User:Max Dovey/foleynarrative: Difference between revisions
No edit summary |
No edit summary |
||
| (One intermediate revision by the same user not shown) | |||
| Line 1: | Line 1: | ||
{{vimeo | 95677127 }} | {{vimeo | 95677127 }} | ||
<source lang = 'python'> In him him him him him and go who is him and him and him and him him him him him him him or her to a new and is in him and him and him and him and him and him and him/him him him him him him him him him him him him him him him him </source> | |||
PERFORMANCE | FRIDAY 16th MAY 2014 | |||
RADIO CALLING AT TENT , ROTTERDAM | |||
Foley sounds are performed into computer that translates each sound in a speech translation. The language generated is recited as part of the performance. | |||
Proposal - | |||
hello radio calling. | |||
I propose to perform a generative radio play by translating sounds of objects with speech to text programs. The performance will be a mixture of spoken narrative with speech translation of foley ambient sounds that will be made as part of the show. Through this method of translation a generative language is produced to become material for the radio performance. | |||
Still from ‘Smart Objects’ (2014) https://vimeo.com/86896084 | |||
I will make the foley and ambient sounds for a spoken story and using speech to text software will translate the sounds into words. The words that are generated through the translations will be projected on screen. As a performer I will incorporate these phonetically associated words into the spoken narrative. Visually the audience will see a stage full of objects that will be used to create foley sounds that will translate into the story. | |||
Within Radio Calling I will work with the framework of 'the radio drama' that is broadcast infront of a live audience. I am interested in presenting a live interpretation of the sounds to the local audience and incorporating these translations into the narrative for the online audience. Sound design is crucial in narrating a story in radio, what happens when these sounds begin dictating the story through the generated audio transcription. Can the audio accompaniment be created live and how can the performer respond to the linguistic interpretations of the sounds that are being made. | |||
I am interested in presenting linguistic properties of sound and improvising to the material created in a live performance. | |||
Max Dovey. | |||
Latest revision as of 11:45, 26 May 2014
http://vimeo.com/ 95677127
In him him him him him and go who is him and him and him and him him him him him him him or her to a new and is in him and him and him and him and him and him and him/him him him him him him him him him him him him him him him him
PERFORMANCE | FRIDAY 16th MAY 2014 RADIO CALLING AT TENT , ROTTERDAM
Foley sounds are performed into computer that translates each sound in a speech translation. The language generated is recited as part of the performance.
Proposal -
hello radio calling.
I propose to perform a generative radio play by translating sounds of objects with speech to text programs. The performance will be a mixture of spoken narrative with speech translation of foley ambient sounds that will be made as part of the show. Through this method of translation a generative language is produced to become material for the radio performance.
Still from ‘Smart Objects’ (2014) https://vimeo.com/86896084
I will make the foley and ambient sounds for a spoken story and using speech to text software will translate the sounds into words. The words that are generated through the translations will be projected on screen. As a performer I will incorporate these phonetically associated words into the spoken narrative. Visually the audience will see a stage full of objects that will be used to create foley sounds that will translate into the story.
Within Radio Calling I will work with the framework of 'the radio drama' that is broadcast infront of a live audience. I am interested in presenting a live interpretation of the sounds to the local audience and incorporating these translations into the narrative for the online audience. Sound design is crucial in narrating a story in radio, what happens when these sounds begin dictating the story through the generated audio transcription. Can the audio accompaniment be created live and how can the performer respond to the linguistic interpretations of the sounds that are being made. I am interested in presenting linguistic properties of sound and improvising to the material created in a live performance.
Max Dovey.