ASSIGNMENT #8 - Brainwashed

Please read Seth Godin's "Brainwashed": http://changethis.com/manifesto/show/66.01.Brainwashed

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According to Godin, “acknowledging the lizard” means that you must realize the part of your brain that makes you feel nervous, ashamed, or embarrassed about your work must be ignored in order to do your best. “Make art” especially spoke to me as a musician. This step for personal reinvention pushes you to let your guard down to create something new. Making art can yield very positive rewards. “Learn” also spoke to me. Gobin explains that this is no longer the process of learning your life-long career in school, but learning from mistakes and experiences throughout the ever-changing life of the modern person.

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These layers are all connected to this very blog. I have been examining different types of media in which the artists all went through these phases of artistic expression. In all of the examples I have blogged about, these steps were taken, whether deliberately or unconsciously, but the people that made them.

Take the scene from Eraserhead for example. This is a clear case of both “acknowledging the lizard” and “making art”. David Lynch was obviously not concerned with being criticized or being laughed at for making this movie. The movie is a bizarre sequence of events that does not conform to the norms of the movie industry, also making it a true work of art. He also exhibits learning, as he progressed by leaps and bounds the making of this movie. He has learned the importance of both sound design and emotion in some of his newer works such as Mulholland Drive and Inland Empire.

The referenced musical works from both Tool and Russian Circles exhibit these layers also. They both acknowledge the lizard by creating songs that challenge pop norms. In Tool’s case (“Reflection”), the band wrote a song based on tribal rhythms and lyrics that go deep into spirituality and self-reflection (no pun intended). Russian Circles (“Fathom” and “Philos”) exhibits this layer by having widely different musical styles for songs on the same album and excluding vocals altogether. As such, both bands are creating works of art. Both bands also show the “learning” layer. Tool has evolved into a much more spiritual group than what it started out as, and Russian Circles continue to experiment with different genres and adding & subtracting different instruments.

These layers and subsequently noticing them in others’ works will definitely help grow into a better person. As an artist, I can take notice of ideas that are artistic, challenge the status quo, and learn from them. I am able to apply new ideas to my own musical endeavors. For example, I have tried out tribal rhythms on the drum set (inspired by Tool) and my band City of Wolves has experimented with numerous different genres (inspired by Russian Circles). My other band MBANZA has been experimenting with a large amount of world instruments, no doubt inspired by bands like Russian Circles who are not afraid to go against Western standards. As a student in Media especially, I have been incorporating these ideas into my studies without even realizing it. All quarter in this class I have been creating media-based works of “art” without caring about criticisms from my peers (only about some grading criteria) and learning through the experience of creating rather than through lectures alone.

ASSIGNMENT #7 - Scene Deconstruction

ASSIGNMENT #6 - Animation Deconstruction

Here are two still images from Disney Pixar's WALL-E:

The first still image depicts the robot named WALL-E in a post-apocalyptic planet Earth. This is quite apparent because of clever use of Color and Lighting.

The scene uses a monochromatic color scheme. By using shades of brown, it is apparent that the Earth has been rendered uninhabitable because of the humans’ careless treatment of the environment. The drabby environment is further emphasized by the exclusion of hues such as green, which represents life on Earth. The brightness is not particularly brilliant, also emphasizing a sad and lonely Earth. The saturation is more neutral than vivid. Lighting plays an important role in this screen capture. The stark contrast between sunlit areas of the character’s body and the shaded areas lead to valid assumptions about the environment. It is apparent that, because of global warming, the ozone layer has been dramatically affected. Even though thick smog engulfs the planet, ultraviolet rays still pierce through with great strength. All of this contributes the symbolism of “where we are headed”. It is no surprise that many people who view the film see it as a  statement of environmental activism. Further symbolism can be concluded by the lighting’s focus on WALL-E. It draws attention to his sad expression, even though he does not actually have a “face”. This also can be said about the mood of the Earth scenes--it’s a sad, gloomy world, and it’s “all our fault”.

The second still image depicts WALL-E and his romantic interest EVE inside a giant human spacecraft. This image presents a bold contrast to the shot.

There is no real color scheme in this setting. Bright advertisements of all hues give the appearance of consumerism having taken over human life. However, there does seem to be an emphasis on blue. This could be because blue represents water, and this spacecraft can support life while Earth cannot. The colors are all bright and saturated, giving the setting a vivid and lively mood. There are minimal shadows because sources of artificial light are abundant. The overall symbolism and mood are apparent. It is obvious that the artists wanted a stark contract to the dying Earth. They want to show that humans, despite their treatment of Earth, can be happy anywhere as long as they can indulge in their consumerist and careless ways. It is an ironic way to show that we truly do believe that “ignorance is bliss”.

ASSIGNMENT #5 - Storyboard Imitation

Again, here is the "Look at my knees!" scene from David Lynch's Eraserhead:

***Apologies for the bad quality; my scanner was not working properly***

During this scene from Eraserhead, Director David Lynch follows the 180-degree rule, the rule of thirds, and 30-degree rule.

The 180-degree rule is followed when switching views between Mr. X and the group in the living room. The line of action is directly between them, and the camera angles remain on one side of the line.

The rule of thirds is also followed in both camera angles. When the group in the living room is the focus, Mrs. X is in the upper left crosshair while Henry is in the upper right crosshair. Mary does not have a prominent role in this scene, so she is not in any of the crosshairs. When the focus is on Mr. X, his face remains in the upper left crosshair. When he steps closer to show his knees, the camera tilts down so that his face is in the upper left crosshair and his knees are in the lower left crosshair. The rule of thirds is then briefly abandoned as Mrs. X and Mr. X exit the room.

The 30-degree rule is followed during this scene because the cameras are set at angles greater than 30 degrees from each other. The one-second opening shot actually made me question this, but by keeping my finger in the middle of the screen until the next shot, I figured that camera position is the same and there was only a slight zoom along with an accidental shift of Mary’s position on the couch. Having said that, it is apparent that 30-degree rule is followed because of the drastic different angle of the two shots between the group in the living room and Mr. X. Since they are having a conversation over a relatively large space (relative to typical conversation scenes), and Lynch is following the 180-degree rule, it only makes sense to follow the 30-degree rule.

This particular scene isn’t quite visually interesting (especially compared to the rest of Eraserhead), but it shows that Lynch knows his rules and applies them to the simplest of scenes. This might subconsciously contribute to why he is so well known as a great director. 

ASSIGNMENT #4 - Song Deconstruction

For this assignment, I chose two different songs by the band Russian Circles.

"Fathom"

Listening Phase One: Rhythm

• Tempo: Medium
• Source: Drums
• Groove: Driving, heavy

Listening Phase Two: Arrangement

• Instrumentation: Drums drive the song with strong accompaniment by both guitar and bass.
• Song Structure: There is a recurring guitar theme that acts sort of like a "chorus", while the "verses" are different from each other. However, all these parts seem to flow into one another, making the structure difficult to pinpoint. The structure is basically Intro/Chorus, Verse A, Chorus, Verse B, Chorus, Verse C/Outro. The song remains constantly driving until the heavier, half-time climax at the end.
• Emotional Architecture: The song is constantly driving and heavy. There are points where the guitar cuts out, leaving only drums and a very distorted bass. This puts emphasis on the groove and rhythm of the track. It ends creatively on an uneasy note that doesn't feel like a typical ending, and feels more like the song lacks closure.

Listening Phase Three: Sound Quality

• Height: Low frequencies are provided by the bass, bass drum, and toms. Mid frequencies are provided by guitar, snare drum, and strings. High frequencies are provided by guitar, cymbals, and strings.
• Width: The bass is not panned. The drums, like most modern drum recordings, are panned to imitate an actual drum kit. There are two or more guitar tracks separated widely across the stereo field.
• Depth: The main tracks (guitar, bass, and drums) are all equally distributed. There are some layers of sound (strings and complimentary guitar effects) that are lower in the mix.

"Philos"

Listening Phase One: Rhythm

• Tempo: Slow
• Source: Drums
• Groove: Starts out low-key and calm, then becomes more driving, then goes back to low-key

Listening Phase Two: Arrangement

• Instrumentation: Drums drive the song with strong accompaniment by both guitar and bass. Strings and timpani also play an important role.
• Song Structure: The song is a very gradual build-up. It starts out with a droning guitar effect that fades into a very quiet and smooth "swelling" melody. The drums, bass, and strings are then introduced. As the song keeps building, there is more variety in all of the instruments' parts. The build is especially signified with a busy drum solo. The part comes to a close to another quiet guitar part that builds into the climax. This is also where the timpani is brought in. After the climax, the song goes back into a collected feel similar to the first half of the song. As the song comes to a close, an sort of atmospheric soundscape is introduced until everything fades out.
• Emotional Architecture: This song is all about emotion. Even without vocals, it conveys many emotions that are hard to pinpoint but easy to relate to. It's a long song that basically just includes a build, a drop, and a quicker build into a soaring climax that drops into melancholy.

Listening Phase Three: Sound Quality

• Height: Low frequencies are provided by the bass, bass drum, toms, and timpani. Mid frequencies are provided by guitar, snare drum, and strings. High frequencies are provided by guitar and strings.
• Width: The bass is not panned. The drums, like most modern drum recordings, are panned to imitate an actual drum kit. There are many guitar and string tracks separated widely across the stereo field
• Depth: The main tracks (guitar, bass, drums, strings) are all equally distributed. There are some layers of sound (strings, complimentary guitar effects, and timpani) that are lower in the mix.

While “Fathom” and “Philos” are both by Russian Circles and both songs appear on the same album, they hold more differences than similarities.

Given that the songs are on the same album, the sound quality is very similar. As discussed in the frameworks, the height, width, and depth are nearly identical. The only difference in this area is that “Philos” includes more prominent orchestral strings in addition to an added layer of timpani. Also similar is the instruments that drive the song. Drums that hold a strong relation with guitar and bass drive both songs.

The melodies of the songs are very different. “Fathom” has much heavier melodies that are also much more rhythmic. “Philos”, on the other hand, has melodies that feel more uplifting. They tend to be higher in frequency and seem to “swell” around the beat rather than provide accompanying rhythm to the drums like “Fathom”. This all contributes to the overall difference of the “mood” of the songs. Whereas “Fathom” is a driving rock song, “Philos” is all about creating and releasing tension to create an all-around emotional journey. “Fathom” throws its hard-hitting melodies straight at the listener, while “Philos” lets the melodies gradually build and recede into new melodies.

All this is greatly enhanced by the tunes’ differing musical quality. “Fathom” focuses the heaviness of its content by mirroring it with heaviness in quality. The rhythms are solid and driving. The intensity is consistent and does not let up until the song is over. The pitch of the guitars and bass tend to stay at mid-range and low-range frequencies, respectively. The timbre of both of these instruments is distinct, too--both use heavy distortion. The speed is a medium tempo, and the organization is relatively simple. “Philos” takes a completely different approach. The rhythms are much more “open”, and there’s not much intensity until the climax of the song. The pitch of the guitars and bass make their way into higher frequencies. There’s more variety in timbre, with clean guitars, reverb, and tasteful use of distortion. The speed is much slower, and the organization is much more dramatic.

Overall, I like “Philos” more. While “Fathom” is a solid song, “Philos” truly shows off the brilliant song-writing skills of Russian Circles. To make an instrumental song so beautiful and emotional is not an easy task, but the band pulled it off with flying colors.

ASSIGNMENT #3 - Reflections on Sound Design

This bizarre scene of David Lynch’s Eraserhead uses sound as an important reflection of Mr. X’s elevating rage. There is heavy use of the Gestalt Principal. For example, in the moments of silence before Mr. X’s eruption, “figure and ground” are used. The suckling pups and droning machines place emphasis on the silence between segments of the conversation. It is very much like a situation where “it is so quiet that you can hear a pin drop”. Not only do the sounds make the viewer feel uneasy, but they also seem to stick out more than the dialogue itself. When Mr. X does burst, however, “proximity and similarity” are used as the machines grow more intense and the harsh timbre of a barking dog dominates the sound track. Sound is also used to represent the space of the home and also to draw attention to certain sounds. The mixing of the dialogue seems to remain true to the small dimensions of the space inside the home. There is minimal echo and only a slight reverberation of sound bouncing off walls and ceilings that are clearly close together. However, the dog’s barking has more echo to it. This draws the viewers attention to this barking, which coincides with the anger broiling inside Mr. X. 

ASSIGNMENT #2 - Finding Your Howl

Please visit http://changethis.com/ to read Jonathan Flaum's FIND YOUR HOWL.

Find Your Howl

This is a story of endangered wolves that are reintroduced to the wild after conservation efforts by humans. However, they have forgotten how to howl. One wolf is ready to take on nature and learns of his hunting instincts. He feels guilty at first, but then learns that it is what he needs to do to survive. When he learns this, he sacrifices himself and, in a spiritual way, teaches all of the other wolves how to howl.  The meaning behind this story is that we must go through hardships and internal conflicts to achieve what we want.

This guy found his howl.

Tool - "Reflection"

I have come curiously close to the end, down

Beneath my self-indulgent pitiful hole,

Defeated, I concede and

Move closer

I may find comfort here

I may find peace within the emptiness

How pitiful

It's calling me...

And in my darkest moment, fetal and weeping

The moon tells me a secret - my confidant

As full and bright as I am

This light is not my own and

A million light reflections pass over me

Its source is bright and endless

She resuscitates the hopeless

Without her, we are lifeless satellites drifting

And as I pull my head out I am without one doubt

Don't wanna be down here feeding my narcissism.

I must crucify the ego before it's far too late

I pray the light lifts me out

Before I pine away.

So crucify the ego, before it's far too late

To leave behind this place so negative and blind and cynical,

And you will come to find that we are all one mind

Capable of all that's imagined and all conceivable.

Just let the light touch you

And let the words spill through

And let them pass right through

Bringing out our hope and reason ...

before we pine away.

The song “Reflection” really speaks to me creatively. As a drummer, what originally caught my attention were the innovative drum parts. The use of mainly tribal rhythms was something that I’ve never heard before in rock music, and I have since found ways to incorporate these types of rhythms in my own playing. However, upon further listening to this song, the lyrics started to jump out at me more and more. Tool’s lyrics are often written about and debated over. Since there is no confirmed meaning to any of the songs, they can be interpreted in any way the listener feels fit. To me, “Reflection” gives me inspiration and guidance on how to stay creative and inspired as an artist.

When stuck in an artistic rut, it can be hard to know where to go. It feels as if nothing is progressing and it is becoming increasingly more difficult to come up with fresh ideas. Many times, ones own endeavors can become to challenging and difficult that the only way out seems to be to simply give up. It can be interpreted that the lyrics refer to this as a “self-indulgent pitiful hole”. And, in wake of this artistic block, one can easily start to believe that there is no need to keep going, and that the current level of ability and creativity is “good enough” (“Defeated... I may find peace within the emptiness/How pitiful”).

This sometimes happens to me when I am stuck practicing a technique or “chop” for hours on end. While practicing, I start to think, “if I just get this technique down I will be able to impress so many people” or “this chop will make the other drummers’ jaws drop!” This, of course, is the wrong way to go about it and only feeds the ego. In the end, when I’m so systematic about practice and so keen on impressing others, creativity is abandoned and I don’t even know how to include the things I learn into my playing. However, I am always able to catch myself when I'm headed in this direction ("Don't wanna be down here feeding my narcissism/I must crucify the ego before it's far too late")

Sometimes all that is needed is a helping hand or a replenishing reality-check. Sometimes a small push in the right direction can lead to a rush of new ideas. The analogy in “Reflection” that refers to this is the moon. The speaker listens to the moon for hope during his darkest time, and is rushed with inspiration and joy when “she” responds (“A million light reflections pass over me/Its source is bright and endless/She resuscitates the hopeless”).

For me, my moon comes to me in the form of inspiring drummers. The one that comes to mind immediately is my drum teacher, Matt Schoneman. He always knows how to keep me on my toes and keep my creative mind flourishing. Although his main goal is to guide me and to help further my capabilities as a drummer, he also knows how to make sure I don’t let my ego get the best of me. He does this by throwing challenges at me along the way. Other drummers also inspire me to utilize different styles, techniques, and flavors into my playing. Whenever I see a drummer who is better than me at a certain aspect of playing, I am never envious and I am always encouraged. As mentioned earlier, the drum parts played by Danny Carey in this very song prompted me to imitate and, eventually, manipulate this style to be included in my own playing.

In conclusion, I see the song “Reflection” as an inspiration song that guides me during my struggles to become a better musician. I sometimes get so wound up in technical exercises and rudimentary rituals that the left side of the brain takes over and the right side gets left behind. While practice is key to success, the idea of success can sometimes leave one’s creativity drained. This is a bit of a catch-22, as (for the most part), success in music cannot be achieved without creativity. Therefore, one must “crucify the ego” to be able to achieve “all that’s imagined and all conceivable”.

The final minutes of "Reflection" performed by Danny Carey