1). I try and do one of these drawings a week, just for fun, as a kind of therapy.

Roy Orbison
P!NK
Lana Del Ray
Björk
Kim Kardashian

I suppose there is also an element of pop art inspiration as well. Irony and parody are themes that I enjoy working with and have used for previous projects on the course (see my fuzz pedal built into a rainbow-poo-emoji plushie(2)).

I’d like to take some of the ideas and concepts I have used whilst doing these drawings to inform and inspire the installation I produce, whilst also doing more academic research around the topics I am interested in and finding works I can relate my work to. I obviously want it to be a lot more refined than these drawings I just do for fun, but I am happy that simple creativity out of boredom and relaxation have inspired me to make something larger.

References

  1. https://www.bbc.co.uk/news/av/uk-politics-36339298
  2. https://henrybrewer.myblog.arts.ac.uk/category/specialising-and-exhibiting/expanded-studio-practice/

The end of the process

Even though our hand-in date was June 2nd, and the final crits for the VR experience were on 22nd May, Ana wanted all of our sound assets and music sent to her by the 16th of May. I felt that this was fair, as this ensured she would have enough time to properly insert all of the sounds into the game in time for the crit, which in turn meant that there would hopefully only be small tasks to work on before the hand-in. This would’ve also been useful for her as we have not heard from the other VR student for the entirety of the process.

In the end, the process ended up being more collaborative between the sound artists than we originally had planned. We all had individual roles originally, however they tended to merge over time as different group members put in different amounts of work. This was helpful when it came to aspects such as foley, as the collaborative process in this instance was good for getting different ideas on how to make different sounds. When it comes to background music and recurring motifs, which had originally all been my responsibility, other group members also put music forward so as to not put all the burden on me for this responsibility, which was useful as there is a lot of music needed for the kind of experience we have made.

Just after our deadline for handing in sounds to Ana, she sent us some of the scenes she’d been working on for the experience. This was interesting, as I hadn’t seen too much of what she’d been working on since the first crit:

The lift in LCC, which goes between the different schools of the University
The Lobby

My music was mainly used in the Design School level of the experience (the experience is split into three levels once you make it into the lift – Screen School, Design School and Media School). There was a lot more music making involved in the creation of the project than I would’ve initially anticipated, so I’m thankful other members stepped up to help.

The design of the experience certainly leans into a more surreal aesthetic than I had originally imagined, but I think it’s overwhelming in a good way. It gets across the stressful aspects of the student experience and pokes fun at the university.

Exploring the carbon footprint of VR

As artists in the 21st century, we need to take our carbon footprint into account when making our work to preserve the planet for future generations. I’ve previously heard about the immense amount of environmental resources that gaming requires, and I wanted to take a more detailed look at what this means for the VR industry, and hopefully try to find examples of companies attempting to work sustainably.

Having done some thinking and research, there are multiple ways in which VR can be harmful to the environment. Most advanced VR hardware is made from plastic, which in turn is usually is made from fossil fuels, and the process of turning the fossil fuels into plastic is also very resource intensive. There’s also the question of waste, after the technology has passed its prime and people move on to the next most advanced option. Whilst the hardware at the moment is generally of a good quality and built to last, this might not be the case in the future as the technology becomes more readily accessible, and we might see something akin to smartphones in recent years, where products gradually deteriorate over quite a short amount of time, creating a lot of ‘digital waste’. There are products such as Google Cardboard which aim to be a more sustainable way of accessing VR, however these really aren’t very advanced and require a smartphone.

According to a 2019 peer-reviewed study(1) on the environmental impacts of gaming, 24 megatons of carbon dioxide are made each year from the US alone when it comes to energy use. This doesn’t even take into account the other factors I mentioned in the paragraph above.

When researching companies that are trying to do something about the impact on the planet from VR and gaming, I could find surprisingly few examples. There were a few articles about certain industries moving a few operations over to VR to reduce carbon emissions (such as aerospace, car manufacturing and oil), but not any statements from companies that are leading the VR revolution on how they might pledge to keep their impact low. Also, from the industries I’ve found that do use it, it seems more like virtue signalling than meaningful change. Hopefully time will change this, but I’m not so sure.

Ultimately, I don’t think there’s enough being done to make sure that the VR industry is sustainable. Then again, the same can be said for most industries.

References

  1. https://link.springer.com/article/10.1007/s40869-019-00084-2

Reflections on my Digital Twin

Recently, we had a couple of lectures from Serra, who teaches the VR course. I found the topics she covered very engaging, and one thing she brought up which gave me food for thought was the idea of the ‘Digital Twin’, which is a concept being brought very much into the near future by companies such as Meta:

As someone who’s grown up with social media since the age of 11 (and even then as a younger child I was still on sites that let you create an online alter-ego like Club Penguin and Bin Weevils), I am very used to having a digital version of myself online, for anyone to see. It’s something that I only really thought about the consequences of long after I was given access to these kinds of sites as a young child, and to be honest I really wish I had not been given access to them until I was a lot older. There’s a strange sort of relationship that a lot of people of my generation seem to have with their digital lives – they already feel like an extension of reality, like a whole different world where we have to present ourselves in a completely different manner. In my experience, this has led to me feeling terribly unsure about who I really am, what I like and dislike, etc. This is most likely due to the sheer abundance of information and opinion that is spewed out at social media users on a daily basis. Whilst there has been good that has come from this technology, I feel as though we are losing sense of ourselves already.

That’s why I’m quite terrified for concepts such as the Metaverse to become reality. I already feel uncomfortable with the digital version of myself as it is, and I have made great effort in recent months to try and mentally detach myself from it. I do not want my life to rely on this completely fake reality where I have a bad-looking caricature of myself being the only representation that most people see of my thoughts and my body. Especially when this caricature is owned by Mark Zuckerberg.

I remember watching the documentary ‘Life 2.0’ a few years ago, which was about a site called Second Life which in many ways is a precursor to the Metaverse. People would spend hours and hours every day on this site, looking at their alter-ego, maybe trying to escape their day-to-day life. I remember thinking then, that it was a bit strange and lonely. In my opinion, concepts such as these should not become part of mainstream culture.

Maybe this is why I’ve had some trouble engaging with this unit so far. All in all, I am not very interested in VR at all, and I believe people should seek real life experiences. I understand there can be some educational uses (e.g. learning how to perform surgery, etc.) but other than this, I really fail to see the excitement in it. This isn’t to say I’m right and everybody else is wrong, but the digital world is something I personally try to stay away from as much as possible (with not much success).

Final Reflections

Overall, I have found it difficult to make a piece that links to my chosen essay topic for this unit. The attempts that I made to try and get it to directly link to the topic with the AI text-to-speech bot didn’t go as I would have liked them to, but this might be because I was always a little skeptical that this might work. I wanted to try it because it felt like it would make the piece seem more relevant, however I feel as though I may have approached it with the mindset that it wasn’t going to work, which probably hindered that idea.

I’m glad that I got the opportunity to experiment with a method of working that I haven’t previously used in my pieces for the course before – that is, the improvisation with the self-oscillating pedals, which was a new technique that felt relevant to my practice outside of the university as a session guitarist. Interacting with my pedals in a way that made me see them in a completely new dimension, even thought I previously though that I had explored all of their sonic capabilities, was definitely an eye-opening and engaging process for me. Having said that, I do feel as though the execution of the final piece wasn’t up to standard for me and this probably has something to do with the lack of creative inspiration I had around the topic around the time of making it.

Turning the piece into an imagined soundscape that might make up part of a broader hypothetical gallery exhibition definitely did help inspire me a bit more though, and this may be to do with the fact that by far the unit I have enjoyed most on the course so far was the gallery unit we did last term. If I’d had more time I would’ve tried to arrange and assemble a small mock-up of what I think the gallery space may look like, however I had the idea for making the sound work part of a wider exhibition piece fairly late in the process.

Whilst I am happy with some aspects of the piece, there are definitely aspects of it I might change if I were to do it again. I would maybe record some more improvisations and perhaps have more of a creative mix between all of the elements. I will allow myself some forgiveness for this, as it is my first time working with mixing improvisations together. Due to the unpredictable nature of pedals when they are used in the way I used them for the project, it is difficult to plan out what sounds one wants to get from them before the record button is pressed. I think I’m happy to leave this project in the past now, as an experiment with a technique that I had never used before, and that I may take forward into my professional practice when writing or producing with other artists as a session musician. Ultimately, I’m not sure whether the piece really got across what I originally wanted to convey, and there are definitely other pieces I’ve made in the past that I’m more proud of, but I’m glad I tried something new.

Further developments on my piece

After a period of attempting to experiment with layering the text-to-speech voice on top of the pedal improvisations, and using a few vocal transformer effects to artificially double-track the voice, I’ve decided that the two elements of the pedal improvisations and the bot voice are not going to work together well in the piece. The sonic textures clash, but not in a particularly interesting way – it just sounded amateur. I attempted for a while to make a piece just made with various ways of chopping up the text-to-speech voice, but I wasn’t very inspired by it.

I’ve instead decided to make the track wholly from my experiments with the self-oscillating pedals and imagine it as part of a wider hypothetical exhibition piece with props that help show the message I originally wanted to convey in this piece. As an artist and musician in London, it’s easy to get overwhelmed by the intensity of the city, and I think the internal chaos of the sounds of the pedals wrestling against each other gets that point and atmosphere across well enough that I don’t need to add the text-to-speech voice on top of it.

I started by using the TARDIS-like sound as a base to add other elements of my improvisations on top of it. This sound, to me, represents the low-level of anxiety I usually feel when I’m in London – a sort of rumbling of the soul which can leave me feeling overwhelmed at times. After around the 20 second mark in the piece and began to add the gritty, fizzy sound that I posted in the last blog. The first two sounds compliment each other well and they create a low and rumbling, yet also gnarly and anxious sound that reflect the baseline level of anxiety I often feel in the city:

Next I added the sonic-screwdriver-esque sound that came from the wah and chorus pedals that I posted in the last blog. The desired effect of this was to make a sound that feels like a robotic fly is buzzing around the listeners ears, which is why I repeated the sound and had it pan from left-to-right.

In the last blog I posted a sound which I described as “really harsh high-pitched noise”. Originally, I didn’t want to use it as it sounded far too abrasive to have any real use in the piece. However, coming back to it I felt as though placing it above the sounds I already had in the piece made it sound like strange, uncanny tv static which I think has its uses in the piece – so I added almost the entirety of that improvisation as well. There’s elements of it that wash out really nicely into a big spacey white noise & reverb kind of sound. I got this effect from just turning the reverb knob on my holy grail pedal up to the maximum setting. There also glitchy pitch-changing noises that come from me twisting the harmony knob on my pitch shift pedal. Here’s how it sounded on top of the other tracks in the piece:

When mixing the piece, I’ve tried to keep effects added on my DAW after the original improvisations very minimal, as I want to stay true to the original improvisations I made with the pedals. The only instance where I changed it was on one track where I added a reverb to a chainsaw-sounding track I had made with my distortion and chorus pedals. This was the original:

And this is with the reverb:

Reverb settings for the track

I did this because it helped the sound slot more into the mix, whereas before it had sounded far too harsh to add into the piece. I turned the dry signal all the way down, and only kept the wet signal up.

Most of the piece consists of interactions between all of the improvisations. Some elements come and go, whilst the low rumbling sound always stays as a reminder of the underlying stress beneath my life in London. As I mentioned before, my intention whilst mixing the piece has been to keep as many DAW-based effects off the piece as possible. I think my intentions and emotions I put into the improvisations I made should be sufficient, and I don’t really want to alter them at all.

I’ve given some consideration towards the name of this piece; as an homage to Terre Thaemlitz’s ‘Meditation on Wage Labor and The Death of the Album’ that I’ve written about in my essay, I think I may call it ‘Meditation on the Fact that I’m Trying To Meditate but the Restless Nature of the City That I Feel I Have to Live in to Forge a Career in Art and Music Gives me this Horrid, Rumbling Feeling Throughout my Body.’

In terms of a visual aspect to the hypothetical exhibition I am imagining, I think I would like to build a very small space (enough only for one person) for the listener to crouch inside with the speakers. I’ve tried brainstorming a few ideas for how I might paint or decorate the space, however I think I would just leave it completely dark and close the listener in. This would add to the overwhelm that I am trying to get across, sort of similar to a sensory deprivation chamber but not quite to that extreme. If I had more time, I might mix the piece in 5.1 sound to add to the intensity in the space.